Y yo creo que es mucho ms que jugar sobre las extensiones del jugador de teclado

est jugando . En ese video ( Utilizo para tener tambin ) , Larry tendra Terry
mantenga un acorde de Dm razn por la que jugara en diferentes tradas F , Am , C,
Em , G ( si estoy recordando correctamente ) . O Eb trada sobre un acorde G7 es
otro que uno solo lo recuerdo utilizando como ejemplo . Larry era el que estaba
haciendo las extensiones .
S de varias cosas que Larry va a hacer cuando se va fuera. Creo que la mayor
parte de lo que hace es parte del vocabulario del jazz. Aqu es un grande que
utilizar para hacer un montn. l lo llama el sper arpegio ... se compone de
alternar terceras partes mayores y menores. Para encontrarlo se inicia en una raz o
tercera o 5 o 7 tono acorde, ir hasta la prxima nota del acorde (que ser un tercer
mayor o menor) y luego continuar construyendo un arpegio de all. Por ejemplo, el
G7, elige un tono acorde, digamos B. Eso es un tercio minutos para que la frmula
sera de B D F # A # C E G # etc. alterna y maj min 3as Que los bonita que hay
para un G-7 (que le guste aunque) as que vamos a tratar a partir del lugar D ... D F
A C E G B D #; que los muy bien. Qu tal para Gmaj7. Vamos a tratar a partir de la
raz: G B D F # A # C E G #, muy fresco. Como explica Larry, que no
necesariamente basta con ejecutar arpegios estas 'super' de arriba a abajo, muchas
veces l slo va a retomar un pedazo de uno y usar eso como sus tonos de acorde
imaginarios y forman frases alrededor de ellos. Y las piezas son tradas simples y
todos tenemos un vocabulario de lame que trabajan alrededor de tradas simples.
De modo que en el ejemplo Gmaj7, podra jugar un poco de F # m cosas (el F # A #
C de ese arp) o un material maj o C # m material o E maj etc. Creo que por qu
funciona tan bien cuando lo hace es que encuentra buenos patrones para entrar en
las cosas fuera y hacia atrs fuera de la materia exterior. Tengo la teora de que si
sales de una manera organizada, entonces puede sonar bien. Larry puede estar
jugando un G # nota sobre un acorde Gmaj7 y casi puede sonar consonante cuando
se acerca con el arp sper.

NTRODUCTION

In part
1
of
the Stepping Out: A Guide To Playing Outside series, we looked at the use of side stepping
(moving a motif, scale, or pattern up/down by a semitone) to instantly add dissonance and
create tension within your playing. While this is an effective way of navigating the outside notes
of your current tonality, it is not a very precise way of picking out notes or colors. It can also
become predictable to the listeners ears as they learn to hear these shifts.
This lesson will demonstrate how to be more subtle in your inclusion of outside notes and target
specific intervals to give you a greater command over useable tensions in all scenarios. To do so,
we will look at how utilising and imposing certain scales will produce idiosyncratic ideas.

THE TOOLS
For the purpose of this lesson, we are going to talk about the use of 7-note palettes (scales).
This is not exhaustive by any means, but 7-note palettes are the most commonly used and
provide a practical platform for us to work from in later lessons, where well cover other note
palettes ranging from two to twelve notes long.
The reason I use the word palette, as opposed to scale, is because the word scale has become
synonymous with the idea of practicing/rigidity/order/sequence. Thinking of your available
notes as a palette promotes the idea that they are there to assist your creativity, and you should
find unique ways to draw out colors from your palette. There are five common and usable 7-note
palettes you can construct from the chromatic scale, each of which has seven modes for a total of

35 palettes. Listed below are the names of each, the intervals within them, and 4-interval
harmonizations (tertiary).
Each of these palettes should first be practiced in the context of their respective harmonies to
get used to the sound each produces. This should form part of your practice regimen and be
exercised in the usual manner (cycle of fifths/fourths, positional, moving through the chord
scale, arpeggios, etc. )

