Tag Archives: jazz guitar 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.


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!

Herbie Hancock Voicing = Awesome Huge Arpeggio on Guitar

The amount of notes and colors that you can add to chords on piano is always making guitar players jealous. But in this Herbie Hancock Guitar Lesson I am going to take the Herbie Hancock Voicing for a m11 chord and show how you can transform it into a great arpeggio with a huge range and a lot of nice colors. In the process you also get a Herbie Hancock Guitar Chord that you can use for maj7 chords or m11 chords and taking this further to create some other arpeggios and chord voicings for other chords.

Learning things from Piano or other instruments

This lesson is as much about applying material from piano than it is about this specific voicing.

Learning and using material from other instruments is a very important part of Jazz. Jazz is a genre that is not dominated by one type of instrument, and different instruments have a leading role throughout Jazz history, just look at the shift from Alto to Tenor with Parker to Coltrane. The guitar is a little late to the game even if it has gradually become one of the most influential instruments in Jazz since the 1970’s.

The Herbie Hancock m11 voicing

The Herbie Hancock voicing can be seen as a poly chord. If you play it on piano then the left hand is playing an Am triad (as a spread triad) and the right hand is playing a 2nd inversion G major triad.

This gives us these pitches:


Which is an Am7(9,11) chord.

The chord is shown in example 1 both as a complete 6 note chord and a more playable version that leaves out the root.

Construction of the Piano Voicing

The best way to understand this is to look at it as consisting of two parts (similar to left and right hand on the piano)

The lower part is this Am spread triad or open-voiced triad. 

And the upper part, a G major triad.

Turning the voicing into an arpeggio

While it is difficult to really play this chord on the guitar it is very possible to turn it into an arpeggio and use it as an interesting melody with a large range.

The easiest way to do that is probably to play it one note per string, as shown below in example 4.  I have added an extra D on top because I like the sound of it.

Putting the Herbie Hancock Arpeggio to use

Now that we have a great Am7 arpeggio it is easy to put it to use in a II V I in G major like this:

Creating more Arpeggios and Chords

The first thing to try todo to create some more variations of the arpeggio is probably to understand it as a part of a scale. This allows us to move it around as a diatonic structure and hopefully find some other great sound and playable arpeggios.

In doing so then it makes sense to start with the lower part. Here are the 3 string versions of the open-voiced triads. With this I think the low and the high G major are both a bit tricky, but it depends on how you sit and your guitar.

Diatonic Transposition #1 – Cmaj7(#11) chord

The first thing to try is to move up the arpeggio a diatonic 3rd. This is shown in Example 7.

This yields a Cmaj7(9#11): C G E F# B D

and an interesting Cmaj7(9#11) chord voicing (2nd half of the 1st bar)

Diatonic Transposition #2 – D7(#11) chord

Repeating this process and moving it up to D7. When you do that strictly in the scale you have a D7 with an 11, a G and that is not the nicest note to have on a D7. One way to fix this is to make it a #11. Changing the G into a G# gives us this arpeggio and another interesting new chord voicing (at least I didn’t know it)

Changing the Arpeggio and making it more playable

The lower part of the arpeggio is very difficult to play, so it makes sense to try to change that for another structure. Similar to the Kenny Barron voicing the lower part could be a quintal chord (also known as a stack of 5ths)

Implementing this change on the Cmaj7 and using an Esus4 triad as an upper-structure yields this arpeggio:

And a similar idea using the D quintal arpeggio and an F#dim(sus4) arpeggio creates this arpeggio:

Explore more and put it to use

I hope you can take this idea and use it in your own playing. Try to mess around with different arpeggio and chord ideas and let us know what you come up with either here or on the YouTube video!

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.

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.

Every Arpeggio in the Known Universe

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.

Table of Contents

0:00 Intro – Are you an arpeggio master?

0:22 Did I miss one? 0:43 Example 1 – Basic Arpeggios

1:14 Example 2 – Diatonic arpeggios and the “from the 3rd rule”

2:05 Example 3 – Harmonic minor?

3:24 Example 4 – Not always 4 notes and a little Melodic minor

4:16 The triads we forget to check out

4:34 Example 5 – Not always 3rd based

5:41 Example 6 – Larger intervals like the Police!

6:45 The Magic Arpeggio!

7:38 Example 7 – Three notes but not a triad

8:42 Another great sound from Melodic minor

9:22 What did I forget?

