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.
Get the PDF on Patreon:
/ 25-arpeggios-on-36964026
The Most Important Solo Tools For A Maj7 Chord
• The Most Important Sol...
Sometimes it is hard to come up with something that inspires you when you are improvising a jazz solo with maj7 chords. There are a lot of things you can use if you want to improvise, and in this video, I am going to give you some of my favourites in terms of arpeggios, triads, pentatonics and a few special tricks as well.
Triads - How To Use This Powerful Tool In Your Jazz Solos
• Triads - How To Use Th...
You don't want your solos to be scale, arpeggio, scale. In this video, I will show you how to use triads in your guitar solo vocabulary and use them to add some fresh melodic ideas to your improvisations. Every arpeggio is a melody and Triads is a great melodic building block you can use in Your Jazz solos.
The most important scale exercise in Jazz: • 25 Arpeggios That Soun...
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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My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
The videos are mostly jazz guitar lessons, but also music theory, analysis of songs and videos on jazz guitars.
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[@JensLarsen]

A little late becasue I have a massive headache today. Did I forget your favourite arpeggio? 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

[@rileybird1428]

Hi Jens, what is the reason for removing triads with a B in it?

[@AdamTheBen]

Get well soon!

[@JensLarsen]

Thanks Adam!

[@JensLarsen]

I explain why I don't include the B in the video :)

[@DennyJiosa]

Nice shirt, Jens! It's definitely a D minor kinda vibe.

[@kevindonnelly761]

Knowing an arpeggio = knowing a melody - or knowing a melodic building block. That's powerful knowledge. Thanks Jens.

[@JensLarsen]

Exactly 🙂

[@griffinwojtowicz6961]

"so you have something to disagree with in the comments." brilliant haha

[@JensLarsen]

Thanks :)

[@SteveMahoney]

@@JensLarsen watching at 2am, I laugh snorted so loud I hope I didn't wake anyone.

[@artompkins7958]

Jens, every week you put out enough information to keep me busy for months. You’re killing us, Man! Thanks so much - it’s great to have your channel in my guitar life.

[@JensLarsen]

Glad you like it!

[@rogerwilliams2629]

I am self taught and have played for 55 years. I always get about 2 years worth of lessons from each of your youtubes!! Thanks so much!!

[@brandon_fernandez]

Amazing! Videos keep getting better and better. Thank you for your hard work and knowledge Jens.

[@JensLarsen]

Glad you like it Brandon!

[@kevinpatrick4670]

I just love your touch Jens!!! And what you are teaching is theory of course and the application of the theory, but most importantly you are teaching us how to become individual players to have our own voice!!! Our own style!!! I think that's the most important lesson of all!!👍

[@rickymolina7390]

There's some powerful stuff packed in this video. On a micro as well as on a macro level. Thanks Jens.

[@Fiddlertom]

I have learned so much from you! Thank you! I’m a bluegrass flat picker and I love jazz and mixing some into other styles!

[@brzozek9669]

Dear Jens, Thank you for what you do! Your films contain a lot of knowladge which is necessary for every jazz guitarist. Your explenations are really usefull and can truly inspire. Stay health and tuned!

[@Domitianvs]

I usually find your videos helpful, but this one was above and beyond, I have to say! Really good stuff, great use of visual aids in eliminating triads containing B etc. Keep it up!

[@LGPhotoArt]

Jens, you are the best at explaining jazz guitar techniques. Truly a gem on youtube, thank you for your giving.

[@sergionunes7274]

Very good, Jens. Very useful. It opened my mind to a lot of stuff. Many thanks, keep up the good work and God bless u.

[@JensLarsen]

Happy to hear that!

[@brturner]

Wow, this REALLY helped. Having to think what I wanted to play, and not being able to play the shred I usually gravitate to (shred being playing up a scale fast for me) forced me to actually hear what I was playing. I still need to learn to think about how to make the arpeggios interesting by not just playing them up and down in a way that makes sense, how to organically weave these arpeggios into a melody, how to add enclosures and passing notes, and how to learn where to stop the phrase but this was awesome to practice over a D-7 backing track. Gonna watch the Maj7 chord version you put up, and then probably figure out something for Dom7, m7b5 myself

[@dacuygtr]

Thank you! This lesson is invaluable.

