Tag Archives: jazz arpeggios

6 Types of Easy 3-Note Arpeggios That You Need To Know

You should always try to learn new melodies that you can use in your solos. And in Jazz, Arpeggios are a great place to start.

In this video I will go over 6 different types of 3-Note Arpeggios which are really useful because they are 3 notes, so they are easy to study and also very easy to use in solos giving you a lot of material that you can use when improvising over a song.

An Arpeggio is a Melody and a Great Building Block

What a lot of people miss is that an arpeggio is really just a short melody. We think about what the notes are and what alterations and extensions it is over the chord, but you often forget to listen to it and just realize that knowing this arpeggio is really knowing a very strong melody that you can use in your solos.

If you play jazz and especially more modern jazz then knowing these structures is really something you need as a part of your vocabulary and you will find it everywhere in the playing of people like Kurt Rosenwinkel, Jonathan Kreisberg and Lage Lund.

The way I made this video is that I played a short solo on minor blues that I will take apart and talk about all the different arpeggios, give you some exercises and ideas on how to use it.

Content:

0:00 Intro – Arpeggios are Melodies!

0:52 The Minor Blues Example

1:42 Phrase #1 The Essential Triads

2:25 A few thoughs on Triads and Finding Triads for a chord

2:50 Practicing Triads and Inversions

3:26 Phrase #2 Quartal Arpeggios and Altered Dominants

5:11 How To Practice Quartal Arpeggios

5:51 Phrase #3 Shell-Voicings

6:43 Break up the groove with 4-note groupings

7:24 Exercise for Shell-voicings

7:42 Phrase #4 Quintal Arpeggios and Sus4 Triads

8:17 Sus4 Triads8:37 Quinatal Arpeggios Exercise / Message in a Bottle

9:04 Sus4 Triads on a 2-string set

9:40 The Two “Weird” Sus4 Triads (That Joe Henderson Knew)

10:25 Phrase #5 – Spread Triads

11:05 What are Spread Triads or Open-Voiced Triads

12:09 Technical exercises with Spread Triads

12:51 Phrase #6 – The Major b5 Triad (That you didn’t know you knew)

14:37 Move the b5 triads through the scale (as a 1 3 4 structure)

14:55 Thoughts on moving Interval Structures Through a Scale

16:02 Like the Video? Check out my Patreon Page!

My secret arpeggio and 3 places I use it!

Sometimes it is great to look beyond the diatonic arpeggios for some rich or more colorful sounding arpeggios.

This video is about one of these arpeggios that I really use a lot for melodic minor, altered or Lydian dominant sounds.

https://www.youtube.com/watch?v=lXowsZvR3Mk

Finding the arpeggios

Usually we find arpeggios by stacking 3rds in a scale, but in some cases we can get some really great sounds by building chords in other ways.

The arpeggio I want to talk about in this lesson is the dom7th(#5) arpeggio. The A7(#5) is shown here below:

Where does the dom7th(#5) chord belong?

There are a few places where you can construct this arpeggio.

It is of course found in the whole tone scale, and a can be constructed in both harmonic major and minor.

In this lesson I will focus on it in the context of melodic minor. Purely because that is where I use it the most.

The dom7th(#5) can be found in two places in the melodic minor scale.

If we take the A7(#5) as an example then it can be found on the 5th degree of D melodic minor:

And also on the 7th degree of Bb melodic minor:

Using the arpeggio

If we look at the A7(#5): A C# F G  then it is worth noticing that it is in fact an A augmented triad and an A.

The fac that the augmented triad is a part of the arpeggio is probably one of the reasons why it is so useful for a lot of different chords in melodic minor. The augmented triad sound is a big part of the melodic minor sound. Just think of an DmMaj7 where the upper part of the chord is an augmented triad.

The Altered dominant

When using the arpeggio on an altered dominant we have two options.

The altered dominant in this case is a Db7alt. The two dom7(#5) arpeggios we have available are then A7(#5) and C#7(#5) (or Db)

In this example I am using the A7(#5). If we relate the A7 arpeggio to a Db root we get: A(b13) C#(root) F(3rd) G(b5). So there is a lot of color in the arpeggio.

The Abm7 line is a descending Bmaj7 sweep arpeggio followed by a small turn with a leading note on before the root.

On the Db7alt the line is really just the A7(#5) arpeggio adding a B to resolve to the 3rd of Gbmaj7 in bar 3.

Tonic minor

In the second example I am using the line on a tonic minor chord. The A7(#5) related to D would be: A(5), C#(Maj7), F(3rd), G(11).

The first bar is really just a simple Dm line with a leading note under the root. The 2nd bar is coming from the A7(#5) arpeggio that finally resolves to the 9th(E) of Dm6 (or DmMAj7)

Lydian Dominant

The Lydian dominant example is using a IV IVm progression in F major. In this case it is in fact II bVII I that is being used, but the main idea is of course subdominant, subdominant minor to tonic.

The line on the Gm7 is first encircling the root of the chord and then ascending a Gm7 arpeggio with an added A. 

The Eb7 bar is first the A7(#5) arpeggio followed by Bb and C to resolve to the 3rd(A) of Fmaj7. The ending is tagget with a small pentatonic turn.

