Tag Archives: diatonic arpeggios guitar

3 Things To Get Right For Great Guitar Technique

There are two types of guitar players, which one are you: Do you like to practice exercises, and develop your technique or do you hate scales and think that the devil invented the metronome? When it comes to developing your technique then I don’t think there is a correct or best way to go about it, and maybe you never need to practice scales or exercises at all., but what is anyway important is that you figure out what works the best for you! And I think You want to regularly go over what you spend your practice time on and figure out if you should change something.

My Philosophy

For any exercise or type of practice that you do then you learn a lot in the beginning but after some time it isn’t really getting you any further.

So you also need to know when to move on and look for a new way to level up your playing.

RIght now, I am looking at how to change a part of my practice routine, so I thought I’d go over what I do, what I am changing, and discuss what a practice routine should look like.

And I will mention one thing that I don’t work on at all which I probably should. I tend to think of the skills you work on in a routine like this as split up in 3 main areas: Technique, Knowledge, and Music, I’ll explain the 3 areas along the way and as you will see, most of the exercises will  improve skills in more than one of those areas.

Let’s start with some exercises that I feel I need to change:

`Pure Technique

The first exercises are mostly about warming up, technique, basic coordination, just to get the fingers moving. This is purely technique, in terms of the 3 areas.

It’s for getting my fingers to work in the morning , I have this exercise that I got from a Tomo Fujita video EXAMPLE,

and an exercise that I got from one of Rotems videos.

The exercises are simple and about technique and control, and this segment of my practice routine only takes a few minutes. This is probably the first video I have ever made where it makes sense to have a Venn diagram, but I think that is a good way to illustrate how the exercises work. Since I am looking for new things to practice then let me know if you have suggestions for similar exercises that could replace these. For me, it is good to spend time on pure technique stuff like this, but it has never been something that was a big part of my routine. You’ll see why when I get to some of the rhythm exercises, and also how I practice scales.

I used to follow this up with playing arpeggios over the entire neck, both 7th chords and triads but right now I took that out and instead, I spend 20-30 minutes practicing a song, while first playing with the metronome on 2&4, then on 2 and then on 2 every other bar or something similar. That’s a fun exercise to do, and great for internalizing tempos and working on playing music, so it is moving a bit away from technique and also adding music and knowledge to the mix. Until now that has been a nice way to get my fingers and brain started in the morning since I usually start practicing around 6:00 am. The next exercise is a mix of technique and rhythm.

Rhythm, Subdivision, and Control

Maybe it’s just me, but most of what I want to achieve with doing these exercises is to be able to play the notes I want to play and to play them in time. That is what I usually end up caring about, and this is a great exercise for that. It is a variation on something I saw David Beebee do in a video, and recently I came across an Oz Noy video where he talks about the same thing: Practicing a scale or some melodic fragment in one tempo but changing the subdivisions. I do this in two different ways: A looped fragment that I take through different subdivisions

 

and a scale fragment that I do the same with but where it doesn’t fit in the subdivisions nicely so that you have to change in places that might not fit the scale fragment.

 

I work on this both with picking and with legato, and it is a great way to get used to feeling, hearing and playing different subdivisions.

Subdivisions are incredibly important for a lot of things, especially locking in with the groove but also being able to play double time where you are playing a different subdivision than what is played by the rest of the band, and this exercise helps you develop that.

The easy way to start is to have a phrase that “fits”, in this case, a 5-note phrase, like an arpeggio with an extra note. I vary the phrase from day to day to keep it a bit open. With each subdivision, I  play 2 bars, quarter notes, 8th notes, then to 8th note triplets, 16ths, 16th triplets, and finally 32nds. Then you go stepwise back down to quarter notes. It’s a great way to push your technique a bit and a good way to work on rhythm.

Technique, Knowledge, and…

Practicing scales is where the strong connection to knowledge is. I have one important rule for practicing scales, and my approach also means that I am always changing things up, because the focus is more on flexibility, fretboard overview, and vocabulary than on speed.