[@Dang...]

Excellent! Thank you Jens!

[@JensLarsen]

Glad you liked it!

[@diamondbreak]

This is the best of the best things, most of the guitarists (even musicians) have been looking for. Really appriciate it.

[@JensLarsen]

Glad you find it useful 🙂

[@josephvotta6698]

Thank you- I love the way you see music and teach us that from what appears to be a different perspective. It makes so much more sense and easier to understand! “You should think of arpeggios as melodies”, - I never did before and I always will now! Also, excellent graphics with the “right here, right now” notation, in all 3 modes! (This actually helps me read sheet music better, too!!) No need to download additional resources! Fantastic! I will check out more of your offerings! As for suggestions, I would like a lesson on how to approach the song “Misty”, its structure, chord voicings, and maybe some melody /and improv suggestions; its an old tune, but often called out at jam sessions, and I have always struggled with it. Thanks again, Joe Votta

[@QuistJam]

Great work (as always) Jens!!!

[@JensLarsen]

Thanks Jacob! :)

[@QuistJam]

@@JensLarsen :)) Let's do another collab soon!

[@JensLarsen]

@@QuistJam Yes!!

[@xSecamx]

congrats for the 300K !

[@BabisPlaysGuitar]

Thank you very very much Jens! That was one of my favorite. I'm actually in a band where we play a kind of funk jazz so less functional harmony stuff and more modal. For example we do a lot of Dorian (like Im7 - IV7) where I really need to highlight the 6th so I guess I'm gonna play all the arpeggios you say they don't work and leave out the rest :) I hope your headache's gone. Thanks again!

[@v2vroth]

Man best channel on you tube..Thanks for sharing!

[@JensLarsen]

Glad it is useful :)

[@paulmitchell5349]

So useful ! Thankyou Jens .

[@JensLarsen]

Glad it was helpful!

[@JC-xy3lm]

Thank you for sticking to Cmaj scale🙌 it makes a lot easier to learn/understand on all of your vid lessons 😊👌

[@terryquinn2042]

Jens, I love your teaching. It's very inspiring and I love the way you explain everything in such a comprehensive manner. You certainly give a lot of food for thought. Thank you. Terry

[@JensLarsen]

You are so welcome!

[@alfredomanlapaz8123]

Thank you so much Sir Jens👌👍

[@JensLarsen]

Always welcome

[@johnjacquard2182]

Excellent content kind sir. I appreciate your work.

[@carlosprediger1922]

Thanks very much for sharing your great knowledge. Really good stuff. Please keep posting, thanks!!

[@JensLarsen]

Thank you! I will do my best to continue making videos :)

[@jackhennessy848]

Great video, thank you Jens.

[@JensLarsen]

Glad it was helpful!

[@irvegriffiths8256]

THE BEST LESSON ON THE INTERNET! Thanks Jens

[@JensLarsen]

Glad you think so!

[@riccardobertilotti884]

Beautiful ! Thank you 😊

[@JensLarsen]

Glad you like it 🙂

[@Silviossb]

Isso é maravilhoso! obrigado Jens Larsen

[@PeterDStephens]

OMG the spread triads sound so good!

[@JensLarsen]

They are nice 🙂

[@bobblues1158]

Excellent Jens . Super melodic material. Also for saxophone. Thanks.

[@JensLarsen]

That's great to hear :)

[@bobsavage3317]

Really great video ... packed with cool ideas, and presented so clearly. I hope your headache gets better soon.

[@JensLarsen]

Thank you so much! It is already better, just needed 12 hours of sleep :D

[@thepartimemusician65]

Wonderful lesson Jens,you are a master.

[@JensLarsen]

Thank you! 😃

[@blainebargfrede9391]

its so simple to understand. thanks!

[@JensLarsen]

You're welcome! :)

[@eternalrainbow-cj3iu]

Good Lesson! i tried all the sus paterns with ánd without the " B " but the avoid method is still nice to have seen at work. Thanks a lot!

