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Arpeggios
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thomasross20



Joined: 27 Aug 2006
Posts: 139
Location: Edinburgh

PostPosted: Wed Nov 29, 2006 7:40 pm    Post subject: Reply with quote

I think you're 100% correct... Yes, I'll definitely do that, thanks! Cool
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dewey decibel



Joined: 15 Feb 2006
Posts: 1677

PostPosted: Fri Dec 01, 2006 12:46 am    Post subject: Reply with quote

Quote:
OK, I've been learning my major, minor and 7th arps.. But then what if a chord like maj#5 comes up... surely you can't remember all the arps? And in the heat of the moment, there's no time to remember the notes on the fretboard via the names of position relative to the root.. I'm confused.. So many arps.. They are making my playing sound better, but it's imposible to know them all... So what???? Help! Confused



Well, if you know that a major arpeggio is 1 major3 5 maj7, how hard is it to raise the 5th? But.....

Quote:
Get off with the tritone substitution?? I was thinking if an alteration came up, say Gb9b13, I could play a dominant 7 arpeggio, but think of playing it over the altered scale and just using notes from the scale to colour t, rather than actually memorising each arpeggio. This would drastically cut down the amount of arps I'd need to learn.



IMO, one of your hang ups is because you're trying to learn these things for the sake of learning them. What you should be doing is learning them in relation to a tune or actual musical situation. Chords don't exsist on their own, their part of a tune. And where they fall in that tune changes the way you may treat them, and knowing where you're going and coming from is very important.

I think you should work on the 4 arpeggios the others have suggested, and then try and work through some tunes. For instance, after you get the 4 basic ones down, let's say you wanted to get some min/maj7 stuff happening- work on the tune "Minority" or "Nica's Dream". When it comes to altered things (especially with 7th chords) most of the alterations are desigend to increase the tension and resolution to the following chord. So it's important to learn these things in context.
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thomasross20



Joined: 27 Aug 2006
Posts: 139
Location: Edinburgh

PostPosted: Fri Dec 01, 2006 10:29 am    Post subject: Reply with quote

Thanks! Smile
Yeah, I plan on going through some standards playing solely arpeggios to get a feel for it all Smile
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Rolland Harrison



Joined: 15 Jan 2007
Posts: 95
Location: Houston Texas

PostPosted: Mon Jan 15, 2007 4:55 pm    Post subject: Reply with quote

Thought I'd add one here for yall..

Also...
Below is a link for creating Tabs that allows you to map out your notes on a virtual fret board and creates a tab below that you can copy and paste into documents.. Thought I'd pass it along..
http://tabcreator.rukind.org/#

Fully diminshed arpeggios..

A diminished arpeggio...or C diminished arpeggio...Or E flat diminshed arpeggio..Oh well you get the drift..Just move it up 3 frets (Minor 3rd) and the notes repeat...

E|--5--8-----------------------------
B|--------7--------------------------
G|-----------5--8--------------------
D|-----------------7-----------------
A|--------------------6--9-----------
E|--------------------------5--8-----

I like the above form because there is very little vertical movement up the neck...

As far as incorporating into tunes.....
Play a simple 12 bar blues....
When you get to the IV/7 chord play the dimished arpeggio on top of it. You can also just move the above arpeggio up 3 frets during the run, or play a dimished chord out of the arpeggio, and simply move it 3 frets up the neck at the time of the IV/7..

The above run works well with the V/7 as well, because Dominant 7 chords are just one note away from being diminished...

Also I saw the Augmented arpeggio earlier in this thread..
Another good way to incoporate this into your playing is to play that lick over the over the V/7 chord in a simple 12 bar blues.. At least that's one of my tricks...Try it an see what you guys think..

There are so many jazz standards with so many chordal variations, especially the II,V,I.. That when I'm working on arpeggios and scales, I tend to go back to a 12 bar blues and incorporate what I'm working on into that format. Then when I play the standards I've got an idea how these technical excercises should flow..