I try to combine everything in scale practice, and the rule is that you ONLY practice things that you want to play in solos,  but what does that mean? This is sort of coming from the idea that you focus on practicing the things that you are using in your solo lines. Similar to what Wes Montgomery told Joe Diorio

And you get a similar way of looking at things if you check out how Barry Harris suggests practicing, which is, I think, where I got it from.  I am not sure Wes was practicing scales at all, and maybe he only practiced soloing on songs,  but this is my take on that. What I consider knowledge in this context is having an overview of what useful structures are in the scale, how they sound, and how to play them. In that respect, there is an ear-training and fretboard component to the knowledge as well.

Through the years, I have done different variations of this way of practicing, both over or across the neck free of positions or like I am doing right now all positions in one key. It’s pretty simple:

Set the metronome, play the scale in all positions, take an exercise, and move that through all positions or up the neck if you are practicing like that.

metronome one step higher, Next key, and repeat.

But the important part here is, of course, the exercise part, and I’ll get to the ear-training aspect later.

What is the exercise? The exercise can be anything you want, or more precisely, anything you realize you want to use in a solo. I do a lot of variations with

triads

triad inversions

7th chord arpeggios

different Bebop arpeggio tricks

quartal arpeggios

and, of course, you can add leading notes and enclosures to this.

arpeggios with leading notes.

You want to make sure that you keep changing it up,  trying different things in the different keys, and using small phrases that you use in your solos.

The goal is to learn to hear those structures, be flexible with them so you can improvise, and ensure you are not stuck in certain keys or positions. This can be a great way to help get new vocabulary into your playing, and you start thinking of lines made from these flexible building blocks that you can take through a scale.

Not a lot of thinking and theory?

If you are not used to playing diatonic triads or other structures then it might sound like some complicated math to figure out, but that is probably more something you do when you are working on theory than when you are practicing. The way I find myself doing this is more based on hearing melodies, diatonic triads are a pretty predictable melody if you play it through a scale, and you will most likely hear if you are playing wrong notes, trusting a bit in your ability to hear how it moves through a scale makes it a lot easier. Just imagine or sing the melody and then try to play it, it is probably easier than you think, and there is also another advantage.

Exercises That Combine Everything

Working on learning solos by ear teaches you a lot, both in terms of ear training, vocabulary, phrasing, and timing but for me the biggest part of the learning is not figuring out what is being played or analyzing it. It is playing it.  That was always how that went for me, and one of my biggest regrets with my study was actually that I didn’t get a good pair of speakers or headphones and a decent CD player until the last year because that would have made this part of my study a LOT easier and therefore also a lot better. Having a boom box with muddy speakers where going back and forth on a CD was almost impossible was in hindsight a massive handicap. When I check out solos I mostly rip the audio and use Transcribe! because that is so nice for going back and forth and you can save a file so that you start exactly at the beginning of the solo right away. Super practical. I wish I had something that worked as well with Spotify on my phone, but I can’t find anything that works.

In the last few months I have made it a part of my daily routine to work on solos, and the emphasis is more on playing along than on figuring out, so I don’t mind that it takes a long time, and once I have the solo figured out then I keep playing it to get it into my system. That is a lot more fun than it sounds. Another thing that is maybe also worth mentioning is that I don’t analyze the solos that much, I am just playing them as melodies. With that, I am of course not saying that you should not analyze them, but I do think that there is something to be said for just trying to reproduce the phrasing, the lines, and the timing. It is the part of your practice where you try to get it all to work together at the same time. Playing Kreutzer etudes and Bach is also useful for this, but of course, that doesn’t help you with timing and phrasing in the same way.

There is one thing that I am not working on at the moment, and I rarely worked on this in any kind of systematic way.

The Missing Element

In this video, I am talking about technique, scales, coordination, and all sorts of stuff, but I didn’t include anything on chords which may be a mistake. I do spend time playing chords especially, in the warm-up jam section, but I don’t have a set of exercises that I work with for chords. Probably in part because I always play chords most of the time when I am working. But what would you suggest as solid chord exercises?

Digging into the chords!

Even if I do not practice inversions or diatonic chords as exercises every day then that doesn’t mean that I don’t work on comping. Chords are such a huge part of what you do when you play Jazz, not only comping but also chord melody and chord solos. and some solid exercises will help you develop those skills and make you a lot more free and creative with chords.  You can check those out in this video, which will give you some good ideas for enjoying the fantastic world that is Jazz chords and Jazz harmony. Learn Jazz, Make Music

3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024

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These Scale Exercises Are Immediately Great Jazz Licks

You want to use the things that you practice, so if your scale exercises are already solid vocabulary or solid licks then that is, of course, a lot easier. Practicing scales should not just be dry technical and boring. What you work on should really connect with what you want to play in your solos and be more than just moving your fingers. So let’s have a look at some great examples of exercises that are really just “Instant Bebop” vocabulary.

