(Jazz guitar music)
- Hi everybody, my name is Jens Larsen.
We spend a lot of time practicing our arpeggios,
so it makes sense to have a few different ways
to use them in our playing.
In this video, I'm going to go over three different ways
that you can insert arpeggios into your jazz licks,
and it's gonna help you come up with some new melodic ideas
and also get more out of all the time
that you spend practicing arpeggios.
If you want to learn more about jazz guitar,
about improvising over chord changes
and checking out some interesting chord voicings
and jazz phrases, then subscribe to my channel.
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(Jazz guitar music)
In this example, I'm using the arpeggio to really bring out
some of the notes in the line that I'm playing.
And this is a great way to add some emphasis
to an extension or an alteration.
So the way I'm doing it, all the examples that I'm playing
in this video are on a II, V, I, in the key of Eb major,
so that's F minor,
Bb 7,
to Eb major.
What I'm doing here is I'm using an ascending arpeggio
to really bring out the 9 on the F minor 7.
So the way the line works is that I'm playing first,
I'm just starting on the root of the scale,
and then I'm playing the Ab major 7 arpeggio
that has this G as a top note.
And to add even more emphasis, what I'm doing is also
that I'm changing so that the pace,
by playing the first part of the arpeggio
as an eighth note triplet,
making this the target note,
and then just having a little bit more
velocity before I get there, is really helping
bring out that sound on the chord.
This idea of using ascending arpeggios
to really bring out certain notes, is something
that we've been doing in jazz since Charlie Parker.
A recent video that I did on a Wes Montgomery lick
is actually also about this, because he uses an arpeggio
to really bring out the 11.
So if I transfer that to this II, V, I,
then that could be something like this.
(Jazz guitar music)
In this example, the emphasis is on the 11,
so on the Bb on the F minor,
and I'm still using the same arpeggio to get there.
So that's an Ab major triad, and then I'm leaving out
the seventh and then skipping up to the Bb
to really let that ring.
And also in this line, really do let it ring
so it's not continuing in an eighth note line
before it gets to the Bb 7 altered,
and then (Jazz guitar music)
continues in a descending run.
(Jazz guitar music)
If a solo line is just a long scale run, then it can quickly
become kind of boring and predictable to listen to.
So it's very useful to be able to add some larger intervals
and just change direction once in a while.
And in this example, I'm using an arpeggio to do just that.
So I have the descending scale run from C on the F minor.
(electric guitar music)
Then when I'm on the F, I'm using an F minor 7,
first inversion arpeggio right here.
So I'm on the F, skipping down to the third, so Ab,
and then up the arpeggio.
(electric guitar music)
And then transitioning into the Bb here,
(electric guitar music)
adding another arpeggio.
And this is, of course, more interesting to listen to
than if I just kept the same direction going
the entire II, V, I, so...
(electric guitar music)
This works the best if you're inserting
the arpeggio on a chord tone.
So another place on an F minor where you can insert it
would be on the third, so on the Ab.
That could be something like this.
(Jazz guitar music)
So here I'm starting first with a descending chromatic run.
So from C, then all the way down to the Ab.
Once I'm on the Ab, just to break up the direction,
I'm skipping down, and then playing
an Ab major 7, first inversion arpeggio.
So first the Ab, and then down to the C,
up the arpeggio, and then on the Bb 7 altered,
I'm starting on the G flat, so...
(electric guitar music)
So G flat, E, D,
on the b9, 7,
and that scale run to resolve to the fifth.
(electric guitar music)
The beginning of this example is coming straight out
of a John Coltrane solo on the song Cousin Mary,
off the Giant Steps album.
And the idea here is to have a descending scale run,
and then add arpeggios in between
as a sort of embellishment.
And it becomes sort of a cascading effect,
which is a really nice effect to have in there.
So the scale run is extremely short
because it's only three notes long.
So it's Bb, Ab and G,
and then I'm adding arpeggios in between these notes.
So I start on the Bb,
and then nothing happens, and I go down to the Ab,
and under the Ab I add a second inversion F minor triad,
so just a descending arpeggio like this.
(electric guitar music)
Then I go back up to my scale run.
So the first note, that's up there as a G,
and then I have a descending Ab major 7 arpeggio
under there, so then I have...
(electric guitar music)
Then from here I move into my own altered line,
which is Bb 7 altered,
and it's coming, sort of, out of an ascending
Bb minor-major arpeggio.
And then resolving to the third,
and finally the fifth of the Eb major 7.
If you have an approach to insert arpeggios
into your lines that I didn't talk about
in this video, then leave a comment.
I think that a lot of useful information is actually being
shared in the comments, and I'm certainly very curious
about different ways of applying arpeggios
and making lines, and coming up with some fresh ideas.
And I'm pretty sure that everybody else
who's checking out the video is as well.
So check out the comments and see what's going on
down there, because there's often
a lot of useful information.
If you want to learn more about jazz guitar,
and this is the first time you see one of my videos,
then subscribe to my channel.
The videos that I publish here are on exploring
jazz guitar, finding some solid methods,
and good strategies to get new things into your playing.
If you like this video and you wanna help me
keep making videos, then check out my Patreon page.
I'm very grateful for the support that I'm getting
from my patrons, and it's because of that
that I can keep on going and publish videos every week.
If you join us over on Patreon, I can also give you
something in return for your support.
That's about it for this week.
Thank you for watching and until next week.
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