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[[File:Side-slipping through distant ii-V.png|thumb|right|Side-slipping through distant ii-V {{audio|Side-slipping through distant ii-V.mid|Play}}.]] |
[[File:Side-slipping through distant ii-V.png|thumb|right|Side-slipping through distant ii-V {{audio|Side-slipping through distant ii-V.mid|Play}}.]] |
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In [[jazz]] [[musical improvisation|improvisation]], '''outside playing''', describes an approach where one plays over a scale, mode or chord that is harmonically distant from the given [[chord (music)|chord]]. There are several common techniques to playing outside, that include side-stepping or side-slipping, superimposition of [[Coltrane changes]]<ref>{{cite book |last=Porter |first=Lewis |date= |title= John Coltrane: His Life and Music |page=225 |location=Ann Arbor |publisher=The University of Michigan Press }}</ref> |
In [[jazz]] [[musical improvisation|improvisation]], '''outside playing''', describes an approach where one plays over a scale, mode or chord that is harmonically distant from the given [[chord (music)|chord]]. There are several common techniques to playing outside, that include side-stepping or side-slipping, superimposition of [[Coltrane changes]],<ref>{{cite book |last=Porter |first=Lewis |date= |title= John Coltrane: His Life and Music |page=225 |location=Ann Arbor |publisher=The University of Michigan Press }}</ref> and [[polytonality]].<ref name= "Liebman">{{Cite thesis |last=Vashlishan |first=M |title=THE ORIGINS OF DAVID LIEBMAN'S APPROACH TO JAZZ IMPROVISATION |type= |chapter= |url=http://daveliebman.com/Feature_Articles/MattThesis.pdf |author= |year= |publisher=William Patterson University |accessdate=1/27/14 |docket= |oclc= }}</ref> |
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==Side-slipping== |
==Side-slipping== |
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The term '''side-slipping''' or '''side-stepping''' has been used to describe several similar yet distinct methods of playing outside. In one version, one plays only the five "'wrong'" non-[[musical scale|scale]] [[nonchord tone|notes]] for the given [[chord (music)|chord]] and none of the seven scale or three to four chord tones, given that there are twelve notes in the equal tempered scale and [[heptatonic scale]]s are generally used.<ref>Coker, Jerry (1997). ''Elements of the Jazz Language for the Developing Improvisor'', p.83. ISBN 1-57623-875-X.</ref>Another technique described as sideslipping is the addition of distant [[ii-V-I turnaround|ii-V]] relationships, such as a half-step above the original ii-V. This increases chromatic tension as it first moves away and then towards the tonic.<ref>Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.119. ISBN 0-88284-722-8.</ref> Lastly, side-slipping can be described as playing in a scale a half-step above or below a given chord, before resolving, creating tension and release.<ref name= "Liebman"/> |
The term '''side-slipping''' or '''side-stepping''' has been used to describe several similar yet distinct methods of playing outside. In one version, one plays only the five "'wrong'" non-[[musical scale|scale]] [[nonchord tone|notes]] for the given [[chord (music)|chord]] and none of the seven scale or three to four chord tones, given that there are twelve notes in the equal tempered scale and [[heptatonic scale]]s are generally used.<ref>Coker, Jerry (1997). ''Elements of the Jazz Language for the Developing Improvisor'', p.83. ISBN 1-57623-875-X.</ref> Another technique described as sideslipping is the addition of distant [[ii-V-I turnaround|ii-V]] relationships, such as a half-step above the original ii-V. This increases chromatic tension as it first moves away and then towards the tonic.<ref>Richard Lawn, Jeffrey L. Hellmer (1996). ''Jazz: Theory and Practice'', p.119. ISBN 0-88284-722-8.</ref> Lastly, side-slipping can be described as playing in a scale a half-step above or below a given chord, before resolving, creating tension and release.<ref name= "Liebman"/> |
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==See also== |
==See also== |
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[[Category:Chromaticism]] |
[[Category:Chromaticism]] |
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[[Category:Improvisation]] |
[[Category:Improvisation]] |
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Revision as of 06:54, 29 January 2014
In jazz improvisation, outside playing, describes an approach where one plays over a scale, mode or chord that is harmonically distant from the given chord. There are several common techniques to playing outside, that include side-stepping or side-slipping, superimposition of Coltrane changes,[1] and polytonality.[2]
Side-slipping
The term side-slipping or side-stepping has been used to describe several similar yet distinct methods of playing outside. In one version, one plays only the five "'wrong'" non-scale notes for the given chord and none of the seven scale or three to four chord tones, given that there are twelve notes in the equal tempered scale and heptatonic scales are generally used.[3] Another technique described as sideslipping is the addition of distant ii-V relationships, such as a half-step above the original ii-V. This increases chromatic tension as it first moves away and then towards the tonic.[4] Lastly, side-slipping can be described as playing in a scale a half-step above or below a given chord, before resolving, creating tension and release.[2]
See also
Sources
- ^ Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor: The University of Michigan Press. p. 225.
- ^ a b Vashlishan, M. THE ORIGINS OF DAVID LIEBMAN'S APPROACH TO JAZZ IMPROVISATION (PDF) (Thesis). William Patterson University. Retrieved 1/27/14.
{{cite thesis}}: Check date values in:|accessdate=(help) - ^ Coker, Jerry (1997). Elements of the Jazz Language for the Developing Improvisor, p.83. ISBN 1-57623-875-X.
- ^ Richard Lawn, Jeffrey L. Hellmer (1996). Jazz: Theory and Practice, p.119. ISBN 0-88284-722-8.
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