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.
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:
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.
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:
Examples of these triads could sound something like this
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:
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:
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.
The 4 Quartals that we can take out here are E F A and B which can be put to use like this:
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?
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