The Great Thing About Jazz And Arpeggios

[@JensLarsen]

Do you use arpeggios like this? Any great tips? Content: 0:00 Intro - Using One Arpeggio on many chords 0:34 The Basic Cmaj7 Arpeggio 0:52 A few thoughts on Arpeggio Practice 1:04 #1 Cmaj7 - From The Root 1:50 Analyzing Example #1 2:36 #2 Am7 - From the 3rd 3:29 #3 D7 - From the 7th 4:15 #4 F#ø - From the b5 5:11 #5 Fmaj7 - From the 5th 5:57 #6 Abmaj7(#5,#9) - From the 3rd 6:14 A short description of the Augmented Scale 7:08 Be Creative, practice making music and melodies 7:30 Like the video? Check out my Patreon Page!

[@petercrist8912]

Puzzled by what seems some unnecessary complexities to think about - for example when presented with D7 - why think of that c-e-g-b sequence as choosing an CMAJ7 arpeggio, as opposed to just the 7th, 9th, sus4th and 13th in D7 context. I can see that it's handy to use that easy and familiar guitar shape here especially thinking of the direct sub that CMAJ7 is to a Am7 in mash up of the the 2/5 Am7/D7 flow, but the later examples (Augmented scale - Abmayj#5 etc)) seem to go down unecessary rabbit hole sfor me. But then I am not a modal fan - I love the quote from Chet Baker about only knowing the major scale. BUT I am a big fan of your videos in general!!

[@JensLarsen]

@@petercrist8912 I think even when you write out the 7th, 9th, 11th and 13th of D7 it becomes very clear why it is easier to think of a Cmaj7. To me your way of writing it is unnecessarily complex and cumbersome, which is quite ironic :) I don't know that quote, but Chet Baker knew more than the major scale (speaking from the two solos I transcribed, since they are not only major scale)

[@zozovaca]

Great lesson! Great tips? Hm, nope, you have covered pretty much everything...maybe Cmaj7 arpeggio over Dm7, in modal context? P.S. and not just in modal, actually... could work great in 2-5-1 situations, too.

[@damonshanabarger2604]

If we internalize the C∆7 chord we would find that it is in fact a stack of thirds. This of course is a Major minor 3rd domain in chronological order. If we continue to follow this pattern we would find a full compass on the fifteenth interval and become intertwined with the B natural minor scale with all but five tones repeating twice. The root C and the lydian F, plus all of the altered tones: F# Dominant Lydian, C# and G#:) The other four: E, B, D, and A occurs twice on every eighth interval. The most important tone in the C∆7 chord itself other than the root is the Major 3rd which is in reality the four of seven. E is 4 to the B:) Upon removing the E tone from the chord will create a dissonant tension. The Lydian third which is E is necessary in order to make it the perfect resolution chord. It is what I believe to be the core of musical theory. Lydian always dominates the musical spectrum and in this rare case is at a focal point of view. Because the note is opposite of tension when added to the chord:) E, F, F# are all a half step apart:) C is the four of the five G:) C, C#, and D are also a half step apart. This is basic half step tritone theory which could be applied to any style of music. This is Dominant Lydian. Without DOMINANT LYDIAN there is no music!!!!!

[@damonshanabarger2604]

G# is actually found in the key of A Major, but is only a half step outside of B natural minor. Every Major diatonic key has three natural minor pentatonic scales in the Aeolian, Dorian, and Phrygian modes. The Locrian will yield the #4 altered tone, therefore the B minor pentatonic over C∆7:) The tonic half diminished chord [C half diminished] would yield the A# and D# which is a fast way to introduce all five of the altered tones of Aeolian mode tritone key of F#/Gb Major when stacking thirds through and beyond the C∆7 chord.

[@LeeGesmer]

Please never stop posting these wonderful lessons. Be assured they are deeply appreciated.

[@JensLarsen]

Thank you very much Lee!

[@pricehodson8530]

Thank you so much. My teacher has been gently nudging me in the direction of working on my arpeggios. You have packed so much great material into 7 minutes and 42 seconds. This is going to keep me busy for a long time. Wonderful, concepts. Thank you very much.

[@JensLarsen]

Glad you like it 🙂

[@RC32Smiths01]

Arpeggios are one of, if not, the best way to perform solos! So many endless possibilities! Awesome work here!

[@JensLarsen]

Thanks RC :)

[@RC32Smiths01]

@@JensLarsen ahh you are welcome my man!

[@DESIENASHOES]

Nice lesson - great thanks

[@JensLarsen]

Glad you like it!

[@sirfultonbishop]

Great information! Thank you!

[@JensLarsen]

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

[@rickgonzales5194]

Thanks Jens😎👌

[@JensLarsen]

You're very welcome!

[@JensLarsen]

You're very welcome!

[@jumemowery9434]

Wow!!! A double "you're welcome" from Jens!! Good for you!

[@JensLarsen]

@@jumemowery9434 Gotta love that KZbin app :D

[@1Ma9iN8tive]

Nice lesson

[@JensLarsen]

Thank you! :)

[@martysradioshow5979]

thanks you sir J

[@JensLarsen]

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

[@tonym7051]

The guitar center near me recently started offering lessons. I’ve been playing for about 3 years now but I want to get feedback from a teacher. Idk if GC is the best option rn though.

