Tag Archives: arpeggios

Jonathan Kreisberg – Strong and Creative Arpeggio Ideas

In this Jonathan Kreisberg Lesson I am going to discuss some of the techniques he uses especially when it comes to creating interesting melodies with large intervals and constructing Arpeggios. Jonathan Kreisberg uses a lot of traditional material but is always good at giving his own twist to the ideas, so he will develop a lot of personal material but it is coming out of a strong knowledge of tradition. This is of course also possible because of his incredible technique and strong rhythm, that all comes together in great solos.

One of the great Players to emerge on the Jazz Scene is Jonathan Kreisberg. His work with Ari Hoenig, Lonnie Smith and other jazz greats is very much music that you need to be aware of!

Hope you like it!

Maj7 Chords – 7 Great Solo ideas!

Maj7 Chords are one of the most important tonic chord types. This video will show you 7 different ideas that you can use when improvising over Maj7 chords. The concepts I cover are using different arpeggio types, triad pairs and super-imposed pentatonic scales both common and more exotic.

Content of the video

0:00 Intro – Maj7 Chords and ideas

1:18 Example 1 – Solo

1:40 Interesting versions of Cmaj7 and Em7 arpeggios

2:29 Using arpeggios and making them less boring

3:38 Example 2 – Solo

4:04 Pentatonic scale from the 3rd of the chord

4:34 Different sounds from different phrasings

5:05 Less Rock/Blues sounding ideas

5:58 Example 3 – Solo

6:23 Triad pairs: G & Am

6:54 Analyzed relative to the C root

7:27 Melodic approach from triad pairs and that specific sound

8:23 Example 4 – Quartal Arpeggios

8:48 The “new” sound of Quartal melodies in a solo

9:17 two ways to check them out over a chord

9:50 Some technical ideas for playing quartal arpeggios

10:53 Example 5 – Solo

11:16 Am6 pentatonic – Robben Ford on a Maj7 chord

11:50 Constructing an Am6 pentatonic scale

12:35 Simple ideas from this type of phrasing.

12:55 Example 6 – Solo

13:20 Am & Bm – Lydian Triad pair.

13:57 Phrasing using Spread Triads and inversions

14:43 Example of a line using the triad pairs

14:58 Example 7 – Solo

15:22 Emaj(b6) Pentatonic scale on a Cmaj7 chord

15:42 Where it comes from

16:15 How to construct and play the Emaj(b6) Penta scale.

17:07 Phrasing and making lines with the scale

17:40 Do you have other good suggestions you like to use? Leave a comment!

18:32 Like the video? Check out my Patreon Page!

F Blues Guitar Survival Kit – What You Need To Know

F blues is something you can get started with quite easily. You only need a few different things:The Chords, the Scales and the Arpeggios. I cover all of this and also have a transcribed solo using this material so you can get started both comping and soloing on an F Jazz Blues.

The 12 bar Blues is a key component when it comes to jazz chord progressions and F is for jazz blues probably the most common key. Billie’s Bounce, Straight No Chaser and Au Privave are all blues songs in the key of F

The 4 Chorus Lesson

In this lesson I have made 4 choruses of exercises: The chords, the arpeggios that go with the chords. The scales that fits with the chords and arpeggios and finally a solo chorus which demonstrates how you might use the other exercises when playing over the F blues.

To keep it simple I have kept all exercises in one position so that if you go through the exercises you should begin to have a tool set to improvise over the Bb blues in that position.

The chord voicings

To improvise over a song you probably need to be able to play the chords so you can hear the harmony and how it moves. In the following example I have written out a set of voicings to play the F Blues.

The voicings can also be played from these diagrams:

You’ll notice that I in general don’t write out which extensions I use, so I write out the basic type of chord and if whoever is playing a chord he can fill in extensions to his own taste. This is common practice in Jazz in general.

The F Blues Arpeggios

When playing over changing harmony the best way to really follow the chords is of course to use the notes of the chords in your solo. Therefore it is very important to be able to play the chords of the progression as arpeggios. In example 3 I have written out the arpeggios in this position.

