Tag Archives: guitar lessons

What Really Makes It Sound Like Jazz?

You already know that just playing the pentatonic scale doesn’t really make it sound like a great blues lick. There are other important things like bends and vibrato that make it sound great.

Of course, this is true for Jazz as well: It is not enough to just run up and down the arpeggio to make it sound like a great Jazz line. You want to play things that sound like this:

In this lesson, I am going to show you some of the techniques you can use to add some jazz phrasing or flavor to your playing, and you don’t need a million scales and arpeggios for this, and this is more important and much more effective

It is Not a Rule Book, It Is A Sound

I am going to use Blues as a reference in this video because most people already have some experience with that and a clear idea about when something sounds like blues or not.

I don’t know if you ever thought about it, but you probably did not learn to play or recognize Blues by reading a list of rules, at least I certainly did not read a Blues rule book.

You just heard it so much that you can recognize the general sound. I think it is important to keep that in mind, and in this video, I am going to give you some examples and then in those examples point out what gives it a Jazz sound.

That way you learn to recognize it and also have a way of using it in your own playing.

Sliding Into It

Here I am making the line work by sliding into the B and then continuing down an Am7(9) arpeggio. This way of changing how some of the notes sound really makes the line a lot more interesting.

And you can use this with any type of material, it also sounds right if you are just sliding into notes in the pentatonic scale:

One of the things you really want to avoid is that all the notes sound the same, this is just one trick, let’s look at some more that you can add to your playing.

 

Fast and Easy Embellishment

One problem that you can run into as a beginner jazz guitarist is that you play long winding 8th note lines, and they have all the right notes and arpeggios, but it still doesn’t really work.

But one of the things that can make a line like this a lot more interesting is to add some embellishments like this:

And you can practice playing these small legato embellishments and insert them into your playing. Some common ones to know would be these:

Notice how they are all small clusters of fast notes targeting a chord tone in Am

You already heard how the first two sound. The last one could be put to use on an Am7 like this:

Here I am targeting the 5th of the chord using a variation of the last embellishment in example 7

Changing The Rhythm

Of course, there are many other ways you can change the rhythm besides embellishments, but one that I think deserves a mention here is 8th note triplets, and especially playing arpeggios as 8th note triplets. This is pure Bebop or instant Bebop, and a great way to make an 8th note line more varied.

Here I am using it on the Am7 arpeggio. You can also use it on descending arpeggios as I did in the beginning of the video or like this:

I have a few other videos where I talk about practicing arpeggios and I am not going to go over it in too much detail here, you can check those out through the link in the description. Let’s look at maybe the most important part of how you get a line to sound like Jazz: Dynamics

The Notes Are Not The Same

Not every note is the same, and they should also not be played the same. I have mentioned before how Bop lines are all about the rhythms that are hidden in the accents and also how that is a big part of why Jazz is rarely played with overdrive or distortion because we want to have the ability to make the notes have very different dynamics.

What this is really about is making lines where you can add accents in the right places. Something where we, frustratingly enough, don’t have a rule book.

But!

You should work on adding accents to your lines and also work on writing lines that allow for interesting accents.

A lick that doesn’t really work would be this:

But if you try to create melodies where the high notes are on off beats then you can end up with something a lot more interesting like this:

Here the melody has a high note on 3& in the first bar and on 2& in the second bar that I can give an accent, and this makes it a lot less heavy and much more groovy.

Starting to hear the phrases as these flowing notes with some notes popping out is a huge part of Jazz phrasing and if you start to get that into your system then you can make almost anything sound like Jazz.

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How To Make One Arpeggio Into 25 Great Jazz Licks

It is surprisingly difficult to get arpeggios to sound good, and often solos become boring and predictable with uninspired melodies, that’s why it is very useful to work on becoming better at writing your own Jazz Licks

In this video, I took a really basic Cmaj7 arpeggio and then I wrote 25 short and easy Jazz Licks using that arpeggio, so if you are looking for inspiration or want to check out some new ideas then you can probably find something here.

Keep it simple – Just Like You Practiced It

Let’s start with the basic ascending arpeggio, then I will go over some other simple ways to make more lines and at the end discuss some that I don’t use but that you can certainly explore in your own solos and make many more licks.

As you can see the construction is fairly simple, mixing the arpeggio with scales and chromatic enclosures. But you can still do a lot and make some great sounding lines.

This video will also give you some really basic ways to make licks and help you come up with something new or internalize something you are practicing.

