(jazz guitar)
- Hi, everybody, my name is Jens Larsen.
Sometimes when you're looking for some more interesting
and rich-sounding arpeggios, it can be a good idea
to start working with what you can find
if you go beyond the strict diatonic arpeggios on a scale.
So that means you are not looking at the arpeggios
that you get by just stacking thirds within the scale,
but you try and alter them and use other notes.
And one of the arpeggios that I use really a lot like this,
especially in my sort of melodic minor and alter sounds,
is the dom7(#5) arpeggio.
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The A7(#5) is found
in two different melodic minor scales.
So it's found in D melodic minor.
(Jazz Guitar)
Where you have it here.
(Jazz Guitar)
And it's also found on the seventh degree
of Bb melodic minor.
So that would be this scale.
(Jazz Guitar)
And here you have it here.
(Jazz Guitar)
One of the reasons why this arpeggio works so well
is probably because, if you take it apart,
you can look at this being
(Jazz Guitar)
an augmented triad with an extra note.
And since the augmented triad is really a huge part
of an melodic minor sound, so if we listen to like a
(Jazz Guitar)
D minor/major, which is sort of
the basic melodic minor sound.
Then the top part of that is, of course,
the augmented triad.
The same goes for the the kind of sound that you have
if you have a Lydian dominant.
(Jazz Guitar)
Now the starter for that is also gonna be
an augmented triad.
So that's probably the reason why
this connects so well with the melodic minor.
So now I'm going to give you three examples
of how I use this arpeggio.
The first one is going to be on an altered dominant.
So the A7(#5) works really well
as a sort arpeggio that you can
put on top of Db7alt.
So I'm gonna do that with a II V I
in the key of Gb major.
You can actually also use
the A7(#5) arpeggio on an A7alt,
but I'm gonna save that for another video.
(Jazz Guitar)
The first part of this line, on the A5 minor seven chord,
is using a B major or a Cb major, if you will, arpeggio.
So I'm just using a descending sweep like,
(Jazz Guitar)
to go down there.
Then I'm encircling the Ab.
(Jazz Guitar)
And then moving up to the B.
And here on the Db7alt,
I'm using the arpeggio, so just from the root.
(Jazz Guitar)
And then from the C# down to the B,
resolving to the third of the Gb.
(Jazz Guitar)
If you relate the arpeggio to a Db root,
then we have the A, which is a b13.
We have the Db, which is the root,
the F, which is the major third,
and then we have the G, which is a #11 or a b5.
So that gives us this kind of chord sound.
(Jazz Guitar)
Which is like a Db seven with a b13 and a b5.
(Jazz Guitar)
Here I'm using the A7(#5) arpeggio
on a tonic minor.
So on a D minor/major sound.
And the line is really simple in the beginning
because it's just, really, D melodic minor and stuff, so.
(Jazz Guitar)
Start on the fifth, third, then inserting the root.
(Jazz Guitar)
And then from the root, running up the scale.
(Jazz Guitar)
And then the second bow will get the arpeggios.
So, first on the #5, and then down to the root.
(Jazz Guitar)
And then just up the arpeggio.
Up to the #5, resolving that
to the ninth of D minor/major.
Yes.
Again, so D minor/major, then the sound we get
is just the sound of the D minor/major.
(Jazz Guitar)
Because that's just that augmented triad.
And then we get the 11th in there as well.
So in that way, it's sort of closely related
(Jazz Guitar)
to the tonic minor sound.
It's well worth while, also, checking out
the other version for your tonic minor.
So the other version, in this case, would be
the one that's found on the seventh degree.
And that will be like a C#, dominant seven, sharp five.
So...
(Jazz Guitar)
In this final example, I'm using the A7(#5)
on an Eb7 Lydian dominant.
So I'm using an arpeggio constructed on the seventh degree
of a Bb melodic minor scale.
So that means...
(Jazz Guitar)
This as a part of this scale.
(Jazz Guitar)
And the progression that I'm using is first G minor.
And then Eb7, and then F major seven.
So really, that's just a IV, Ivm type progression
in the key of F major.
The line is first encircling the root of the G minor.
(Jazz Guitar)
And then using the triad from the third,
so a Bb major triad.
(Jazz Guitar)
And then going into the arpeggio.
(Jazz Guitar)
So the A7(#5) arpeggio.
(Jazz Guitar)
And then a small scale one.
(Jazz Guitar)
And then resolving to the third.
(Jazz Guitar)
On the F major seven, and then just sort of taking this
short, A minor pentatonic run on it.
(Jazz Guitar)
If we look at the A7(#5)
against an Eb root
then what we get is the #11,
the seventh, the ninth, and the third.
So we kind of have, because, of course, Eb7
and A7 are tritone substitutions of each other,
so in that way it's actually a complete cord,
what we have here for the Eb7.
And that's probably also why it works so well.
And in this case we can just...
We can also still just use the Db or a C#,
whichever way you wanna look at it,
as the important note in the context,
because that's the one that needs to resolve
down to the fifth of the F major seven.
Do you have an arpeggio that you use a lot
that's not like a straight diatonic arpeggio,
like the one that I'm talking about here?
Because this is something, of course I've talked about this
in my videos before and it's probably a topic
that I want to return to,
because I find that it's a very nice way
to put out some very specific sounds of a scale.
And it's also just a nice variation, a nice change
from having all the straight diatonic arpeggios
that we use all the time.
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That's about it for this week.
Thank you for watching, and until next week.
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