Tag Archives: major scale

The Most Important Scale Exercise In Jazz

You probably already practice arpeggios, but chances are you can do it as a better Scale exercise than what you are doing now, and that is what I want to talk about in this video. Jazz Scale Exercises should be about giving you the material you can use in your solos and help you know and play the different arpeggios and melodies found in the scale.

When you improvise in Jazz then the lines or melodies that you play are related to the chords you are playing over and the solo follows the chord progression it is played over. One easy way to do this is to use the arpeggios of each chord.

You can use the arpeggio of the chord you are playing over, but in fact, there are more options than this and the exercise in this lesson will help you tie all of that together in one exercise.

Practicing Arpeggios in the Scale

The reason why it makes a lot of sense to practice diatonic arpeggios in a scale position is quite simple.

When you improvise a solo you are not only playing scales and then only arpeggios. The jazz lines you are making are a mix of the two. Therefore it is essential to have the arpeggios placed in a scale as notes that are important, and the rest are available.

Here is a C major scale in the 8th position

Playing the diatonic one-octave arpeggios through this scale position would give you this exercise:

Know the Scale!

Often when you learn Guitar in the beginning you rely mostly on the visual aspect of the instrument. Scales, Chords and Arpeggios are shapes that you can see on the fretboard.

This works really well for learning and remembering, but make sure that you also know what notes you are playing and what notes are in those chords and arpeggios. It will become very useful along the way.

For the exercises here above, it is a very good idea if you also play them while saying the notes or saying the names of the chord that you are arpeggiating. This will teach you the fretboard and the music theory on another level and also really attach it to what you play.

Using the arpeggios in your solos

It is not enough to just practice the scale exercise and then hope that your solos will suddenly magically include the arpeggios.

To show you how you can make some basic licks mixing scales and arpeggios here are a few ideas using a Cmaj7 arpeggio and chord.

The first one starts with the Cmaj arpeggio and then continues with a scale melody.

In the second example You can see how it is possible to mix scale notes into the arpeggio and also add a little chromaticism to more of a bebop sound.

Bebop Arpeggios!

This is a great variation on the exercise that also is really setting you up to play some bebop lines. Here you play the arpeggio as a triplet and insert a chromatic leading note in front of the root. This creates some energy and motion that then really brings out the target note that is the 7th of the arpeggio.

This exercise for the scale looks like this:

Make some Bebop Licks!

Using this way of playing arpeggios can be used in licks like this.

The first lick is using the Cmaj7 arpeggio in the lower octave and combining it with an intervallic melody in the2nd half of the bar.

The 2nd example is using the higher octave and adding a chromatic run between D and C before ending on G.

The Arpeggio from the 3rd

Until now I have only been talking about what how to use the basic Cmaj7 arpeggio over a Cmaj7 chord, but you can use more arpeggios.

The way to understand this is quite simple. You can use other arpeggios that contain notes that work well on the chord. The Arpeggio from the 3rd of a chord is usually a great option:

Cmaj7: C E G B – Em7: E G B D

So the two arpeggios share E G B and the Em7 is only adding the D on top of the Cmaj7 which is the 9th and a good note to add in there.

A few ways of playing an Em7 arpeggio in this position is shown here below:

Jazz Licks with an Em7 arpeggio on a Cmaj7 chord

You can use the Em7 arpeggio like this.

The first example is a basic “bebop Em7 arpeggio” that continues with a more modern sounding Quartal arpeggio from B.

The 2nd example is again focusing more on adding some chromatic ideas. Here the first half of the bar is a chromatic enclosure that is leading us to the first note of the Em7 arpeggio.

Putting all of this into a II V I lick

To give you and idea about how easy this is to generalize to a progression I have added this final example.

Take a look at the lick and see how I am using Fmaj7 on Dm7. Both Bø and G7 on the G7 and also both Em7 and Cmaj7 arpeggios on the Cmaj7.

It is easier than you think!

Use this approach in a Song!

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The Exercises You Don’t Do, But You Really Need To

The Guitar Exercises we mostly talk about when it comes to learning Jazz is mostly about scales, arpeggios and hitting chord tones. In this video, I go over 3 great exercises that you can work on that will help you develop your soloing and your skills as a jazz guitarist that is not about the hippest scale or most outside arpeggio.

The exercises in this video will help you work on playing better melodies and playing a solo that tells a story, not just a bunch of licks next to each other.

Content:

0:00 Intro

0:09 What You Probably Work On

0:26 What You Should Work On

0:57 #1 Soloing with 3-Notes Per Chord

1:25 The Song and The Exercise

1:44 Getting Away From Dense Solo ideas

1:57 What You Develop with this exercise

2:25 Rhythm?

2:38 How I work with this on the progression

2:52 Choosing 3 Notes and thinking ahead

3:33 Limitation Builds Stronger Melodies

3:54 #2 Vocal Like Melodies

4:19 Maybe You Have A Better Name?

4:40 Every Note Counts

4:57 Things You Develop

5:15 The Pat Metheny Lick 😉

5:53 #3 Solo From The Melody

6:22 Improvising using the melody of the song

7:05 Back To The Roots

7:45 What You Learn From This Exercise

8:15 Limit yourself to expand your skill set.

8:35 A More Abstract way of using the melody9:02 Like The Video? Check out My Patreon Page!

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Get the PDF!

The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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Practice Major Scales like this and You will get more out of it!