When you work on this then try to write melodies, don’t just go for what you can play, try to make music. Don’t just move your fingers

Now let’s try to play a descending arpeggio and use that.

But Turn It Around

The next 5 licks all use the basic descending Cmaj7 arpeggio.

With these examples I am also using a few more advanced chromatic ideas as you see in example 9, and using sus4 triads is also a great “other” type of sound to throw in there example 8

The Bebop Arpeggio

Playing arpeggios as a triplet is another great way to make some great lines, certainly works for Charlie Parker and Wes Montgomery!

I also talk about this way of playing diatonic arpeggios in the lesson on The most important scale exercise in Jazz

In example 14 I use one of the triads that is a great option with the Cmaj7, the one from the 5th: G major

Don’t Start With The Arpeggio

Of course, you can also make some licks where the first thing you play is not the arpeggio. Which gives us a lot more melodies.

As you can see, I rely a lot on adding chromaticism to the arpeggios to make the lines a little more interesting and adding more movement in and out of the key.

Notice how most of these examples would work really well on an Am7 or D7 chord where a Cmaj7 arpeggio is useful. Making connections like this can be very efficient.

Ascending Arpeggios With a Pickup

With these examples, I am still keeping it very simple, so if you are looking for other things to try then remember that you can also:

  • Add notes between arpeggios notes
  • Play Sequences
  • Use Octave displacement and Inversions
  • Maybe those are for another video?

The Jazz Guitar Roadmap

If you want learn how to create solid Jazz licks on a standard then check out my online course:

The Jazz Guitar Roadmap

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Scale Exercises – Make Sure They Help You Play Better

Most of us practice scale exercises, but how much of that is just running up and down the scale or playing 3rds or diatonic arpeggios, and is that the best way to go about it?

In this video, I am going to talk about how you can start practicing exercises that are much closer to what you need in your solos and be more free when you improvise. This can really open up your playing so that you find it easier to create and play lines that sound great.

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Content:

00:00 Intro – More effective scale exercises

00:29 A Bebop Lick and Finding a Great Exercise

01:45 Barry Harris Philosophy

02:04 Another Classic Jazz Phrase

02:59 Flexibility And Vocabulary

03:47 Building from a Benson Inspired Line

05:29 Chromatic Passing Note Exercises?

05:58 Exercises that are Great in Jazz Solos!

06:05 Like the video? Check out my Patreon page!

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Coltrane Patterns -Why They Are Amazing

What are Coltrane Patterns? Small 4 note fragments that you can use in your solos, and they are amazing because for each chord you solo over there are a lot and they are very easy to play. And this makes them great building blocks for jazz lines of pretty much any kind. What is not to love?

What are Coltrane Patterns

Two basic types: Major: 1 2 3 5 and minor: 1 b3 4 5.

In C major that would, for example, give us a C major: C D E G and an Am A C D E

You could create more but I just want to keep it simple, which is more efficient.

How to not study Coltrane Patterns

It’s funny because my introduction to Coltrane Patterns was to try to solo only using that. This was when I was just starting out and that didn’t get me anywhere. It wasn’t until a year later when I started to transcribe solos that I realized that these melodies were everywhere, the trick was to not try to only use that in a solo.

How to Find Them For A Chord

Figuring out which Coltrane Patterns are useful is about looking at the ones you have and relating them to the chord.

The context here is a scale, so let’s take a Cmaj7 chord and a Cmaj7 scale.

C D E F G A B C

We have two types of Patterns, the major and the minor.

In C major the possible Major options are C, F and G. You can look at that from the Major triad, there are 3 major triads and you can make a Major Coltrane pattern for each:

C D E G

F G A C

G A B D

and in the same way, the minor ones that are available are A, D and E, following the minor triads in the scale.

A C D E

D F G A

E G A B

 

Of these Coltrane patterns then we can leave out the ones that include an F which leaves us with 4 Coltrane Patterns that all work: C, G, Am and Em.

The next thing to check out is then how to use these patterns in some lines.

Combining with Arpeggios

Combining the patterns with arpeggios is a great way to start and also a fairly easy way to get into your vocabulary. As you will see it is also a way to use the Coltrane Patterns as an alternative to arpeggios that is a lot easier to play.

Before an arpeggio, demonstrates that it is a very easy melody to make licks with and you can easily put it together with some arpeggios on a Cmaj7

Here is an example that is a little less clear but still a great melody:

The first example was a bit square and you can easily use them like that, but the 2nd example is freer and a little less using 4 note blocks on the heavy beats.