9:35 Like this video? Check out my Patreon Page.


Three Ways to Add Arpeggios to Your Jazz Guitar Licks

We spend a lot of time practicing and learning Arpeggios, so it makes a lot of sense to have several ways to use them in our playing. In this lesson I will show you 3 ways you can add arpeggios to your lines so that they help you create more interesting licks and you get more out of the time you have spend practicing.

The examples in this lesson are all on a II V I in Eb major, so Fm7, Bb7 to Ebmaj7.

Emphasizing a Target note

Really bringing out interesting extensions and alterations is a great way to use arpeggios.

In the example below the target note G, the 9th, is given an extra emphasis because it is the top note in an arpeggio. The note is given even more energy by the fact that the arpeggio is played as an 8th note triplet. This heightens the velocity towards it and makes it sound more like a resolution. The fact that the G is on a heavy beat also helps give it more emphasis.

Learn from Charlie Parker and Wes Montgomery

Playing arpeggios and using the top note as a target is something that has been common in Jazz since Charlie Parker. Wes Montgomery also uses 5 or 6 note arpeggios to bring out specific targets in his solo. A recent video I did on his playing talked about his use of this to emphasize the 11th over a minor chord.

Moving this to the Eb major II V I then that would be:

In the example above the Ab major triad is used to target the Bb on beat 3. The arpeggio is really useful and the technique of summing up your lines in the important target notes can be useful to realize this and also for a lot of other things in the line.

Changing direction and adding large intervals

Playing lines that consist of melodies that only move in one direction can become boring and predictable for the listener. Arpeggios and especially arpeggio inversions can help doing this really well. If you look at the general movement from Fm7 to Bb it is a scale run from C to F and then moving from Eb to D on the Bb7.

The arpeggio is here used to introduce a skip from F down to Ab. From there it moves back up to then return to the D.

Change direction on Chord tones

The strong place to do this is to use it when you are on a chord tone. In the example above it was on the root (F). Below I am using the same technique but now the arpeggio is inserted on the 3rd(Ab). The arpeggio I use is a 1st inversion Abmaj7 arpeggio.

Coltrane and his descending Arpeggio Cascades

The previous technique used the arpeggio to introduce a large interval skip which is then resolved by the rest of the arpeggio. In the example below I am using a quote from John Coltrane’s Cousin Mary Solo, a song off “Giant Steps”

One way to summarize the Fm7 bar is to see it as a three note descending scale run: Bb, Ab, G with two arpeggios inserted after the last two notes. The arbeggios are an Fm 2nd inversion triad and an Abmaj7.

This melody is more radical but therefore also more dramatic and surprising. This probably has to do with the fact that the large interval skip is at the end of the arpeggio and not at the beginning. At the same time the dramatic cascade effect is a great way to shake things up a little.

For me personally this is a great example of how powerful Coltrane’s melodic concept was!

Use what you Practice and explore what is possible!

Exploring how to use the things we practice is almost as important as practicing them in the first place. Of course there are many ways we can do this, both by composing and experimenting but certainly also by transcribing and analyzing. 

This lesson demonstrates both transcribing and composing as examples, and for me those are the two main sources of inspiration and knowledge when it comes to applying what I practice.

Get a free E-book

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:

Three ways to Use Arpeggios in Scale Runs

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.

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.


Things You Never Use in Your Solos – Mixolydian

We are always looking for new ideas and things to use in our solos so that we can keep improving and stay inspired. In this lesson I am going to go over three examples of some less common ideas that you can add into you vocabulary when using Mixolydian, so if you are playing over a dominant chord. I chose to keep it in a more modal context than in a cadence since these ideas are very useful and easy to study on a static or modal background.

For each of the licks I have also added some exercises to get familiar with the new structure and talk a little about how to use them in jazz licks.

Scale, Chord, Mode and all that

The examples in this lesson are all on a D7 chord, so I am using D mixolydian which is of course the same as G major, since D7 is the dominant of G. Below in example 1 a position of the G major or D mixolyidan scale is shown.

Quintal Harmony – The sound of the Police.

The first structure you can experiment with is the quintal arpeggio. As you hear me play in the video this arpeggio is associated with the sound of Andy Sumners from the Police. That said, if you ask a jazz piano player he might talk about how Kenny Barron is using it a lot and Hendrix was fond of it as well, so it is certainly not unique to the Police.