MAJOR SCALE

Name

Formula

Chord

Ionian

1234567

Maj7

Dorian

12b3456b7

Min7

Phrygian

1b2b345b6b7

Min7

Lydian

123#4567

Maj7

Mixolydian

123456b7

Dom7

Aeolian

12b345b6b7

Min7

Locrian

1b2b34b5b6b7

Min7b5

MELODIC MINOR SCALE

Name

Formula

Chord

MelodicMinor

12b34567

Dorianb2

1b2b3456b7

Min7

LydianAugmented

123#4#567

Maj7#5

LydianDominant

123#456b7

Dom7

Mixolydianb6

12345b6b7

Dom7

Locrian2

12b34b5b6b7

Min7b5

SuperLocrian*

1b2b3b4b5b6b7

Min7b5

Min(Maj7)

*We often see this scale (Locrian b4) as Super Locrian or the Altered Scale. For our purposes
here we will call it the Super Locrian due to naming issues for the following palettes.
HARMONIC MINOR SCALE

Name

Formula

HarmonicMinor

12b345b67

Chord
Min(Maj7)

Name

Formula

Chord

Locrian6

1b2b34b56b7

Min7b5

Ionian#5

1234#567

Maj7#5

Dorian#4

12b3#456b7

Min7

PhrygianDominant

1b2345b6b7

Dom7

Lydian#2

1#23#4567

Maj7

SuperLocrianbb7

1b2b3b4b5b6bb7

Dim7

HARMONIC MAJOR SCALE

Name

Formula

Chord

HarmonicMajor

12345b67

Dorianb5

12b34b56b7

Phrygianb4

1b2b3b45b6b7

Dorian#47

12b3#4567

Min(Maj7)

Mixolydianb2

1b23456b7

Dom7

LydianAugmented#2

1#23#4#567

Maj7#5

Locrianbb7

1b2b34b5b6bb7

Maj7
Min7b5
Min7

Dim7

DOUBLE HARMONIC SCALE *

Name

Formula

Chord

DoubleHarmonic

1b2345b67

Maj7

DHmode2

1#23#45#67

Maj7

DHmode3

1b2b3b45b6bb7

MinTriad

DHmode4

12b3#45b67

Min(Maj7)

DHmode5

1b234b56b7

Dom7b5

DHmode6

1#234#567

Maj7#5

Name

Formula

DHmode7

1b2bb34b5b6bb7

Chord

*As the intervals in the Double Harmonic modes are very altered from the Major Scale modes,
it is easier to just number these. At this point, I would suggest taking some time to learn the
Double Harmonic scale and its positions on the fretboard as it may be easier to think of the
parent Double Harmonic for whichever mode you want to use. For example, to use mode three
in A we would need to trace back three tones to F and play a double harmonic from there. That
being said, we should be focusing on the intervals anyway, as opposed to the names or
positions.
While you might recognise some of these scales under different names, these scales are named
the way they are for a particular reason. Each parent scale (Major, Melodic Minor, Harmonic
Minor, etc) has an individual name for easy identification. The 7 modes within each parent
scale have been referenced to the the modes of the Major Scale (i.e Dorian b2, Lydian #2, etc)
as most of us will be familiar with the construction of the seven Major Scale modes. This
prevents you from worrying about the spelling of the Javanese scale, or the Hungarian Minor, or
the Jabberwocky Pentamonochromatic, or the (you get the point!) creating a clean reference
system for these palettes.
In order for your ear to draw on these sounds effectively, it is essential that they are internalized.
This is particularly pertinent in our case, as to use these palettes for creating outside sounds,
they must be superimposed over differing tonalities to create tension. Otherwise, they will still
be respectively inside. (i.e. a Phrygian Dominant over a 7b9 chord is inside.)
Within a lesson this size to drudge through every position of every parent scale listed (although
useful) is outside of our scope. Even if you are unfamiliar with most of these scales, try to work
out where each interval is in the scale youre playing and then try changing it. For example if you
know a Major scale

you should be able to adjust particular intervals instead of thinking of a brand new scale. Take
Harmonic Major, for example, where the only difference is the b6 interval:

It is almost identical but with a fret lower for the 6 th note in the sequence. You should know your
intervals and notes across the fretboard and how to manipulate them, but referencing to
common scales should make it easy to apply some of the foreign palettes in the list above.