More Melodies & Combining Different Coltrane Patterns

It is also useful to check out how to combine different Coltrane Patterns and also trying to play them in different ways, not only ascending and descending.

Here is first the basic ascending/descending melodies

And you can explore lots of other patterns as well to get a lot more out of these 4 notes. Here are a few examples:

Kurt Rosenwinkel uses the first melody quite a lot, it is in one of the examples in the lesson I did on his I’ll Remember April solo.

Using these other melodies in a lick on a Cmaj7 could sound like this:

Pat Martino’s Dominant trick

Another use that I come across from time to time, but which I associate with Pat Martino is this example of using an E Coltrane pattern over an Am7 chord. It works as either a melodic minor sound or as a sort of chromatic enclosure. That is a little up to how you hear it.

When I was preparing this video I tried to figure out which solo I had this from because it is really something that I connect with Martino, but I couldn’t find it anymore. Let me know if you know a place where he plays it, I am pretty sure I have it from one of his solos.

Using Coltrane Patterns for Chromatic and Outside Things

Since the Coltrane Patterns are really easy to play they are also very useful for shifting in and out of the tonality.

Below is a Cmaj7 example that uses an Em Coltrane Pattern and then shifts this down to an Ebm pattern to create an outside sound before resolving back in the 2nd half of the 2nd bar.

This also works great on a II V I. Below is an example on a II V I in G major. Here I am using a Db major coltrane pattern to slide out of the key and resolve it back into G major on the D7 chord by playing a C major Coltrane Pattern.

Notice how I use the same fingering and phrasing for the melody which gives it a cascading sound.

Coltrane Patterns on Standards

Coltrane Patterns are closely related to pentatonic scales, and are also really a part of that sound. If you want to get better at using Pentatonic scales in your jazz playing then a great place to start is this lesson:

Lady Bird – Arpeggios & Pentatonic Scales

 

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25 Arpeggios That Sound Amazing On A G7 And How To Use Them

Building a vocabulary of arpeggios that you can use when you solo is like having a set of very flexible licks that you can use freely. Each arpeggio has a melody and a color on top of a chord.

In this video, I am going to show you 25 arpeggios that like to use on a basic G7 chord and I will also show you how to use them in some lines so you know how they sound.

 

This is a huge collection of arpeggios on for G7, just a plain old basic G7, not nasty alterations or #11s that will have to be in another video, you can always let me know in a comment if you would like to see a lesson on altered dominant arpeggios.

7th Chords

First let’s work with the basic 7th chord arpeggios, which is the basic arpeggio of the chord and some other really useful options. Then I am going to go over some more exotic arpeggio choices.

You may think that I just transposed the material from the Dm7 video, but as you already here will see that is not the case, and actually some of the 7th chord arpeggios are a bit surprising.

Now, you can use these 5 arpeggios in licks then that could be something like this:

G7

Dm7

Fmaj7

Em7

Avoid notes?

Including Dm7 and Fmaj7 may seem a bit strange if you consider that they both contain the “dreaded avoid note” But in the case of G7 then using C as a note that resolves to B in a melody is both a strong melody and a very common device. Having the C in the middle of the arpeggio is also quite common, and using the maj7 arp from the b7 is a favorite device with people like George Benson and Charlie Parker (and pretty much everyone else)

This is good to check out for options and it is also a great exercise to go through the list and make a lick with each arpeggio, in the end, you can never be too good at making lines with a set of notes over a chord.

Triads

An easy way to find triads is to just extend the 3rds around the basic arpeggio of a chord.

If you look at G7: G B D F

then we can add the diatonic third intervals around it like this:

C E G B D F A C

And from here we get these triads:

  • Em
  • G
  • Bdim
  • Dm
  • F

Examples of these triads could sound something like this

Em

G

Bdim

Dm

F

Sus4 Triads

To me the sus4 triads are often an overlooked gem in terms of getting some other melodies in there. They have a really nice sound with the 4th and the 2nd intervals.