[@myguitarchannel8775]

I've always watching your videos. I've been learning so much about it. Well Done! Stay safe!

[@JensLarsen]

Thanks, you too!

[@myguitarchannel8775]

@@JensLarsen your welcome idol! 🙏🎸👍

[@nandoselleguini]

Good idea! Hugs from Brazil

[@JensLarsen]

Thank you! 😊

[@RC32Smiths01]

Really amazing how you can make infinite uses out of a single chord! Really enlightening my man!

[@JensLarsen]

Glad you like it RC!

[@miguelabrahamocampo3943]

Gran maestro señor Larsen muchas gracias!

[@FranciscoBIdo]

Very useful. Thank you!

[@JensLarsen]

Glad you like it 🙂

[@GregoryPearsonMusic]

Very useful exploratory approach

[@JensLarsen]

Glad you think so!

[@loufugier3481]

Thanks Jens !

[@flavioalheira]

Thank you very much for this video

[@JensLarsen]

You are welcome

[@JohnHorneGuitar]

Another golden video!

[@JensLarsen]

Thanks John!

[@louismaiden8360]

These videos are the best

[@aaronayodele2556]

Your TABs keep me going. Without them I won't be able to follow. Thank you my great teacher. I just wish you can gift me with one of these your guitar on the wall there. Lol

[@JensLarsen]

You are welcome!

[@bookinb3222]

Legend has it that Pat Metheny is still up there playing those shell-voicing a to this day...

[@JensLarsen]

Haha! 👍👍

[@christianpargarini1586]

very cool video.easy to aunderstering.good theacher.

[@theshredguitarist25]

This video is a godsend thank you so much!!!

[@theshredguitarist25]

I just realized i commented on this video a year ago lol

[@bobparsonsartist564]

I love these sounds. Very well laid out, even I can understand what youre saying! Before we knew anything but Mickey Baker chords, my cousin and I had our own lingo for music theory. Of course there was the Hendrix chord, which we produced that name inour own basement world, not knowing it would become a thing. And the David Gilmore note - the 9th on the G string. And these spread triad arpeggios we’d hear, we’d call the “tickle” notes. Our only jazz guy at the time was Johnny Smith, and once in awhile we’d hear Tony Matolla (sp?) on the radio. Yeah Im that old (67). Indidnt know what a major scale was (formaly) until I was 40! When I heard it, I immediately knew what Larry Carlton was doing on BP Blues from his album Last Night....descending F scale over that G blues.

[@maxsegali5588]

Great lesson

[@JensLarsen]

Thank you 🙂

[@johnhood9567]

This is very useful!

[@JensLarsen]

Glad to hear that!

[@necemer]

Great Video. Have a nice day. Greetings from Austria

[@markezov]

Top notch stuff. Thanks.

[@marcelbrunav]

It’s like you have been analysed the language of Metheny, Kreisberg, Lund and Rosenwinkel. Each one of them use one of the approaches that you discuss in this video. Thanks!

[@JensLarsen]

Thank you very much! I did check out those guys for sure, but of course there is more to their style than a few arpeggios 🙂

[@brad724p]

Great one, Jens.

[@JensLarsen]

Thanks Brad!

[@efrenhei4902]

Thank you, greetings from Argentina

[@JensLarsen]

You are very welcome! :)

[@ajadrew]

Love it Jens...helps me get those sounds I knew were in there somewhere...on the bass!!

[@JensLarsen]

Go for it! :)

[@ajadrew]

@@JensLarsen 👍

[@thomasmorris4579]

Lots of things to work on, thanks!

[@JensLarsen]

You're very welcome!

[@ashandesilvaguitarist]

thank you so much jens!

[@JensLarsen]

Any time!

[@theshredguitarist25]

Wow 2:54 sounds so good! And so helpful to know. Thanks Jens.

[@JensLarsen]

Glad it was helpful 🙂

[@mariorey2327]

Gracias Maestro!!!!

[@JensLarsen]

You're very welcome! Glad you like it!

[@billy-keane-music]

Fantastic!