Make you own lines with these arpeggios

The examples I went over here are of course only a glimpse at a quite vast amount of options available with this arpeggio.

The best way to get this arpeggio in to your playing is to use it in different situations in songs that you already know so that you can explore the sound of the arpeggio. 

Get a Free Ebook

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

 

Get the PDF!

You can also download the PDF of my examples here:

My secret arpeggio and 3 places i use it!

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

5 Great ways to use a minMaj7 arpeggio

The minMaj7 arpeggio is a beautiful Minor sound that most of us probably associate with the Tonic minor chord in Melodic minor. You can however use it in a lot of other places as I will go over here today!

In this video I am going to take a minMaj7 arpeggio and show you how you can use it in 5 different contexts on different chords. All the examples are using chord progressions from well know standards so that you have a place where you can put it to use right away!

1. The minMaj on a Tonic Minor chord

The first example is using the minMaj7 arpeggio in the most basic way: On the Tonic minor chord. The example I am using is the first three bars of Solar, a reharmonized or embellished minor blues progression.

The line is starting with the CmMaj7 arpeggio and then really highlighting the maj7. From there it makes a small descending melody and skips up to the 9th(D). In the second bar it is again emphasizing the maj7th(B) and making a clear transition to Gm7 by walking up to the 3rd(Bb)

2. Locrian ♮2

The Locrian Natural 2, or somtimes called the Locrian #2 sound, is a half diminished chord with a ♮9. In this example I am using the first 3 bars of the famous jazz standard Stella By Starlight.

Since Locrian ♮2 is a melodic minor chord this is basically the melodic minor version of a half diminished sound. Since the m7b5 chord is an Em7b5, the corresponding melodic minor scale is G melodic minor and 

Again the line starts with the G minMaj7 arpeggio, and the target note is the maj7(F#) which is then here the ♮9 over the Em7b5. The next part of the line is another upperstructure that works well for the Locrian ♮2 sound: The major triad on the 7th of the chord, which here is a D major triad.

On the A7 the line consists of a C#dim melody with some approach notes. The line resolves to the 9th of Cm7.

3. Lydian Dominant

One of the most common places to apply melodic minor is on the Lydian dominants. Any dominant that doesn’t resolve a 4th up or a 5th down we can make into a Lydian b7 chord.

The example I am using here is from the standard Take The A Train where I am using the minMaj7 arpeggio on the D7 which is a V of V. The melodic minor scale that goes along with this  D7 is the A melodic minor.

The line on the Cmaj7 is some relatively simple C7 or C major pentatonic melodies which then moves to the D7 with a chromatic approach.

On the D7 I start the line with the A minMaj7 arpeggio. The line continues by chaining the AminMaj7 arpeggio together with an F#m7b5 arpeggio (which is the arpeggio from the 3rd of D7). The 2nd bar of the line is using a small scale run with an enclosure that finally resolves to the 5th(A) of Dm7.

4. The Altered Dominant

The other dominant that we often use from the melodic minor scale is the altered dominant. The example I am using here is a II V I in the key of C with the altered domiant G7. G7 altered scale is the same scale as Ab melodic minor so the arpeggio is in this case an AbminMaj7 arpeggio.

The line starts with a Dm pentatonic melody with a skip from the 5th to the root. From here it uses a descending Am 1 3 4 5 pattern. 

On the G7alt the line starts with the Ab minMaj7 arpeggio. From the G it continues with a Fm7(b5) arpeggio that then resolves to the 9th(D) of Cmaj7.

5. Dorian #4

Dorian #4 is the 4th mode of Harmonic minor, so this is the only example that is not coming out of the melodic minor sound. 

The Dorian #4 sound is a m7 chord with a 9,#11 and a 13. In this case I am using the first four bars of a Cm blues, and that means that the it’s the G harmonic minor scale and the G minMaj7 arpeggios.

Essentially the sound we could use to describe this sound with could be a chord consisting of a D major triad over a Cm7, since the extensions 9,#11,13 spell out a D triad in C.

In the example I first state the Cm7 sound in the beginning. The first two bars are coming out of an embellished Ebmaj7 arpeggio which is the arpeggio from the 3rd of Cm7.

in Bar 3 I start using the #4 sound. In this case this is done with the GmMaj7 arpeggio. First the G is encircled with A and F# and then the arpeggio is played ascending. The final notes in the bar extend the arpeggio by using the 7th and two more notes to form a 1st inversion D major triad.

In the 4th bar the line transitions into C7 to move on to Fm7. The line here is using F harmonic minor and the melody is based around an E diminished arpeggio with an added scale run.

Effective practice!

For anything we practice it is important that we make sure to check out where it can be applied. Any arpeggio is going to fit on a substantial number of chords and therefore it is important to spend time working on this aspect of exploring an arpeggio as well.

I hope you can use the material I covered here in your own lines and put the minMaj7 to use in some new contexts in your guitar solos!

Get a Free Ebook

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: 

You can also download the PDF of my examples here:

5 Great ways to use a minMaj7 arpeggio

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

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.

 

If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: 

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.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.