The available sus4 triads are:

And from these the ones that I like to use are these 4:

Asus4, Bdimsus4, Dsus4 and Esus4

You could probably get other ones to work as well, I guess this is also a matter of taste and habits. Using these would sound like this:

Asus4

Bdim(sus4)

Dsus4

Esus4

Shells-voicings

You could see triads as being the 7th chord arpeggios with one note take out: the 7th. And in the same way the arpeggio you get when you take the 7th chord and removes the 5th is a useful melody. For this I am really just using the same chords as I did 7th chords:

  • G7
  • Dm7
  • Em7
  • Fmaj7

G7

Dm7

Em7

Fmaj7

Quartal Arpeggios – The Modal Sound

Of course, Quartal arpeggios are inversions of sus4 triads: G C D → D C G but the sound of the two when you use them as arpeggios are so different that I think it makes sense to check out quartal arpeggios as something separate.

If you look at what is available in the scale you have this set of voicings.

Diatonic Quartals

The 4 Quartals that we can take out here are E F A and B which can be put to use like this:

E Quartal

F Quartal

A Quartal

B Quartal

Quartal voicings are often connected to more modal sounding contexts because they are a little more open or vague, but they still make great melodies as you can hear in the examples. Another really useful sound is stacking 5th intervals which I will cover next.

Quintal Arpeggios – Large intervals to open up the sound

The final type of arpeggio that I will cover here is the quintal arpeggio

Quintal from G

Quintal from D

Where you really learn to use Arpeggios?

Jazz Standards – Easy Solo Boost

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How To Analyze Songs – Music Theory and Functional Harmony

Music Theory and Harmonic Analysis can be great tools when you want to learn jazz and figure out how to improvise over a chord progression. These videos help you get started understanding how to do that, understanding functional harmony, tonal centers, and the rich harmonic language found in Jazz standards.

The videos will give you examples of how to analyze songs and also how to choose scales from that analysis. You will learn a lot from analyzing the songs that you play.

Remember that it is more important to hear the changes and recognize the sound of the theory as it is to know the name, so working on the songs you already know well will really help you. A fancy name probably won’t.

Analyzing Jazz Standards – Understand what you play!

How To Analyze Chords and Progressions – This video uses the song There Will Never Be Another You as an example and discusses the progressions found in there.

All The Things You Are – Harmonic Analysis – All The Things You Are is a great Jazz standard that we all need to have in our repertoire. In this video I am going to go over a thorough All The Things You Are Harmonic Analysis.

Analyzing a Standard: All Of Me – This song is a great example of IV minor chords and secondary dominants

Analyzing a Standard – Stella By Starlight – Functional Harmony in Jazz – I guess Stella by Starlight is in many ways one of the most mysterious chord progressions among the jazz standards. At the same time, it is so beautiful that everybody just keeps at it until they can play it

General videos on Music Theory and Analysis

Jazz Scales! The 3 You Need to practice and How You apply them to Jazz Chords – Jazz Scales can seem like a million options that you all need to learn in all positions and all chords, but there is a way to approach this that is a little easier than trying to learn all jazz scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

This video has a PDF download of the overview of the analysis – Click Here 

5 Types of Chord Progressions You Need To Recognize and Be Able To Play – Harmonic Analysis – In this video, I will go over 5 types of progressions that if you can use to better understand the functional harmony that you find in a jazz standard.

Music Theory Is The Effective Way For You To Learn Faster – If you know you basic Music Theory well then you can easily start to add another level to how you analyze melodies and chord progressions which will help you work more focused and learn faster when you practice.

 

You can also go through the playlistson YouTube:

Analyzing a Jazz Standard – Harmonic analysis of Jazz Pieces

 

 

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25 Arpeggios That Sound Amazing On A Dm7 Chord

You probably know that it is important to have a lot of options when you improvise, especially over a common chord like an m7 chord. In this video, I am going to show you a lot of arpeggios, how you can find them and how you can use them on a basic m7 chord.

The arpeggios work for this chord, but the method works for all chords. I am also going to show you how I use the arpeggios because that is, in the end, more important than knowing that they exist.

..and I will throw in a few strong and honest opinions on music and practice for free so you have something to disagree with in the comment section.

Check out more about Arpeggios

7 Great Jazz Licks And Why You Need To Know Basic Arpeggios

How To Use Arpeggios In Jazz – Important Skills

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How to apply Arpeggios and Pentatonics to a song

Lady Bird – Arpeggios & Pentatonic Scales

Content:

0:00 Intro

0:41 7th Chords

1:54 The Mighty Triads

2:57 Strong And Honest Opinion: Arpeggio Choices and Modes

3:47 Sus4 Triads – The 3-note arpeggio hack (part 1)

4:59 Shell-voicings  (Thank You, Pat Metheny)

6:09 Quartal Arpeggios – The 3-note arpeggio hack (part 2)

7:18 Quartals and Sus4 triads

8:00 Strong And Honest Opinion: Inversions

8:24 Spread Triads – Make Triads Great Again

9:30 Quintal Arpeggios

10:18 Solo Tools for Maj7 Chords

10:28 Like the video? Check out my Patreon page

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Get the PDF!