To make it easier to connect the different arpeggios I have written them out in a similar range which means that I don’t always start on the root of each chord.

You should practice the arpeggios like I’ve written them out, but you would get a lot from also improvising over the progression just using the arpeggios.

The Scales for the chords

In the 2nd example I added a scale to each chord. The way I am playing the scales is that I start on the root and run up to the 7th, this gives you a bit of time to switch to the next chord. This way of applying scales to a progression is the same as you’ll find in Barry Harris exercises. It is a nice way to add the scale in a musical way so that you hear how they spell out the harmony.

The F7,Bb7, Gm7 and C7 are easily understood in terms of where they sit in the key, since they are all mixolydian or dorian scales.

The B dim scale is in fact an C harmonic minor from B to Bb. You can see how I arrive by this by looking at it from the Bb7 scale:

Bb C D Eb F G Ab Bb

If I need to fit an B dim in there then an easy way to do that is to replace the Bb with a B.

B C D E F G Ab  which you can write out from F to recognize that it as an C harmonic minor scale.

For the D7(b9) you need to look at it as a dominant resolving to Gm7, which tells us that we should use a Cm scale for it. In this context the (actually in most contexts) that means using the G harmonic minor scale. You can use this approach to determine what scale you should use for any auxiliary dominant.


The F Blues Solo

As an example of how you can use the material I have written out a short improvised solo on a F blues.

I hope you can use the exercises and the materials to get started improvising over a Jazz Blues progression. You can check out some of my other lessons on Blues, arpeggios and target notes for more ideas.

Take you Blues Playing up a level with this solo lesson

Blues Etude 1 – F Blues 132bpm Solo

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F Jazz Blues Survival Kit

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Bebop Guitar Licks With Powerful Arpeggio Hack

One thing that is very typical for Bebop Guitar licks is how they use pivot techniques on arpeggios to get some beautiful melodic large intervals into the line. In this video I will show 4 examples on using pivot technique in jazz licks with a strong bebop flavour and give you a way to use this in your own solos.

The II V I Progression

The examples in this progression are on a II V I in D major, so that’s Em7, A7 and Dmaj7. In the licks I am using an A7alt, mostly to have some variation in the sound going through the lick.

Bebop Guitar

II V I cadence

The Gmaj7 arpeggio and the inversions

The examples in this lesson are all using a Gmaj7 arpeggio and it’s inversions on the Em7 chord in the cadence. I will use the Gmaj to demonstrate how to use the different inversions with the pivot technique to create some solid jazz licks with a strong bebop flavour.

1st inversion and 1st example.

This 1st example is starting with the Gmaj7 arpeggio. The 1st inversion has G as the first note which makes it nice and clear on the Em7.

The idea behind the pivot technique is that the highest note of the arpeggio is played first, then the melody skips down to the lowest note to ascend back up. This is a very common melodic device in bebop guitar.

The A7alt part of the line makes use of the same technique but here it is with a 1st inversion BbmMaj7 arpeggio in the first half of the bar.

Bebop Jazz Lick

Guitar II V I jazz lick

Repeat the success from the 5th

The 2nd example uses the 3rd inversion of the Gmaj7 arpeggio. The arpeggio is again placed in the beginning of the line and is now chained together with a quartal arpeggio. On the A7 the first part of the line is a descending pattern played through a Gm7b5 arpeggio. The line then resolves to the 3rd(F#) of Dmaj7. 

Mixing scales and arpeggios

The 3rd example starts with a scale run from the root. The 2nd inversion of the Gmaj7 arpeggio. The 6th interval is found between the B and the D. The A7 line is chaining an A augmented and Eb major triad.

Even from the root

The root position arpeggio is different from the rest since using the pivot here does not yield a 6th interval, but instead it is a 7th. In this example the Gmaj7 continues into a quartal arpeggio from E. The A7alt line is two inversions of a Bbsus4 arpeggio, a line that I actually transcribed from Michael Brecker.

