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Outside (jazz) 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.
The Jazz Theory Book is an influential work by Mark Levine, first published in 1995. [1] The book is a staple in jazz theory, [2] and contains a wide range of jazz concepts from melodic minor scales and whole tone scale to bebop scales, diminished scales and "Coltrane" reharmonization. Levine assumes that the reader can read music, and gives ...
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.
Russell's original six Lydian scales [ 1] The Lydian Chromatic Concept of Tonal Organization is a 1953 jazz music theory book written by George Russell. The book is the founding text of the Lydian Chromatic Concept (LCC), or Lydian Chromatic Theory (LCT). Russell's work postulates that all music is based on the tonal gravity of the Lydian mode .
The jazz minor scale or ascending melodic minor scale is a derivative of the melodic minor scale, except only the ascending form of the scale is used. As the name implies, it is primarily used in jazz [citation needed], although it may be found in other types of music as well. It may be derived from the major scale with a minor third, [ 1 ...
An octatonic scale is any eight- note musical scale. However, the term most often refers to the ancohemitonic symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory (in contrast to jazz theory ), this symmetrical scale is commonly called the octatonic scale (or the octatonic collection ), although ...
Andalusian cadence. The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). [ 1]
Common jazz parlance refers to upper structures by way of the interval between the root of the bottom chord and the root of the triad juxtaposed above it. [2] For instance, in example one above (C 7 ♯ 9) the triad of E ♭ major is a (compound) minor 3rd away from C (root of the bottom chord).
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