A good way to check this arpeggio out is to consider it a diatonic arpeggio and play it through the scale, In example 2 I have done this on the A, D & G string set.

One note per string exercises like this are always great for your right hand if you alternate pick.

Another very useful exercise is to take the quintal arpeggio and play it through a position of the scale. Probably this is more for overview and to connect it with the scale than for speed.

A Jazz Guitar Lick with Quintal Arpeggios

On the D7 chord there are of course several different options for a quintal arpeggios. In this example I am using the one from the 5th: A E B, which related to a D root: 5th, 9th and 13th.

The lick starts with the quintal arpeggio and from there continues with a descending scale run down to the 1 of the 2nd bar. In the 2nd bar the melody is first a quartal arpeggio from C: C F# B which is also what you might know as a D7(13) without the root. The Last part of the lick is a scale run in a 3 note per string B minor (or D major) pentatonic scale.

The Forgotten Triad Pairs

Usually when you see people work with Triad Pairs in improvisation they stick with the two major triads next to each other and work with that sound. So in a C major context that would be F and G major triads.  In fact you can choose any set of two triads next to each other and use that as a triad pair and often you can find a set that works better with the chord you are using it on than the two major triads.

In this example I am making a triad pair by removing the one note that you can’t really emphasize on a D7: G. If we take that note a way we are left with 6 notes in the scale and those 6 notes form the Am and Bm triads.

There are several ways to work on these triad pairs. Here is first the Am and Bm triads in the position. I play them in inversions alternating the Am and Bm triads.

Here is a similar exercise but on the A,D and G string set.

Triad Pair melodies: Beautiful intervals

The lick using the triad pairs is almost exclusively using the triad pairs. The first part is chaining together Am root position and a Bm 2nd inversion. From there it continues with a 315 pattern of the Am and the same for the Bm triad. The ending is a smale melody fragment constructed from an Am triad.

The exotic Sus4 options

In my recent lesson on Melodic Minor I also talk about the diatonic sus4 triads (check it out: HERE).

The Sus4 triads are a great sound, they are of course also related to quintal and quartal harmony since: Asus4 is A D E,  E A D is a quartal arpeggio and D A E is a quintal arpeggio.

The first sus4 arpeggio that I am using is an F#dim(sus4). F#dim is F# A C, and F#dim(sus4) is F# B C.  This is in fact spelling out the core of the D7 Mixolydian with C and F# and adding a 13th with the B.

You may recognize the arpeggio as the opening statement in the Joe Henderson piece Inner Urge.

The arpeggio is shown in the position here below:

The other arpeggio I use is an Asus4 arpeggio. This is shown in position here below in example 9:

The sus4 triads are a great way to add extensions and also get some larger intervals in the lick because they by design already contain a 4th and a 5th interval.

Mixolydian Sus4 triads in Action!

The Line starts with a simple statement of the basic chord: D and F#. This is used as a motif and played in reverse a step lower: E C. The last half of the first bar is an Em pentatonic fragment. In the 2nd bar the melody is the F#dim(sus4) arpeggio in 2 octaves. 

Putting all of this to use!

Of course the point of these exercises and the licks are to demonstrate what is possible with these structures. For all of the ideas there are many more options available if you try to find other sus4 triads or triad pairs. 

The material in this lesson doesn’t become really useful until you work a bit with it and start making your own lines, so don’t forget to incorporate it in your own playing!

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:

Thing You Never Use in Your Solos – Mixolydian

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.

Autumn Leaves – Soloing with arpeggios

Autumn Leaves is a great chord progression to start improvising following the harmony. It’s a well known tune and it still covers a lot of important cadences in a key. In this lesson I will go over a set of Jazz Guiat arpeggios in one position, some exercises, target notes and strategies for making solos where you can hear the harmony in the improvisation.

About Autumn Leaves

In this lesson I have chosen to work on Autumn Leaves in the key of G minor. You will find a few versions in the key of E minor since it is printed in that key in the old Realbook, but the most common key is G minor.

The two main cadences in the song are II V I cadences, one to the major tonic (Bb) and one to the minor tonic (Gm). In this way you cover two of the most important harmonic movements in this key.