[@sheddybhulji8196]

Great ..thanks

[@JensLarsen]

Glad you like it 🙂

[@geoffep8784]

Jens, as always many thanks for a typically clear exposition. Maybe do the same for V and I chords?!

[@devanjackson509]

I think the hardest thing for me is learning how to connect scales and arpeggios in a way that’s always Tonal. With scales it’s maintaining awareness of Whether or not a chord tone is landing on the strong beats or not is an ongoing learning process. For me arpeggios kind of state where you’re at tonally and the scale points to where you’re going next. But that’s as far as I’ve got for now and I know there’s much more to it than that

[@Cr8Tron]

I was basically trying to indirectly touch upon this topic, with a comment I made on a different video of his. In response, he decided to be a complete asshole for some odd reason. I wasn't even directing my comment to him; it was in response to somebody else's comment that he was already in the thread of.

[@devanjackson509]

One thing that’s helping me is watching some saxophone lessons. They have an extremely direct way of communicating various concepts that’s been easier for me to grasp at least. One such KZbinr is Jeff Schneider. But even some of those guys don’t really get into getting some concepts working together. I’ve just had to start force-fitting a short scale with a little arpeggio to a bit of chromaticism with a few enclosures thrown in the mix even if it wasn’t great. Then you go back and listen to the greats and often times they seem to work with shorter motifs that aren’t as demanding conceptually...

[@jimtessin4130]

Thank you!!!!

[@JensLarsen]

You're welcome!

[@timparetti1944]

I have never commented in KZbin on anything but since I dig Mr. Larsen so much and he baited us I'm gonna take a shot. I learned harmony at the piano and on the flute after i started on guitar. So the 1st thing I did was learn to read music from the Melbay books, with a little old Italian in the back of the music store. So from the very start as was dimly aware that the shapes and positions of the guitar were not really the theory. If you tune the guitar differently what notes are stay the same and the shapes change. So then I started on the piano and flute. Piano I was doing with with a cat classically trained and that played jazz at my highschool. By the way I should say this is all happening in 1968 or so. Then in senior year I studied flute with a jazz saxophonist. Now he made me really learn my notes. In college I kept at it. So I figured out that people are using the term "music theory" wrong, basically because what they are referring to is really simple what the notes are in the scales and chords. There is nothing theoretical about a C chord being the notes C E G- it's a fact, and furthermore a fact of "sound". There's 11 others. So if you know the notes you can begin study their relationships which is what music is. So if I play F A C over a D minor chord, I'm just playing a D minor 7th- if i play A C E I'm playing D minor 9th- if I play C E G it's D Minor 11th-if I play Eb G Bb it's a D minor with a flat 9, an 11th and a raised 5th and so on and so on...there's a lot of them and how ever many there is, there is 11 more of every one of them. It's only guitar players who think the shape is the notes. You can't play shape tricks on the flute. I'll stop now. Everybody keep picking and I guess washing your hands!

[@bicky3679]

thank you larsen

[@JensLarsen]

You're welcome

[@SimpleManGuitars1973]

The second lick you played during the Mighty Triads section reminds me of that Wes Montgomery ascending lick from Four On Six at Smokin' From the Half Note. I'm not sure if you know the lick I'm talking about but he plays it with blinding speed and the fact that he's doing it with his thumb makes it even all the more mindblowing. I can play some of that solo but I have to hybrid pick to accomplish some of the licks.

[@Mats.Fagerberg]

I agree about the B. If you use it on the subdominant parallell (as Dm13) the dominant is weakened.

[@GJSsongsmith]

Superb vid again Jens .... never ever going to leave you an angry comment ! 🤘😂🎸👍

[@BL55]

As always, thanks for the lesson! Can we get one more (#26?) by adding in the Em7 Shell-Voicing?