You may think that this is a guitar technique video about major scales, but there is more to scale practice than moving your fingers. Most musicians study major scales as part of their practice routine. In this video I want to talk about what you want to learn, what you need it for and how you use it to build on when making music. Hopefully you can recognize and maybe re-shape your practice and connect things more.
 
 For a lot of you this may be a big check list that you can cross a lot of stuff off on, but it will also give you some new ideas on where to go and connect the things you already know. I may give you the advice to learn a bit of theory.
 

List of Content:

0:00 Intro – What you need to know, what is going to make you play better

0:18 It’s more than moving your fingers

0:57 Step 1 – Learn the scale on your instrument

1:07 Learn the notes of the scale

1:31 Combine The theory and the scale practice

1:50 Learn the Fretboard using the scales

2:29 How knowing the notes helps in a solo and how you use it

3:26 Step 2 – Learning the Diatonic Chords and Arpeggios

3:39 The chords are in the scale

3:58 Construction Diatonic arpeggios in the scale Cmaj7 and Dm7

4:32 What you need to know about the diatonic harmony

5:19 Knowing the notes of the chords in the scale and using that.

6:01 The 7th chords in Jazz and the Triads

6:30 Triads and how they are built

6:47 Triads in Jazz: Upper-structure triads and how they are used

6:56 Em triad as upper-structure on a G7

7:24 Step 3 – Beyond the Basics

7:44 The “Diatonic” Minor Pentatonic scales – Modern Jazz Sounds

8:11 The three Pentatonic scales

8:45 Connecting knowledge to understand the pentatonic scales

9:01 Super-imposing Pentatonic scales on Extended chords

9:32 Example of how to relate a pentatonic scale to a Cmaj7 chord

10:00 Improvising with the super-imposed scale

10:32 Quartal 3-part arpeggios

10:47 Playing the arpeggios and Quartal chords in the scale

11:02 The mysterious chords and how we use them

11:33 How to use the Quartal Arpeggios in your playing

11:56 Example of analyzing some chords against a Cmaj7

12:45 The Many other subsets, arpeggios and structures to work with

13:25 What you need to learn and use!

14:00 Do you have a favourite scale exercise or approach?

14:48 Like the video? Check out my Patreon Page!

the 3 jazz scales you need to know

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.

My Approach to Jazz Scales – Learn from the songs you play

In this video I am going to take a practical look at the chord progressions you will encounter and what scales over what chords you are going to need. I am also going to discuss how you apply the scales to the chords and practice in a more general way towards being able to use a scale over any of it’s diatonic chords.
 
Hope you like it!

List of content: 

0:00 Intro — a myriad of Jazz Scales

0:20 Practice efficiently

0:50 Finding the scales by looking at the progressions

0:59 The Major II V I Cadence: Dm7 G7 Cmaj7

1:15 The II V I and the other diatonic chords

1:44 The Major scale it’s all you need from So What to Giant Steps.

1:57 The Minor II V I Cadence: Bø E7(b9) Am6

2:09 Adding Harmonic minor and Melodic minor

2:34 Secondary dominants and cadences

2:51 Secondary cadence to IV in C major

3:07 Secondary cadence to III in C major

3:27 IV minor variations

4:26 Diminished Chords the two types

4:40 Dominant diminished chord

5:04 Subdominant diminished chord

5:44 What is covered so far

6:06 The tritone substitute: Dm7 Db7 Cmaj7

6:23 The Backdoor dominant: Fmaj7 Bb7 Cmaj7

6:48 Double diminished or German Augmented 6th: Fmaj7 Ab7 Cmaj7

7:23 Cadences with other dominant choices: Altered and Harmonic minor

8:11 The three scales and where we need them — cutting away what we don’t need.

8:55 Getting this into your practice routine!

9:12 Scale practice suggestions and knowing the scales

9:40 Example of what works and what doesn’t work when improvising over an Fmaj7 in C major

10:59 The Bonus from practicing like this!

11:20 Learning the rest of the scales

11:58 Do you work with this system or do you have a better one?

12:36 Like the video? Check out my Patreon Page!

7 Jazz Scales for Cmaj7 – Vital Guide to Modern Jazz Guitar Sounds

 
What jazz scales you use over a chord tells you something about the sound of what you play in terms of extensions and alterations. In this video I am demonstrating the sound of 7 scales that you can put to use over a Cmaj7 type chord. Ranging from the good old major scale to a few atonal and more exotic scale choices. A big chunk of what is available in Jazz Theory I guess 🙂
 
For each scale I also give some suggestions for what arpeggios or pentatonic scales might be useful for that sound.
 

List of content:
0:08 Intro
1:32 Major Scale Improvisation
1:53 Major Scale, extensions and arpeggios
3:28 Lydian Improvisation
4:04 Lydian Scale, Target notes, extensions, pentatonic scales
5:18 Lydian #9 Improvisation
5:38 Lydian #9, sound, chord construction, arpeggios and triad pairs
7:55 Lydian Augmented Improvisation
8:24 Lydian Augmented Scale, Special Pentatonic, Cmaj7#5 and arpeggios
10:55 Don’t Study modes Rant!
12:18 Augmented Scale Solo
12:43 Augmented Scale, construction and Triad sets
15:53 Messiaen Mode Improvisation
16:26 Messiaen Mode: Construction, arpeggios, Minor Fragments
21:56 Lydian Augmented #9
22:38 How to find scales for a chord?
23:29 Lydian Augmented #9 – Arpeggios, triad pairs and ideas
25:48 Practicing using these scales – Target or Defining notes of the sound
27:27 Did I leave out any Scale options?