Pivoting yourself! True Bebop Guitar

The four examples in this lesson should give you some ideas on how to start using arpeggio inversions in this way when making your own lines. It probably will still take a bit of work to get it to really sit in your playing but as you can probably tell that is probably worth the time!

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Arpeggio Inversions

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5 Ways You Need To Know And Practice Your Arpeggios

Arpeggios are huge part of improvising over changes in jazz guitar and especially in the more bop oriented styles. When we improvise we use arpeggios to connect to the harmony and spell out interesting extensions or alterations.

Practicing Arpeggios

This video is going to discuss 5 ways to practice arpeggios so that you get as much as possible out of practicing arpeggios and that you also make sure to make music with them.

I also included a few extra examples for working on creating more intervallic or modern sounding licks or solos. There are a few ways to achieve this, one of the ones that I like to use is experimenting with turning chords into solo lines and in that way access some larger intervals.

Hope you like it!

Content of the video:

0:00 Intro

0:56 It’s not only how you practice, it is also why you practice and what you learn.

1:18 Knowing Arpeggios in Positions – What you need and how you work on it.

2:04 Arpeggio positions and Scale fingerings + Downloads

2:29 Putting Arpeggios in a Context: Diatonic arpeggios

3:31 Across the Fretboard – Getting freedom with the arpeggios

4:00 Example Dm7

4:11 What to focus on and learn from this

5:06 Melodic Patterns

5:29 Two examples of Arpeggios patterns

6:04 Making Music – Using The Arpeggios

6:19 Improvisation example

6:33 Adding large intervals to your solo via Arpeggios

7:04 Examples of useful voicings

7:15 Example 1

7:22 Example 2

7:29 How do you work with arpeggios? Do you have ideas or suggestions?

8:09 Like the video? Check out my Patreon Page

The 7 Levels Of Cm7 Dorian – Triads to Complete Voicing Arpeggios

The search for more ideas and new things to play never ends! This video will go over 7 different types of arpeggios, scales and other voicing structures you can use when improvising over a Cm7 chord some you probably already use and some you may not have in your vocabulary yet.

Thinking in categories can help you check if there is something you never really checked out or got to use while soloing, and it is also quite likely that some of these you never used before.




0:00 Intro

1:11 Level 1 – 3 Basic 7th Chord Arpeggios

1:30 Discussing the different arpeggios

2:13 Difference between Modal and more dense progressions

2:31 Level 2 – Pentatonics (and Super-imposing them)

3:01 Overview of the different pentatonics

4:27 Level 3 -Triads

5:00 Triads and triad upper-structures

6:03 Level 4 – Quartal Arpeggios from the Dorian mode

6:24 Quartal arpeggios for a Cm7

7:22 Level 5 – Shell-Voicings

7:41 What they are nmd Which Shell voicings to use

8:36 Level 6 – Quintal Arpeggios

9:02 Quintal harmony and linking it to a pentatonic scale

9:51 Who said “Andy Sumners and Jimi Hendrix”

10:05 Level 7 – Drop2 voicing arpeggios

10:30 Using and playing arpeggios with a larger range.

11:21 Did I miss something you use a lot?

11:59 Like the video? Check out my Patreon Page!

My secret arpeggio and 3 places I use it!

Sometimes it is great to look beyond the diatonic arpeggios for some rich or more colorful sounding arpeggios.

This video is about one of these arpeggios that I really use a lot for melodic minor, altered or Lydian dominant sounds.


Finding the arpeggios

Usually we find arpeggios by stacking 3rds in a scale, but in some cases we can get some really great sounds by building chords in other ways.

The arpeggio I want to talk about in this lesson is the dom7th(#5) arpeggio. The A7(#5) is shown here below:

Where does the dom7th(#5) chord belong?

There are a few places where you can construct this arpeggio.

It is of course found in the whole tone scale, and a can be constructed in both harmonic major and minor.

In this lesson I will focus on it in the context of melodic minor. Purely because that is where I use it the most.

The dom7th(#5) can be found in two places in the melodic minor scale.