APPLICATION
To create tension, as discussed in lesson one, you have to play a note that clashes against the
chord tones and extensions of your harmony. To begin with we will continue working with an A
minor vamp. Over an A Minor (Dorian context) our consonant intervals would be: R 2 b3 4 5 6
b7. Our dissonant intervals would be b2 3 b5 b6 7.
In essence you could play any palette over A Minor, as each will produce a different effect. The
trick is knowing how far out each one will take you. Generally, a good rule of thumb is to begin
with the palettes that contain the triad from your harmony to ensure that the chord is not
completely lost. Here is a selection:
Name

Formula

MelodicMinor

12b34567

Dorianb2

1b2b3456b7

Locrian2

12b34b5b6b7

Dorian#4

12b3#456b7

Dorianb5

12b34b56b7

DHmode6

1#234#567

These are your first port of call when playing outside over a minor vamp like this. Once you have
tried playing some of them, the next step is to try the palettes that take you even further outside:
Name

Formula

LydianAugmented

123#4#567

Locrian6

1b2b34b56b7

SuperLocrian

1b2b3b4b5b6b7

Name

Formula

Lydian#2

1#23#4567

SuperLocrianbb7

1b2b3b4b5b6bb7

DHmode3

1b2b3b45b6bb7

This list includes palettes with the major 3rd, as well, which is really effective at creating tension
here. Be careful, as the closer you get to a straight major scale the more it will sound like you are
playing the wrong notes, rather than playing outside. This is again due to our aural
conditioning, as the sound of the major scale, and even its modes, is so strong that it is hard to
detach its connotations.
You may have also found that the Aeolian and Phrygian modes were lacking in the outside
sound. Again, this is likely due to the way we perceive those notes in sequence. The less heard
palettes melodic, harmonic and double harmonic are not ingrained in our ears as strongly and
so do not delineate the A minor as much, or at least in the same way.
Here are some examples of these scales in use. Remember about phrasing outside playing it
should lead out, but ultimately lead back in to strengthen the harmony.

EX 1. DORIAN B2
Using the b2 here only delineates the harmony slightly, but enough to give an interesting
outside sound. The jagged rhythm with lots of 16 th note rests can add to the dissonant feel, when
used effectively.

EX 2. DORIAN B5
This palette is effective in evoking Scott Hendersons sound. The double stops in half whole
half interval slides are very typical of his later blues style and are a great way of sounding outside
in a more controlled blues context.

EX 3. LOCRIAN 2
This is a slightly weirder example, shown here in a kind of bebop-style 8th note lick. This works
well in many situations over the ii, V in Major or even as a resolving idea in a Minor ii V.

EX 4. DOUBLE HARMONIC MODE 6

This palette is extremely hard to use as its intervals are so acute and clashing. It generally works
well when there is little harmony underneath it, other than Roots and 5ths.

EX 5. LYDIAN AUGMENTED
This is a sequenced lick derived from the Lydian Augmented scale it sounds very much like a
whole tone scale and can be used with irregular rhythmic groupings to create an altogether
different time/feel/mood over what you are playing.

EX 6. SUPER LOCRIAN
The start of this lick leads from A dorian, then uses the Altered Scale or Super Locrian scale to
create quick moment of tension, and then resolves back to the root. This approach can be used
over a V chord in a ii V I.

EX 7. DORIAN #4
In this example, Ive used a swing rhythm and extracted some arpeggios from the Dorian #4
palette to create a Michael Brecker style lick that sounds like it is modulating.

Above all, keep practicing your intervals so you can call on any of these palettes or parts of them
at any time. While they are excellent for improvising outside and creating tension, they can also

be used as compositional tools in their own right by harmonising them to create interesting
chords and harmonies.
Here is a final track with my application of the concepts within this article: