So, since in lockdown I've not been able to go outside, I figured I'd try and learn to play outside a bit.
I'm sort of getting there with resolving harmonies - I'm getting better at adding some diminished, altered or Lydian dominant sounds in to my playing (I'm coming from a very blues background so I'm not going mad over complex changes, just adding a bit of outside weirdness to some blues)
However - there's still that tension and release between the V and I at the end of the turn around, so adding things there makes sense. But how would I go about adding some outside sounds to a tune like All Along the Watchtower, where there isn't that natural tension going from the V to vi at the end of the chord sequence.
Comments
Watchtower is quite straightforward - on the way back up to the C#m (which is the tonic), on that B chord (which is the VII) you can assume it’s a turnaround - it’s basically the 1st inversion of the V7 (actually strictly speaking it would be a v7, which would be the G#m7), ie you can play judicious notes from G# altered scale (which for reference is the same notes in A melodic minor, or D lydian dominant)
it’s quite quick so you’d have to:
- be very quick, or
- use the odd special note, judiciously and sparingly, just to get the flavour, or
- start early, while you’re still on the A chord.
(I really do think the Nashville system is unhelpful by the way, and there's why.)
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
https://www.youtube.com/watch?v=qdq2OfIBsl8
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.