If we take the A7(#5) as an example then it can be found on the 5th degree of D melodic minor:

And also on the 7th degree of Bb melodic minor:

Using the arpeggio

If we look at the A7(#5): A C# F G  then it is worth noticing that it is in fact an A augmented triad and an A.

The fac that the augmented triad is a part of the arpeggio is probably one of the reasons why it is so useful for a lot of different chords in melodic minor. The augmented triad sound is a big part of the melodic minor sound. Just think of an DmMaj7 where the upper part of the chord is an augmented triad.

The Altered dominant

When using the arpeggio on an altered dominant we have two options.

The altered dominant in this case is a Db7alt. The two dom7(#5) arpeggios we have available are then A7(#5) and C#7(#5) (or Db)

In this example I am using the A7(#5). If we relate the A7 arpeggio to a Db root we get: A(b13) C#(root) F(3rd) G(b5). So there is a lot of color in the arpeggio.

The Abm7 line is a descending Bmaj7 sweep arpeggio followed by a small turn with a leading note on before the root.

On the Db7alt the line is really just the A7(#5) arpeggio adding a B to resolve to the 3rd of Gbmaj7 in bar 3.

Tonic minor

In the second example I am using the line on a tonic minor chord. The A7(#5) related to D would be: A(5), C#(Maj7), F(3rd), G(11).

The first bar is really just a simple Dm line with a leading note under the root. The 2nd bar is coming from the A7(#5) arpeggio that finally resolves to the 9th(E) of Dm6 (or DmMAj7)

Lydian Dominant

The Lydian dominant example is using a IV IVm progression in F major. In this case it is in fact II bVII I that is being used, but the main idea is of course subdominant, subdominant minor to tonic.

The line on the Gm7 is first encircling the root of the chord and then ascending a Gm7 arpeggio with an added A. 

The Eb7 bar is first the A7(#5) arpeggio followed by Bb and C to resolve to the 3rd(A) of Fmaj7. The ending is tagget with a small pentatonic turn.

Make you own lines with these arpeggios

The examples I went over here are of course only a glimpse at a quite vast amount of options available with this arpeggio.

The best way to get this arpeggio in to your playing is to use it in different situations in songs that you already know so that you can explore the sound of the arpeggio. 

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Get the PDF!

You can also download the PDF of my examples here:

My secret arpeggio and 3 places i use it!

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

How to Come up with New solo ideas – Rethink the stuff you already know

It can be difficult to come up with new ideas for your solos, but this video talks about how you can use all of the diatonic triads, arpeggios, pentatonic scales etc and find the right ones to the chord you are playing over. Not only playing just with the arpeggio, but also how to mix it with the other material.

The video has a lot of examples and explanations and also a lot of philosphy on playing over changes, superimposing arpeggios and other things like developing a personal sound and taste.


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0:49 The Maj7 and the F Major Scale

1:10 What I will check out

1:48 The Fmaj7 chord and diatonic arpeggios

2.55 Solo using Fmaj7 arpeggio

3:12 How you solo with an arpeggio when learning new ideas

3:53 Arpeggio from the 3rd

4:18 Solo using Am7 Arpeggio 

4:43 Why we don’t really want the Bb in there and C7 doesn’t work

5:46 A 3rd below: Dm7

5:56 Solo using Dm7 Arpeggio

6:31 Arpeggios against another root note and the having an overview of the scale

8:20 Solo using F major triad 9:29 Am triad solo

9:51 Thoughts on making melodies with Am triad vs Fmaj7

11:01 Solo using C major triad 11:23 C major triad and not having the 3rd in the arpeggio.

12:14 Solo using D minor triad

12:32 Finding associations with the different arpeggios and the sound they make

13:48 Quartal Harmony

15:19 Solo using Quartal Arp from G

15:34 DIfferent fingerings and mixing it with other things

16:27 Solo using Quartal Arp from A

16:53 Connecting to the chord, using chord tones

17:28 Solo using Quartal Arp from D

17:46 Emphasizing the intervals in the arpeggio

18:32 Solo using Quartal Arp from E

18:53 Different patterns of the Arpeggio

19:37Other options like spread voicing, drop2 and inversions..

