Tag Archives: guitar arpeggios

3 Great Ways To Use Arpeggios In A Solo

Arpeggios are one of the building blocks you need to have in your vocabulary. But using Arpeggios in a solo can be very difficult. They can be hard to use in a way that sounds like a natural melody and not an exercise.

One way you can learn that is to check out how master jazz guitarists like Wes Montgomery and Pat Martino use arpeggios in their playing. Take over some of their great ideas and start using similar concepts in your own jazz licks and solos.

In this video, I am going to show analyze some great arpeggio phrases and talk about how you can use them in your own playing.

Content:

0:00 Intro – Arpeggios and Jazz Vocabulary

0:35 Example #1

0:37 Wes Montgomery – Great Arpeggio Polyrhythm idea

1:47 Example #1 Slow

1:52 Example #2

2:07 Pat Martino’s take on this rhythmical idea

3:02 Example #2 Slow

3:09 Putting this into your playing #1

3:29 Putting this into your playing #2

4:12 Example #3

4:14 Pat Martino’s Power Arpeggio Pickup

5:08 A Great Chromatic Idea

5:25 Example #3

5:49 Putting this into your playing #3

6:07 Putting this into your playing #4

6:41 How To Practice This and What To Focus on

7:27 Example #4

7:38 Wes’ Amazing Sense Of Melody

8:29 Example #4 Slow

8:46 Making Long Phrases like Wes!

9:27 Putting this into your playing #4

9:33 Like The Video? Check out My Patreon Page!

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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 Craziest Arpeggios & How You Make Beautiful Jazz Guitar Sounds With Them

In this lesson I am going to talk about some of the Craziest Arpeggios I know. If you are familiar with my lessons you probably know that I like to use jazz chords like, drop2, shell or quartal voicings as arpeggios. The arpeggios I am going to discuss in this lesson are extended range arpeggios that are constructed by stacking different types of structures on top of each other.

Extended range arpeggios

These extended arpeggios have an Allan Holdsworth or Mark Turner like sound to me.

Since the arpeggios are made by combining different types of structures I think the easiest way to demonstrate them is to go over some examples and talk about how they are constructed.  

A modal example

In example 1, here below I am using an extended range Am7 arpeggio in bar 2. As you can see the arpeggio is constructed of two parts, a lower and a higher part. The lower part is closely related to the chord, it’s an Am triad in open voicing, and the higher is adding the extensions and colors since it is a D quartal arpeggio that adds the b7, 11 and repeats the 3rd.

Extended range Altered Dominant!

This line is on a II V I in G major. The Am7 is fairly standard. I am using an extended range arpeggio for the altered dominant. In this example the lower part is a drop2 D7(b5) arpeggio and the higher part is an upper-structure triad: Fm. The Fm triad yields a b5, b7 and #9 over the D7 so that fits extremely well with the D7alt sound.  

Using the arpeggio on an IIm7 chord.

In the 3rd example the line on the II chord in the II V I is an extended range arpeggio. The arpeggio is here constructed of a lower Am7 drop2 voicing and then a Bsus4 triad, which gives us a total of an Am7(9,13) voicing. The Valt line is vaguely coming from an Ab and Bb major triad pair.

I chose to use a 12/8 feel to vary the examples a little.

Extended range arpeggios in Chord Melody arrangements

Another way of using the arpeggios is to spell out chord sounds in a chord melody arrangement. On guitar it can often be difficult to play chords with a lot of notes in them because we only have six strings (let’s face it… it is true)

Using the arpeggios to spell out the sound can be very effective as shown in the example below which is the first 4 bars of Stella by Starlight.

The first arpeggio is an Em7b5(11) voicing that consists of an Edim triad (with the Bb in the bass) and a Dsus4 triad voicing. On the Cm7 I am first playing an Cm11 chord and then using an arpeggiated version of what is sometimes referred to as the Herbie Hancock m11 voicing. It is in fact a Cm7(11) voicing with a Bb major triad upper-structure  

Poly Tonal arpeggio sound

A final example is using the arpeggios for more exotic sounds. The 5th example is on using an augmented scale over a Gmaj7#5 chord.

The G augmented scale consists of the notes of the G, B and Eb major triads. In the line I am using an arpeggio that is the combination of a lower Gmaj7 drop2 voicing and over that an EbmMaj7 arpeggio. Two structures that are not that closely related away from the augmented scale or Messiaen modes.

The inspiration

The Idea for these arpeggios came from checking out a Jacob Collier interview where he is singing some piano voicings and then I started messing around with piano voicings and making my own constructions. I hope my examples somewhat illustrated this.

 

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You can also download the PDF of my examples here:

The Craziest Arpeggio I know

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.

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