Learning the song

Besides knowing the arpeggios and the chords by heart you need to know the melody of the song you want to improvise on. In the end the melody is more important because the harmony may vary from version to version but the melody will stay the same. In this lesson (and for copyright reasons) I can’t go over the melody, but if you want some hints on how to do this you could check out this Q&A video where I talk about that: Q&A #3

The form of Autumn leaves is a bit uncommon for jazz since it is AAB where the B is 16 bars and the 8 bars. A good place to start is to just play the chords of the song. In example 1 I have written out chord voicings for the song. In the example I am using the material that I went over in the How to Play Jazz Chords lesson.



Since a lot of the examples I am using are over the whole form I am playing them a bit fast in the video. You can always go back and check or even play them at a slower speed if you have a place that is hard to follow. I ended up doing it like this because the video otherwise would be much too long.

The Arppegios

I have written out the arpeggios in the 6th position of the neck. If you think in Bb major this is a very common Bb major scale position so you probably know it already.

Example 2 has the arppegios of the different chords written out. If you count the chords you’ll see that we have 10 different chords. Since the goal of this lesson is to improvise fluently with well connected melodies using the arpeggios, I have written out all the arpeggios around the 6th position. Shifting up and down the neck is going to make it much more difficult to play logical melodies and almost impossible to do some of the exercises.


Practising the arpeggios

First you should probably try to become familiar with the arpeggios in example 2 and then as fast as possible try to start using them on the song. Students often forget how important it is to practice using what you’ve learnt.

Besides just practising each arpeggio it is a very good idea to work on playing the arpeggios in different patterns. Playing them in groups of 3 or 4 notes, skipping notes etc are good ways to get more flexible with the arpeggio. You need the flexibility when you start improvising, and keep in mind that it is about flexibility and overview not about speed when working on this, so there’s no real need to play it fast.

The first exercise is to just play through the song with the arpeggios from example 2 in a one octave version. This will not only help practising the arpeggios but also build your sense of the form of the song and help you hear the chords moving and when they change. I tried to take the highest octave available of each arpeggios because that is probably the register you’ll need the most when you solo so you might as well start by working on a good overview of that.



Connecting the arpeggios

The next exercise is a very good way to gain a strong overview of the arpeggios and chords. It is also helping you to develop your ability to think ahead. The idea is to start playing the arpeggios over the progression and then when ever the chord changes to continue the movement with the note that is the closest in the next arpeggio. It’s quite tricky to get started with but very rewarding when you start getting the freedom while improvising.

When you start this then you probably don’t need to work on the whole form in the beginning. In example 4 I have written out the example I play in the video in rubato. In the video you can hear me pointing out whenever I change.


In the video I also demonstrate this on the first 8 bars and start in a different octave. As I talk about in the video it is about the proces not about the notes in this case so you should vary where you start in the arppegio to keep challenging yourself and your knowledge of the arpeggios in this position.


Putting it all together in improvising

As I demonstrate in the video the thinking behind making harmony clear in a solo line is to target certain notes of the strong beats (in this case the 1). The idea is that a strong and logical sounding line will be a line that has the direction towards a clear target note. I also discuss this way of making melodies in another lesson that you can check: Target Notes You will notice in the solo I improvise in the video that I am not too concerned with target notes unless the chord is changing.

The first target notes I’d suggest you use is in the song is the 3rd of each chord. There are two advantages to this. It very clearly targets the color of the chord and it also connects what you play with the melody since a lot of the sustained notes in the melody are in fact the 3rd of the chord.

In example 6 I have written out the 3rds of each chord played over the root of the chord.


Making lines with the arpeggios

Now that we have arpeggios and target notes for each of the chords we can start to work on coming up with lines over the song.

The way you start working on this is probably to practice rubato to make a line from one chord to the next. In example 7 I have shown a simple Cm7 melody that leads from Cm7 to F7.


In the video I also take the next step from working in rubato and demonstrate 8 bars in time as written out in example 8.


I hope you can use the arpeggios and techniques I went over here to get started playing strong clear lines over Autumn Leaves.

If you want to take this a step further then you can check out the WebStore lesson with a 50 minute video lesson I made on a 4 chorus solo. It goes over some basic ideas as shown hear and continues to more complicated concepts like reharmonization and different scale choices.

Autumn Leaves Solo Lesson 1

If you want to study the examples I went over in the lesson you can of course also download them as a pdf here below:


If you have any questions, comments or suggestions for topics or how I can make the lessons better then please feel free to leave 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 want to hear.

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.