[@DESIENASHOES]

nice video :-) , as usual inside a 10 min there are tons of hrs of pre work to be done in order to get it at first sight :-)

[@ginodellaconza3037]

before I knew you I thought jazz was more incomprehensible than quantum physics. Thanks a lot

[@JensLarsen]

You're very welcome! I am glad you like it! 🙂

[@jubronie]

I know quantum physics. I don't know jazz

[@Yupppi]

Really hard to disagree with a guy who presents a common case and makes few arguments why he treats it that way, then admits that there are cases where you might still want to do the opposite successfully. Personally I'm very illiterate with theory outside basics, but I just enjoy the videos and smooth tunes and playing. Hoping to accidentally catch some of the ideas without practicing and learning, like putting a textbook under the pillow at night.

[@JensLarsen]

In music context is everything :)

[@musiclido]

Fantastic stuff and not a 2 5 1 in sight!

[@JensLarsen]

Except the one at 2:57 :D

[@bsorryrthatsit7055]

Jens, The 345 sounds great and I extra-like your videos. The Gm6th that is the same as the dim threw me a bit on the last one. Otherwise I'm planning on going through your series for intermediate Jazzer's like me.

[@JensLarsen]

Thank you very much! Go for it!

[@devanjackson509]

When limiting myself to triads I noticed how bad my phrasing was while using them. Having all the compatible triads with a certain chord under your fingers does help though. Practicing these concepts on the flute has helped with learning better phrasing as well. Then I can translate that to the guitar…

[@johnjacquard2182]

I just wanted to share something I do with D Dorian .( see what you think) I look at it as 2 cadences Dmin7/ G7/ C6/ ( flipping through inversions) Bmin7b5/ E7b9/ Amin6/ ( flipping through inversions) So the whole thing looks like Bmin7b5/ E7b9/ Amin6/ Dmin7/G7/ C6/ F6/ That whole progression is consonant over top of Dmin7 or F6/ ( its true though that certain types there's a lil bit crunch then it relaxes at others) We can even follow same principal for Maj7 chords . ( Fmaj7 in this case)

[@johnjacquard2182]

If you want less spicy then Dmin7 Bmin7b5/ Bdim7/Amin7/Dmin7/Bdim7/C6/F6/

[@joehernandez5600]

Another great lesson. Thanks Jens. Small error at 1:22: The A-7 was not spelled correctly. Thanks.

[@JustCallMeDrift]

Hi, Mr. Larsen. I appreciate how you take the time to respond to comments. Was there a deliberate decision to not include the G quintal triad (GDA) or the Em7 shell voicing (EGD) despite them not having the avoid note, B? Thank you.

[@JensLarsen]

Yes, I didn't feel that these structures really sounded like they were connected to a Dm7 and started to sound like another chord. I guess it is all the context, it is never really enough to just look at the notes.

[@EclecticEssentric]

I...I've never thought to practice my Sus arps. Odd. Thanks Jens! Nothing to argue with here, except my Am7 isn't spelled FACE, but I see that you're aware of that already. :)

[@JensLarsen]

Haha! Yes, If it wasn't for the fact that I screw stuff up a the time I should put them in there on purpose for engagement

[@GiovanniBottaMuteWinter]

Loved this video. Gave me a lot of ideas to make lines and practicing over specific chords. I have a few questions: I went through the exercise of finding similar arpeggios for a dominant and a major7 chord and it’s a lot of material (using the 4 as avoid note). How would you suggest practicing these ideas on a simple progression like a II V I? I was also wondering how to do the same for a minor II V I: for example, the half diminished chord does not have avoid notes (if going off a Locrian or Locrian natural 2 mode). That leads to all arpeggios being viable. Maybe there are other rules of thumb for that and maybe for altered dominant too (the 4 becomes #4 so no avoid notes either). What do you think?

[@JensLarsen]

I wouldn't worry too much about avoid notes and train my ears and knowledge of how different notes sound and what I want to hear on a chord. In general, it is always better to focus on what to play than what not to play.

[@GiovanniBottaMuteWinter]

Jens Larsen I guess I was using avoid notes as criteria to choose what to play. How would you choose arpeggios on a half diminished chord?

[@sedisvacantia8581]

Absolutely awesome video format. I would love to see one for other common chord types.

[@JensLarsen]

Coming soon! Give it a few weeks :)

[@teresathomley3703]

Nice guitar

[@JensLarsen]

Thank you!

