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.
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.
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.
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.
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.
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:
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:
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:
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!
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