20:14 Pentatonics

20:27 Solo using Dm Pentatonic

20:47 Choosing pentatonic scales for a chord

21:48 Solo using Am Pentatonic

22:13 The “other”Pentatonic scales lesson series

22:48 Shell Voicings – Finding Useable

24:10 Solo using Fmaj7 Shell Voicing

24:51 Solo using Am7 Shell Voicing

25:05 Ways to practice shell voicings in postition and along the neck

26:26 Solo using Dm7 Shell Voicing

27:38 Solo using Em7b5 Shell Voicing

27:55 Compensating for the lack of chord tones in the arpeggio

28:44 What am I trying to do when practicing with these arpeggios

29:26 Sus4 triads and Mark Turner

30:03 Finding useable Sus4 triads

30:38 Difference between Sus4 and Quartal Harmony?

32:02 Solo using Gsus4 triads

32:33 Solo using Asus4 triads 32.49 The sound of the sus4 triad

33:35 Solo using Csus4 triads

33:51 Using the resolution of the sus chord in the melody as well.

34:42 Solo using Dsus4 triads

35:05 Sus4 triads as voicings.

35:33 Using this approach to develop and understand your own taste

37:38 Outro


Vlog: Advanced ideas: Triads and Spread Triads on Out Of Nowhere

Triads and Spread Triads are invaluable as tools for making jazz lines, especially in the realm of more modern sounding melodies. The video is in three main parts: An analysis of the chord progression, Finding triads that can be used and discussing outside or exotic scale choices, and finally making lines with the material and talking about the colors of the superimposed jazz guitar triads. How to make guitar licks and what rules come into play when using triad pairs and spread triads in jazz guitar solos.

This video turned out to be a lot longer than I thought, but especially the ending I think is a good documentation of how I write lines and you see me experiment with the material I find through the analysis and the triad options.

There’s also a lot of good discussion on melodies and how you write strong melodies with material like this.

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0:00 Intro


1:01 Analysis of chords and form
1:28 Key and form
1:56 The Chords and their function
2:14 The mysterious Eb7 German Augmented Sixth Chord
2:43 The Double Diminished #IV explanation
3:45 Back to the Harmonic Analysis
4:49 How Out Of Nowhere is about Eb7 in G major
5:46 Analysis of The 2nd half of the song
7:02 A modal aspect of Out Of Nowhere
7:46 Why Triads and Diatonic triads are so great for solos

Finding Options Triads for the chords

8:44 Selecting Triads
9:16 Triad options for Gmaj7

10:17 adding the Lydian Options to Gmaj7
11:56 Harmonizing the melody with a lydian sound
12:51 Lydian Augmented triads on Gmaj7
13:48 Augmented Scale on Gmaj7
14:30 Bbm7 Eb7
16:45 C7(#11)
17:15 Bm7
17:32 E7 altered
18:53 Am
22:07 Am7 D7
22:54 D7 altered
23:26 D7 Diminished

Making Lines:

24:48 Making lines with triads
26:31 Extensions in the melody of Out Of Nowhere
26:48 G major/ B minor triad over Gmaj7
29:21 Voice-leading B minor to Bb minor
31:11 Bbm Eb7
33:48 Connecting Gmaj7 C7
34:47 G major – Melodic Minor Hack
37:13 Bm7 E7alt – E7 triad pairs
38:48 Ab+ and Bb major
41:21 Am
42:18 The might Am triad
43:26 Making D7 altered lines
45:18 D7 Diminished Line Ideas

46:15 Exotic scales and Spread Triads

47:24 Spread Triads On Gmaj7
51:33 Bbm Eb7 ideas with Open Triads
52:41 Spread triad ideas for E7alt
53:40 Rules of melodic movement in a Jazz Lick
56:06 Mark Turner and Kurt Rosenwinkel
57:30 Emphasizing upper structures and extensions
58:51 Resolving into the Lydian Augmented sound

3 Awesome Ways from Music Theory to Music

In this video I will go over 3 Music Theory Ideas that I use all the time in my own playing!