Practice Bebop Arpeggios, Not Just Chord Tones!

This is an important exercise! In my experience, the best way to practice arpeggios is as diatonic arpeggios in a scale like this.

That is of course, super useful but also in itself not that inspiring.

Let’s add two things that we love about Bebop and Jazz:

  1. Chromatic Notes to add tension and movement
  2. Interesting Rhythms to keep it grooving and alive

Let’s first work a bit with making the rhythm just a little bit more interesting.

One way to make the rhythm more energetic could be to play the arpeggio as an 8th note triplet like this:

This is something that immediately gives you licks like this:

and you can turn that into a scale exercise like this:

If you play this exercise then you can use this rhythm on all the chords and in a lot of different places, and it already starts to sound like music.

The Chromatic Leading Note

Another great way to use arpeggios that are “Instant Bebop” is combining the triplet with a chromatic leading note:

Of course, you want to work on this for all the arpeggios, so taking it through the scale gives you this:

And, besides sounding like Charlie Parker or George Benson out of the box, this means that you can make licks like this:

Here I am combining the Cmaj7 with some chromaticism, something that both Parker and Benson do all the time.

You can also put it to use on a G7:

There are a few things you want to learn from this example:

  1. The arpeggio from the 3rd of the chord is great (here it is Bø over G7)
  2. Leading notes can sound great on the downbeat like the Eb on beat 3
  3. Large intervals in a scale run sound great! (I’ll return to that later in the video)

And all you have to practice is playing the arpeggio as a triplet and add a chromatic leading note before the first note. Before we move on to a great Barry Harris Exercise then don’t forget that the descending arpeggio sounds great as well, a simple version without the leading note gives the 1st note of the arpeggio a nice accent like this:

Barry Harris Knows A Few Tricks!

The first exercise was something that I learned from Barry Harris when he was giving masterclasses at the conservatory in the Hague, this next exercise is also from those masterclasses. It is what Barry calls pivot arpeggios, and what often is also called octave displacement, but the way Barry shows the exercise really already makes it like practicing building blocks for great licks.

The concept is really simple: First, you play the arpeggio and end by going down one step in the scale.

The second part is the same melody, but now you move the phrase down an octave except for the first note.

Let’s translate this to the guitar, an easy place to play it would be F major like this:

I imagine you can already hear how this already just sounds like a short lick you are moving around, and actually, both the standard way of playing the arpeggio and the pivot version is great as a line.

here’s a II V I in F major:

And it is a solid option for an Fmaj7 line as well:

And as I mentioned, you can also use the “un-pivoted” version as a great way to frame or target a note with an arpeggio like I am targeting the 3rd of the Gm7 in this line:

And cleary Barry knows his stuff because the triplet version of this melody is also a great option:

Until now it has been about getting arpeggios to become amazing Bebop lines, but you can actually also work on this with simpler scale exercises.

Bebop Boost Your Scale Runs

This exercise is just playing the scale in diatonic 6th intervals, a really pretty sound in itself but not immediately an amazing Bebop line.

I guess this is the least obvious exercise, but as you will see it is incredibly useful!

The reason why it doesn’t sound like a lick is that you are playing so many of them next to each other, so you need to spread them out a bit and add them to something like a scale run.

And this is what I used in the previous examples like ex 3 and ex 4, the concept is pretty simple. If you have a scale melody then see if you can add an extra note when you are on a chord tone. In Example 14 that was on the root which adds an E. In example 3 it was the 3rd down to the 6th, and placing it at the end of the line makes it even more dramatic.

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The Most Important Scale Exercise In Jazz

You probably already practice arpeggios, but chances are you can do it as a better Scale exercise than what you are doing now, and that is what I want to talk about in this video. Jazz Scale Exercises should be about giving you the material you can use in your solos and help you know and play the different arpeggios and melodies found in the scale.