[@JensLarsen]

That really depends on who is teaching there. You need to talk to him or her.

[@PIANOSTYLE100]

Great Video. I have played various instruments including guitar and piano since the 70s. This will only work for the white keys. CDEFGABCDEFGABC To get 9th every other note CEGBD DFACE EGBDF.etc. Of course on the guitar we can just use for her positions. However this can be done in all keys just by knowing all major scales. I would start with F and G. This type arpeggio helps us get real creative and also see what the artist were thinking when writing jazz solos. On the 5 chord I would think G 9. G ( B D F A) and play B minor7b5 arpeggio over it. Very Interesting.

[@Duds.811]

Jens, I'm a huge fan of your channel. Great tips in every single video. I'm a begginer jazz player that came from rock, so I was used to scales. Thinking about chords and arpeggios is challenging me every single day. One thing I noticed I'm struggling in is that I get lost when playing vertically. I know arpeggios horizontally (mainly between 2nd to 5th strings), but vertically, I get completly lost. Any tips on that? Thanks! Keep up the great work here.

[@JensLarsen]

Thank you! :) I would focus on practicing arpeggios in the scales similar to this: kzbin.info/www/bejne/aIvIY2V4g8und6M That way you are connecting the two and seeing the arpeggio in a context.

[@eternalrainbow-cj3iu]

Nice lesson, Nice hemiole C-major arpeggio, i've got another idea: why not us the maj7 shape as you played it and than use only this shape to go over Giant Steps Like this: Bmaj7 Cmaj7(over D7) Gmaj7 Abmaj7 Ebmaj7 Cmaj7(over D7) Ebmaj7over D7(Why? in the time of coltrane those extensions where the first they start to try to not go to far out immideately) Gmaj7 Abmaj7 Ebmaj7 Cnaj7 or Emaj7 over F#7 Bmaj7stays the same as an example that with jsut one shape how use full it could be...of course knowledge of your fretboard tends to be immanent here

[@marcusstoica]

Hi Jens - been putting in the time with Donna Lee and I've made a lot of progress. I'm putting myself to work getting the upper structure tones and altered tones down pat. Seems like a lot of the examples you've got in here can also be thought of as arpeggios utilising the 9, 11 and 13 of the chord while still maintaining the chord base in your mind. Do you find that thinking scales open you up more than chords do?

[@JensLarsen]

Great Rohan, Keep at it! I don't think that it is useful to only think scales or only think chords, both are important, but only one is not enough. It is as much about connecting the information as it is about learning new things :)

[@marcusstoica]

@@JensLarsen I see. I guess I'm lost at where to start to really get scale based music. I know you have a video on it and, if it's okay, after I'm done watching it and digesting the information I'll write back to you. Thanks so much sir.

[@eternalrainbow-cj3iu]

Last suggestion could be to use 5 equals over 2 beats so a quintuplet of quart notes i guess? so you have ten notes in a bar, than we enter the realm of Eef Albers again he played rather often such scales sort of myxolydian-pentatonic over the hole neck, in two or three octaves like up and down like a maniac, as fast as possible, In Utrecht being a teacher he had a student Tino du Cahteau, who told me this and tought actually...I would recommend to mix this with the maj7 shape, to play over a standard as Giant Steps...to get the right result I take first one or two or sometimes for starters four bars one shape+chord and than I drive it slowly, gradually in the direction of two chords in a bar with this stuff I would also strongly an highly recommend to play at least sixteenth's or sextoles, so you're getting used to have more ""notes on your singing'", again a bit more thought as asaxophonist, It has realy Great advantages to use just one shape first...later on you mix it with your own language, this is the way to get it as fast as possible...less is More, yesterday, today and for shure tomorrow...

[@juliendrouot128]

Hi Jens thanks for your work as always. Silly question but : the chromatic line on first example is on a strong beat. It sound cool , is it somehting we can do to create dynamism over maj chords ? Tanks a lot ! :)

[@JensLarsen]

Thanks Julien! The Chromaticism I am using on the Cmaj7 works fine on all maj7 chords. I am not sure what you mean with dynamism?

[@juliendrouot128]

@@JensLarsen well I meant "interest" in fact. Its somehting that I suspected in compositions like the ones of george barnes, django, jimmy bryant. Maybe im wrong (I need to transcribe) ??

[@eternalrainbow-cj3iu]

Also, as a matter of fact, i studied lot's of Giants Steps lessons, nobody does this Only at berkely, as far as I know they have such projects: Ed Saindon is than the authority...who just uses one shape over a standard he used maj7#5shape over Autumn leaves All The things you are & Green dolphin Street

[@boidoh]

Hashtag half-diminished

[@JensLarsen]

Always important!

[@jackw3295]

i swear the beginning of the cmaj7 arp sounded like aquatic level from donkey kong

[@JensLarsen]

Ok. I don't know the game that well.

[@jumemowery9434]

Someone *Must* have accidentally pressed the dislike button.

[@Pladderkasse]

Sometimes when i practice soloing, I forget to think about arpeggios and scales and just let my 30+ experience, my ears and "finger instinct(?)" guide me, it can be a mess, but sometimes I come up with things that sound so cool, I get frostbite.

[@JensLarsen]

Nothing wrong with not thinking when you are playing :) I think many of us do that!