Why learn Music Theory?

Learning music theory is of course a part of learning guitar. Jazz Guitar especially is often considered theory heavy, but in fact you can really easily start using some of your theory to make music. If you apply the things you learn you will remember them better and get more out of them so that is certainly something you should consider in your Jazz Guitar Practice.

In this video I will go over 3 theoretical ideas and then show you how you can directly turn them into music and hopefully it will give you some more ideas that you can add to your jazz guitar improvisation or compositions.

The Key and the Chords

All the examples I will use in this lesson are in the key of C major and I will demonstrate each idea on both a Dm7 and a Cmaj7 to give you some material to work with,

1. The Arpeggio from the 3rd of the Chord

So the first thing we can look at is how to come up with some more arpeggios to use over any chord that we have to solo over. In most cases the arpeggio from the 3rd will work as a great sound on top of the chord.

The Dm7 chord and it’s 3rd

In Example 1 I’ve written out a Dm7 and an Fmaj7 arpeggio. As you may know F is the 3rd of a Dm chord.

If you compare the Dm7 and the Fmaj7 arpeggio you get this:

Dm7 D F A C  
Fmaj7   F A C E

And as you can see the two arpeggios have the same notes except we are playing an E (which is the 9th ) instead of the root.

A lick using the Fmaj7 arpeggio over a Dm7 chord might be something like this:

The Cmaj7 and the Em7 arpeggio 

In a similar way we have an Em7 on the 3rd of Cmaj7

Again we can look at how these compare:

Cmaj7 C E G B  
Em7   E G B D

An example of a guitar lick with this idea is shown below in example 4.

Notice how I use both Cmaj7 and Em7 arpeggios in the line. It is important to combine new ideas with the vocabulary you already have!

 2. If m7 Then Minor Pentatonic

The second idea is that whenever we have a m7 chord then we can use a minor pentatonic scale to solo over it.

The Dm and the Dm pentatonic

The m7 arepggio is almost the same as a minor pentatonic scale as you can see in the table here below:

Dm7 D F   A C
Dm Pentatonic D F G A C

This is probably also easy to see from this comparison:

Since the difference is only the G, which is the 11th of D and sounds great over the Dm chord then we can use this idea to make pretty modern jazz licks like example 6:

The Cmaj7 and which pentatonic?

Cmaj7 is of course not a m7 chord, but we do have a m7 on the 3rd of the chord: Em7.

This gives us the pentatonic scale shown below:

 The E minor pentatonic scale is 3 5 6 7 9 if you relate the E G A B D to a C root. All great sounds over a Cmaj7.

A guitar lick using this idea could be something like example 8:

3. Adding Chromatic Leading notes

The third idea is to add chromatic leading notes to the arpeggio. Since the chromatic notes are resolved to a chord tone immediately this is something that we can easily apply to a melody.

The Dm7 and some leading notes

In example 9 I have written out a Dm7 arpeggio in one octave and then in the next bar the same arpeggio but now with a chromatic leading note before each note.

I would not recommend that you use all of the leading notes all the time. It is easier to use one or two to get a more smooth lick.

A guitar lick with this concept is shown in example 10. Notice how I don’t add that many leading notes, and one of them is also diatonic so you almost miss it!

The Cmaj7 can be lead on as well

If we try to do the same with the Cmaj7 then we get the arpeggio followed by the arpeggio with leading notes as shown in example 11:

Applying this to a line is shown in example 12:

In the example above you can see how I am combining all of the three ideas: Leading notes, Arpeggio from the 3rd and Pentatonic scales. As I mentioned above it is important to combine as many things in your playing as possible, and especially to combine new ideas with the things you already know so that you can use it in your jazz improvisations.

Turn Your Theory in to Practice!

As you can tell there are great ways to directly turn theory knowledge into lines and by understanding the basics of chords and scales you can already do so! I hope this lesson gives you some ideas to dig a bit further in exploring the possibilities from the theory you know!

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: 

You can also download the PDF of my examples here:

3 ways to turn music theory into guitar licks

If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.