When you improvise in Jazz then the lines or melodies that you play are related to the chords you are playing over and the solo follows the chord progression it is played over. One easy way to do this is to use the arpeggios of each chord.

You can use the arpeggio of the chord you are playing over, but in fact, there are more options than this and the exercise in this lesson will help you tie all of that together in one exercise.

Practicing Arpeggios in the Scale

The reason why it makes a lot of sense to practice diatonic arpeggios in a scale position is quite simple.

When you improvise a solo you are not only playing scales and then only arpeggios. The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available.

Here is a C major scale in the 8th position

Playing the diatonic one-octave arpeggios through this scale position would give you this exercise:

Know the Scale!

Often when you learn Guitar in the beginning you rely mostly on the visual aspect of the instrument. Scales, Chords and Arpeggios are shapes that you can see on the fretboard.

This works really well for learning and remembering, but make sure that you also know what notes you are playing and what notes are in those chords and arpeggios. It will become very useful along the way.

For the exercises here above, it is a very good idea if you also play them while saying the notes or saying the names of the chord that you are arpeggiating. This will teach you the fretboard and the music theory on another level and also really attach it to what you play.

Using the arpeggios in your solos

It is not enough to just practice the scale exercise and then hope that your solos will suddenly magically include the arpeggios.

To show you how you can make some basic licks mixing scales and arpeggios here are a few ideas using a Cmaj7 arpeggio and chord.

The first one starts with the Cmaj arpeggio and then continues with a scale melody.

In the second example You can see how it is possible to mix scale notes into the arpeggio and also add a little chromaticism to more of a bebop sound.

Bebop Arpeggios!

This is a great variation on the exercise that also is really setting you up to play some bebop lines. Here you play the arpeggio as a triplet and insert a chromatic leading note in front of the root. This creates some energy and motion that then really brings out the target note that is the 7th of the arpeggio.

This exercise for the scale looks like this:

Make some Bebop Licks!

Using this way of playing arpeggios can be used in licks like this.

The first lick is using the Cmaj7 arpeggio in the lower octave and combining it with an intervallic melody in the2nd half of the bar.

The 2nd example is using the higher octave and adding a chromatic run between D and C before ending on G.

The Arpeggio from the 3rd

Until now I have only been talking about what how to use the basic Cmaj7 arpeggio over a Cmaj7 chord, but you can use more arpeggios.

The way to understand this is quite simple. You can use other arpeggios that contain notes that work well on the chord. The Arpeggio from the 3rd of a chord is usually a great option:

Cmaj7: C E G B – Em7: E G B D

So the two arpeggios share E G B and the Em7 is only adding the D on top of the Cmaj7 which is the 9th and a good note to add in there.

A few ways of playing an Em7 arpeggio in this position is shown here below:

Jazz Licks with an Em7 arpeggio on a Cmaj7 chord

You can use the Em7 arpeggio like this.

The first example is a basic “bebop Em7 arpeggio” that continues with a more modern sounding Quartal arpeggio from B.

The 2nd example is again focusing more on adding some chromatic ideas. Here the first half of the bar is a chromatic enclosure that is leading us to the first note of the Em7 arpeggio.

Putting all of this into a II V I lick

To give you and idea about how easy this is to generalize to a progression I have added this final example.

Take a look at the lick and see how I am using Fmaj7 on Dm7. Both Bø and G7 on the G7 and also both Em7 and Cmaj7 arpeggios on the Cmaj7.

It is easier than you think!

Use this approach in a Song!

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2 5 1 – How To Solo with Diatonic Arpeggios (the most important approach)

You Need to be able to improvise over a II V I or 2 5 1 in Jazz. In this video, I am going to show you how you can get started improvising over this progression using the scale and the diatonic arpeggios in that scale.

The examples are a 2 5 1 in C major, a scale position and the diatonic arpeggios in that position. Then I am going to give you some examples of lines using the basic arpeggios of the chords but also a few other very useful suggestions. Then I am going to add the triads in there, and in the end, you have a lot of material to work with from this very basic approach.

This is the most important part of how I improvise. Having a set of arpeggios that work for a chord in a progression is a great way to have lots of options when you improvise. So you learn to think the chord but you have 8 or 9 different arpeggios that you can use when you are improvising.