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If you have any questions, comments or suggestions for topics 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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5 Exercises That Will Boost Your Technique And Practice

The exercises that really improve your playing are usually not only developing one thing. You can be a lot more efficient by improving your guitar technique and also learn something about the fretboard, music theory, or rhythm when you practice.

In this video, I am going to give you 5 examples of exercises like that so that you can start making your practice more efficient. Some of these exercises are made so that you can work on them as a part of a technique practice routine to develop your skills, but others are more exploring what is there and some of the later ones I found that even if you go through them once slowly they really open up things for you and give you new ways of playing and exploring things.

#1 – Alt Picking exercises + Diatonic Chords:

This way of practicing is combining two very important techniques: Alternate picking which is the default approach for most melodies and diatonic chords which is one of the most important things to know about any key or scale. With alternate picking, I found that working on very difficult things to pick really helped me overall and the most tricky thing to alternate pick is probably one note per string patterns. But Instead of just running up and down the same arpeggio all day I often combined this with learning diatonic chords, especially Drop2 voicings. A basic example would be to play C major like this Exercise 1 but you could also challenge your music theory a bit more by doing this in Eb and then starting on the lowest available note Bb: Exercise 2 This exercise forces you to have a good overview of the diatonic chords, and you could take it even further and do E harmonic minor Exercise 3 For me, this was a great way to develop both my alternate picking, fretboard overview, and knowledge of diatonic chords. Notice that I included the diagrams because it is really important to think of the chords as one thing when you do this exercise.

#2 – Economy Picking and Phrasing Triads

This exercise is great for knowing the triads in a scale, but is also a technique that I use very often in my playing. There are a lot of structures that we play that have three notes and that are one note per string, especially triads, but also quartal arpeggios and shell-voicings. This way of playing them works really well for jazz lines because you have a melody that is the highest note in the triad and it is naturally accented and moving on top of the beat: C major from F major triad: and of course, you can work on stuff like this in a more challenging scale, for example, G melodic minor:

#3 – Music Theory and Drop2 Voicings in all keys

Another way to work on chord voicings and diatonic chords is to take a common chord progression and work it out through all 12 keys. For example: Let’s say that I want to play a turnaround like Cmaj7 A7(b9) Dm7 G7(9) and then take that through some keys staying in the same area of the neck.

#4 – Fretboard Overview – Extreme visualization

With the two first exercises you are working along the neck and you are using your ability to see arpeggio shapes along the neck using your knowledge of the key or scale. But you could also take another structure that you move where you really use your overview of the fretboard to see the pattern move up the neck. An example could be playing diatonic quartal arpeggios in different keys: So playing this exercise is a way to tap into your overview of the C major scale by moving a pattern up note-for-note, similar to this: And you should try to see that as notes moving up along the fretboard in the scale like this:  

#5 – Position Workout – Chords and Arpeggios

A great way to turn exercises into a way of creating new material is to design them directly on songs. In the exercise below I am taking the first 8 bars of Stella By Starlight and practicing the arpeggio from the 3rd of each chord. This way of practicing helps you:

  • Practice material that you can use on the song
  • Learn the song better
  • Get a better overview of the chords in the song

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Simple Ideas That Make Your Solo Better

You know the feeling: You are practicing and in your jazz guitar solo you are using the right notes, the right scale, and arpeggios but it is also really boring. In this lesson, I am going to go over some of the things I like to mess around with and try to change things up a bit with different arpeggios, rhythms, and melodic ideas. It should give you some inspiration and a way to change things up a bit in your own playing.

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You can find the PDF and the GuitarPro files used in this video on Patreon:

https://www.patreon.com/posts/simple-ideas-36446309

Content:

0:00 Intro

0:44 #1 How to not sound like scales and arpeggios – with (Secret) Arpeggios

2:18 #2 How to not sound like scales and arpeggios – with Scales

3:48 #3 How to not sound like scales and arpeggios – Wrong Scales and Arpeggios

4:57 #4 8th-notes in groups of 3 notes

6:01 #5 Triplets in Groups of 4 notes

7:21 Triads – The Strongest Melody we have!