[@steveyastrowandcompany]

Jens ... rare typo for you ... near the beginning when you illustrate the arpeggios of the root, 3rd and 5th, you had the notes of the Am7 as FACE, not ACEG.

[@JensLarsen]

Thank you Steve, that is indeed a typo 🙂

[@steveyastrowandcompany]

Jens Larsen I loved the video. It was one of those “I could have figured that out but I didn’t” moments. So much of your wonderful teaching reminds me to “slow down and see/hear the jazz.”

[@lucasnon5784]

Lol love the intro

[@jamessidney2851]

I couldn’t really figure out anything to get mad about this time. Maybe Pat will? But it’s okay to make fun of Pat a little. It seems like he knows he’s pretty good, this probably won’t affect his confidence as a player. Besides, he may not even see this lesson (he’s pretty busy). 😉 But I learned a lot! Thanks for the spread arpeggios and the quintile arpeggios. That’s some great new ammo for the next time I find myself in a Gunfight at the D Minor Corral. Oh, by the way, for a while now I have been sometimes approaching major 2-5’s (in C), phrasing from a D minor 7 arp on the ii chord, then making a very simple transition to the D Dorian scale on my V chord. I know, I know, it’s all completely diatonic. But it has the same effect you mention (of delaying the B), so I feel like it does sound a wee bit more informed than just wading around in C Ionian scale harmony over all three chords, and it’s a super easy go-to in a pinch. I never considered that substitute arpeggios and triads were subject to the same laws of gravity. I probably would have realized that on my own in a few years. But thanks for pointing it out sooner!

[@Cooltorpedo]

Thank you, Jens. Very good lesson. The problem of learning that you have those many options playing harmonically linked melodies (triads, arpeggios, quartals, quintals, etc), and that you may also add chromatic condiments to that, is having to make decisions. How do you choose among all those what to play while keeping time? Do you really think of what comes next or is it practice that leads you to the next phrase?

[@JensLarsen]

You're very welcome! You don't think about which arpeggios you use when you play. You practice using them until they are a part of what you play naturally. Everything you do when improvising should be on a higher level in terms of decision making.

[@Cooltorpedo]

@@JensLarsen "Higher level of decision making" How is that higher level? Is it related to the notes that help to define the harmony? Perhaps just being driven by the music and the flow you want to give to it? This sounds like material for a lesson ;-)

[@DeckardRJ]

Very good! Jens, can you recommend some books you read in your harmony studies? Thank you very much in advance!

[@JensLarsen]

Thank you! I actually never read any books, I just followed a class at the conservatory. You could check out Frans Elsen's harmony books though, he was very influential at the conservatory

[@DeckardRJ]

@@JensLarsen Very Nice!!! I'm gonna check it out on the internet to see If I can find them! Thank you so much and keep up the awesome work!!

[@bosscatrover6083]

Jens You & your videos are amazing, however You go trew so much...times it can be a bit demotivating. Ever thought of making a few bite size series 'taking by the hand aproach' like the impro videos of Achim Kohl??? Yours would be so much better! Thanks for what your doing!

[@benjaminrosenbohm8910]

Hey Jens! Greta video as always, super informative. Slight typo at 9:11, I don't think you played the F on beat 3 on this example.

[@JensLarsen]

Thanks Benjamin! It would not be a true video of mine if it did not have at least 3 typos :)

[@joelperry8187]

Cool Jazz...........

[@dutchdude123]

What DFAC? So cool, still learning! Thnx for the Lessons.

[@JensLarsen]

My pleasure!

[@abedelsatershamma1951]

Thanks for that brilliant lessons Sir, but i concluded the following, in that scale ur using if starting from the third of Dm we get a maj7 thn starting from the 5th we get a minor 7 thn starting from the seventh its a maj7 again....am I right :)

[@JensLarsen]

Glad you like it! Yes that is correct :)

[@PlayLikeTheGreatscom]

How do you enable the timestamps in the player timeline? Do you need to flip some extra switch after writing the text in the description?

[@JensLarsen]

No, KZbin takes care of it :)