The 2 5 1 chords and scale

One of the most important and common chord progressions is the 2 5 1, sometimes written with Roman numerals as II V I.

In this lesson I am going to focus on how to improvise over this progression in the key of C major.

First let us look at how t play the C major scale and then the chords contained in there.

Building Diatonic Chords in C major

If you build diatonic chords in a scale then you stack thirds in the scale. In C major that would be:

C major : C D E F G A B C

Stacking 3rds:

1 C E G B = Cmaj7

2 D F A C = Dm7

3 E G B D = Em7

4 F A C E = Fmaj7

5 G B D F = G7

6 A C E G = Am7

7 B D F A = Bø

How to play these chords is shown here below

As you can see I have added numbers to each of the chord signifying the degree in the scale.

This is how to understand the 2 5 1 progression. A 2 51 in C major is shown below:

Practicing and Playing Diatonic Arpeggios

The next thing to check out how to play the arpeggios of all the chords in the scale. Playing each of the chords within the scale is shown here below.

Of course there are now more chords and arpeggios than we need, but that will become very useful later.

Putting the arpeggios in the Progression

The first logical thing to practice now is to take the arpeggios throught the progression. That is what is shown here below:

Making Great Licks with Basic Arpeggios

Already just using the arpeggios, so the basic chord tones of each chord. You can make some great licks:

Really using Arpeggios (so not just playing the arpeggios..)

When you check out solos from famous Jazz Artists you will notice that their lines are not only consisting of the arpeggios. The melodies are a mic of scale notes and arpeggios, but the arpeggios are on the heavy beats and work as a frame to hold the melody together.

An example of this is shown here below:

The most important Other arpeggio

Now that you know the arpeggio for each chord and can work on incorporation it in lines that also mix it with the scale. We can haveea look at the next arpeggio to check out which wil almost always work in a line: The arpeggio from the 3rd of the chord

For the progression we have these arpeggios:

Dm7: Arpeggio Fmaj7

G7: Arpeggio – Bø

Cmaj7: Arpeggio Em7

Practicing this on the progression becomes this exercise:

Making lines with the Arpeggios from the 3rd.

Now with two arpeggios for each chord you can make a lick like this:

And mixing it with the scale then something like this is possible

Adding the mighty Triad!

One of the strongest melodies we have is triads. The diatonic triads as arpeggios in the scale is shown here below.

Finding triads for the chords

There are several triads that fit with each chord.

For a Dm7 you can use the three below.

Notice that if you have a Dm7(9) arpeggio: D F A C E then you have all 5 notes that make up the 3 triads.

The same approach applied to G7 is yielding these 3 triads. So a triad from the root, 3rd and 5th.

And finally we have the C, Em and G for Cmaj7:

Using Triads in a 2 5 1 Lick

Putting some of the triads to use in a lick could give us something like this:

If you want to explore more ideas with Arpeggios and scales in the key of C major then check out this lesson based on a solo on the Strayhorn tune Take The A-train:

Take The A-Train – One Position Workout

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Every Arpeggio in the Known Universe

This video is an overview of different types of arpeggios and how they sound. The Arpeggios are demonstrated in 7 different licks to give you an idea about how they could be used.

Are you an Arpeggio master? Do you know all the different types of arpeggios and how to use them in your playing? The Arpeggio is a very important tool when it comes to jazz and jazz guitar.

Demonstrating arpeggios in a musical context

This video is going over a lot of different types of arpeggios. Showing how you might using them in different licks. Applying the arpeggios in a musical context is a much stronger way to apply them in my opinion.

Table of Contents

0:00 Intro – Are you an arpeggio master?

0:22 Did I miss one? 0:43 Example 1 – Basic Arpeggios

1:14 Example 2 – Diatonic arpeggios and the “from the 3rd rule”

2:05 Example 3 – Harmonic minor?

3:24 Example 4 – Not always 4 notes and a little Melodic minor

4:16 The triads we forget to check out

4:34 Example 5 – Not always 3rd based

5:41 Example 6 – Larger intervals like the Police!

6:45 The Magic Arpeggio!

7:38 Example 7 – Three notes but not a triad

8:42 Another great sound from Melodic minor

9:22 What did I forget?

9:35 Like this video? Check out my Patreon Page.

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