I've got a vid with Tal Farlow, Charlie Byrd, and Herb Ellis...
Herb Ellis makes the comment if he doesn't play the blues everyday he breaks out in hives. And when you watch Herb play the blues, it definitiely is the kind of blues that most guitar players wish they could play. At least wish that I could play.. Laughing

You can turn a fully dimished arpeggio into a half dimished arpeggio by raising the 7th up a half step..
Example:
C fully diminished..
C, Eflat, G flat, B double Flat..

C half diminshed..
C, E flat, G flat, B flat..

Hope this info helps someone..
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alfonso



Joined: 25 May 2005
Posts: 1258
Location: Sacramento

PostPosted: Sun Feb 11, 2007 8:13 am    Post subject: Reply with quote

Here I go again C major is the first one just straight down the neck then up again over and over as you choose. You don't always have to play arpeggios fast but the faster you get the better along with scales or anything else you play on guitar. What I mean is like in a 12 bar blues a slowly played maj. 7th arpeggio could be the flavor or color you're looking for. Next one is a C minor arpeggio same thing, straight down the neck then straight back up, then there's the augmented and diminished. Go down the way it's written and come back up the same way, I'll wait for any corrections. Embarassed I can only think of one but I'm just not sure otherwise I wouldn't have written in the parenthesis. later, oh and big thanks to Rolland for the new tab link. http://tabcreator.rukind.org/#

C major
E|--------------------8--------
B|--------------5--8-----
G|-----------5-----------------
D|--------5--------------------
A|-----7-----------------------
E|--8--------------------------

C minor
E|--------------------8-----
B|-----------------8--------
G|-----------5--8-----------
D|--------5-----------------
A|-----6--------------------
E|--8-----------------------


C augmented C+=(E+, G#+, Ab+)
E|--------------------8-----
B|--------------5--9--------
G|-----------5--------------
D|--------6-----------------
A|-----7--------------------
E|--8-----------------------


C diminished Co (Ebo, Gbo, Ao)

E|-----------------------5--8-----
B|-----------------4--7-----------
G|--------------5-----------------
D|--------4--7--------------------
A|-----6--------------------------
E|--8-----------------------------
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g7guitarist



Joined: 11 Feb 2007
Posts: 15
Location: New Zealand

PostPosted: Sun Feb 11, 2007 9:44 pm    Post subject: Paul Gilbert arpeggios Reply with quote

I'm a jazz player and I have always had trouble playing arpeggios fast. Check out the celtic type lick that Paul plays on this video http://www.youtube.com/watch?v=HC60XNiS-MQ it is about the 3rd lick in(where the crowd start screaming, there must be lots of guitarists in the audience who know how hard this is). He has the skill of string crossing DOWN, as he rarely uses consecutive strings. I have written it out but couldn't figure how to upload here so it is temporarily available at http://www.leighjackson.com/gilbert.pdf for download. I played it in on a midi guitar (slurs by hand) using a programme called Sibelius G7 which you can find out more about here http://en.wikipedia.org/wiki/Sibelius_G7
All the best
Leigh
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TGreene'77



Joined: 01 Jul 2006
Posts: 50
Location: Spartanburg,SC

PostPosted: Tue Mar 20, 2007 10:28 pm    Post subject: Reply with quote

alfonso wrote:
Here I go again C major is the first one just straight down the neck then up again over and over as you choose. You don't always have to play arpeggios fast but the faster you get the better along with scales or anything else you play on guitar. What I mean is like in a 12 bar blues a slowly played maj. 7th arpeggio could be the flavor or color you're looking for. Next one is a C minor arpeggio same thing, straight down the neck then straight back up, then there's the augmented and diminished. Go down the way it's written and come back up the same way, I'll wait for any corrections. Embarassed I can only think of one but I'm just not sure otherwise I wouldn't have written in the parenthesis. later, oh and big thanks to Rolland for the new tab link. http://tabcreator.rukind.org/#

C major
E|--------------------8--------
B|--------------5--8-----
G|-----------5-----------------
D|--------5--------------------
A|-----7-----------------------
E|--8--------------------------

C minor
E|--------------------8-----
B|-----------------8--------
G|-----------5--8-----------
D|--------5-----------------
A|-----6--------------------
E|--8-----------------------


