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In jazz improvisation, outside playing describes approaches 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]
Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz music. It is one of the defining elements of jazz. Improvisation is composing on the spot, when a singer or instrumentalist invents melodies and lines over a chord progression played by rhythm section instruments (piano, guitar ...
He was awarded a special Pulitzer Prize in 2007 citing his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz." [2] He was inducted into the North Carolina Music Hall of Fame in 2009. [121] A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999.
The augmented scale: 0 3 4 7 8 11 (Root, minor 3rd, major 3rd, 5th, augmented 5th, major 7th, or minor 3rd, semitone, minor 3rd, semitone, minor 3rd, semitone) may appear to be an inexplicable omission on Messiaen's part. It is a symmetrical scale used frequently by modern jazz improvisers.
The Charlie Parker Omnibook is published by Hal Leonard LLC. [2] Charlie Parker (1920–1955) was one of the pioneers of the Bebop style of jazz. This idiom is characterized by fast tempos, instrumental virtuosity, and improvisation over set harmonic structures. Parker’s style of playing and his harmonic treatment particularly in ...
The white-note major and minor pentatonic scales. Two pentatonic scales common to jazz are the major pentatonic scale and the minor pentatonic scale. They are both modes of one another. The major pentatonic scale begins with a major scale and omits the fourth and the seventh scale degrees.
Sheets of sound. Sheets of sound was a term coined in 1958 by DownBeat magazine jazz critic Ira Gitler to describe the new, unique improvisational style of John Coltrane. [1] [2] Gitler first used the term on the liner notes for Soultrane (1958). [3]
The sixth variation is a canon at the second: the follower starts a major second higher than the leader. The piece is based on a descending scale and is in 3 8 time. The harpsichordist Ralph Kirkpatrick describes this piece as having "an almost nostalgic tenderness". Each section has an alternate ending to be played on the first and second repeat.