7:40 Like the video? Check out My Patreon Page

Expanding your solo vocabulary

Lady Bird – Arpeggios & Pentatonic Scales

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The Magic Arpeggio Solves A LOT Of Problems

Have you ever found yourself wondering what arpeggios to use when you improvise over a m7b5 or an altered chord? There are quite a few chords where we don’t have a lot of great options with the standard diatonic arpeggios, but the arpeggio that I am going to show you in this video is a great tool to cover a lot of those chords and it works great for a lot of other common chords as well.

This lesson is going to show you where you can use it and some of the things you can play with it, including a dominant sound that is really great and almost nobody uses.

The Arpeggio and The League of Internet Theory Trolls

The arpeggio I am talking about is a Maj7(b5) arpeggio, which is hard to give a correct name, and when I call it a maj7(b5) arpeggio I can already feel the rumble of the internet theory trolls. That is because that description doesn’t really fit with the context it is used in, but the problem is that any other description also doesn’t really fit unless you want to describe it as a Maj7(#11, omit5 omit 9) and my life is too short for that, so let’s call it the magic arpeggio.

If you are in C major then the magic arpeggio would be built on the 4th degree of the scale: F

So it would be F A B E (which if you play it sounds like a maj7 chord with a b5:

A practical and compact way of playing the arpeggio could be something like this:

I am going to show you more ways along the way but this version is one I use a lot.

Side note: The most important skill for super-imposing things in Jazz

What this lesson also will help learn is how to relate a set of notes to a root, something that is very useful if you want to find more melodies by super-imposing triads, and pentatonic scales.

Getting used to relating a set of notes to a root to have an idea about what those notes help you hear what they sound like and if they will work for the chord.

Magic Altered Arpeggio

As you can see I am moving the keys around a little in this lesson so you get used to thinking a little in different keys because that is very useful for getting used to working with stuff like this.

Here I am using the Bmaj7(b5) arpeggio over G7 alt

B Eb F Bb – 3 b13 b7 #9  – Great altered sound

And of course, you also have this note set in the altered scale where G altered is the same set of notes as Ab melodic minor:
Ab Bb B Db Eb F G Ab Bb (highlight the Bmaj7(b5)

The lick is really just playing the arpeggio pattern and then I am changing the order of two notes, this arpeggio already sounds different from a normal scale or arpeggio melody so it is easy to get it to sound good. You can see how is it really just this pattern:

Augmenting Your Half-diminished Vocabulary with Magic

m7b5 or half-diminished chords are often tricky to improvise over and it is one of the few chords where the arpeggio from the 3rd is difficult to use because of the b9. But the magic arpeggio works really well in a minor II V l like this

Here I am using the magic arpeggio from the b5 of the chord, so Bbmaj7(b5) on Em7b5. This gives us
Bb D E A which is b5 b7 1 11

The line is coming out of this basic arpeggio pattern

EX 6

Tonic Minor – Symmetrical Solution

In the altered example, you saw that we have a magic arpeggio in the melodic minor scale on the 3rd note of the scale.

If you look at A melodic minor that is: A B C D E F# G# A

and the magic arpeggio would be C E F# B

related to Am that is b3 5 6 9  so it is a great Am6/9 sound

that could sound like this:

EX 7

This line is using a symmetrical fingering that you can move up in sets of two strings. This is easy for playing the arpeggio but is limited when it comes to playing more moving melodies with the arpeggio.

EX 8

Phrygian Chord as a Dominant Sound

The Phrygian chord is really a great dominant sound. It is a sus4 dominant with a b9, and the magic arpeggio works really well for that:

EX9

Here I am using the Abmaj7(b5) to create a G7(sus4b9) sound. This works because we have Ab C D G which is b9 4 5 and 1 over a G7. We don’t have a 7th, but if you have a b9 and a root then you don’t hear a maj7th you hear the b7.

The line is made using the “basic arpeggio” that I introduced in the beginning.

EX10

Now that you have seen a lot of the different ways you can use this arpeggio then you can probably also easily see how this works if you use the Magic Arpeggio as a chord voicing. If you want to see some great examples of how that can be applied to different chord progressions then check out this video.

Super-impose Pentatonics

Lady Bird – Arpeggios & Pentatonic Scales

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Get the PDF!

You can also download the PDF of my examples here:

If you have any questions, comments or suggestions for topics 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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