C augmented C+=(E+, G#+, Ab+)
E|--------------------8-----
B|--------------5--9--------
G|-----------5--------------
D|--------6-----------------
A|-----7--------------------
E|--8-----------------------


C diminished Co (Ebo, Gbo, Ao)

E|-----------------------5--8-----
B|-----------------4--7-----------
G|--------------5-----------------
D|--------4--7--------------------
A|-----6--------------------------
E|--8-----------------------------


Well, you said you were waiting for corrections. In you augmented arpeggio you have "G#+, and Ab+" which are the same. You've got to remember it's 3 for augmented and 4 for diminished.
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alfonso



Joined: 25 May 2005
Posts: 1258
Location: Sacramento

PostPosted: Wed Mar 21, 2007 1:00 am    Post subject: Reply with quote

TGreene'77,
Yeah that's been pointed out before and I know they're enharmonics or one in the same but I just wrote what I got out of a book, I didn't pull that stuff out of my head so you can blame the guy who wrote the book but I'll take the blame. I've always wondered why he wrote it out that way, no worries we all know, right. later
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TGreene'77



Joined: 01 Jul 2006
Posts: 50
Location: Spartanburg,SC

PostPosted: Wed Mar 21, 2007 1:09 am    Post subject: Reply with quote

Alright man, that's cool I just saw that and since it said in your post you were waiting on corrections and it'd been a long time since people had posted I just went ahead and did it. I've been surfing this forum for quite some time and I know that you know your stuff, so it's all good.

Cheers Very Happy
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jazz_fan



Joined: 16 Jun 2006
Posts: 23

PostPosted: Fri May 04, 2007 9:30 pm    Post subject: Arpeggio Reply with quote

Thought I'd contribute here too :
here's one of my favorite arpeggio across the neck :

Cm6
E|--15--11-------------------------------------
B|----------13--10-----------------------------
G|------------------12-------------------------
D|----------------------13--10-----------------
A|------------------------------12--10---------
E|--------------------------------------11-----

I love this shape ; You can use it against several chords :
Cm6/F7 going to BbM
Am7b5/D7 (G minor context), just alter G to F# to obtain a Eb° arpeggio! (makes me think of pat martino....hum!!!)
But also in tunes where you've got Cm6 GM7/B progressions
Also thinking in terms of substitutions, you can play it against B7alt.
and surely others...
thierry
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ntgr8



Joined: 25 Apr 2006
Posts: 177
Location: west coast, usa

PostPosted: Tue Jul 10, 2007 10:11 am    Post subject: Reply with quote

Check out superimposing Suspended 4th arps over different chord changes.

Jan Hammer and Jeff Beck like to use this arp a lot.
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jookyle



Joined: 21 Jul 2007
Posts: 33

PostPosted: Wed Apr 30, 2008 2:11 am    Post subject: Reply with quote

So I was told today about a way to Superimpose by harmonizing in either triads or 7ths to its scale. So that over a Dmin7 chord I could play a Dmin7(I),Fmaj7(III),Bbmaj7(VI),C7(VII). What do you guys think of that?
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Alexo66



Joined: 08 Mar 2008
Posts: 97
Location: South Wales, UK

PostPosted: Wed Apr 30, 2008 3:54 pm    Post subject: Reply with quote

Yea I know what you mean Jookyle. Not sure about what degrees work the best though.

Although, here's my contribution, which perhaps is coming from a similar angle:

When you reach a minor or dominant chord, play an augmented triad built on the ninth degree of that chord. E.g. if you reach an A7, play B augmented triad.

E|-------7----------11----------15-------3-
B|-----8---------12----------16--------4---
G|---8--------12----------16---------4-----
D|-9-------13----------17----------5-------
A|-------------------------------------------
E|--------------------------------------------

(Shape is symmetrical, so it can be moved up or down 4 frets).

Creates TENSION.
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pena



Joined: 25 Oct 2011
Posts: 15

PostPosted: Thu Oct 27, 2011 6:54 am    Post subject: Reply with quote

C Eb G Bb C
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