- Hi everybody, my name is Jens Larsen.
You're probably already practicing
and using arpeggios in your solos
and you also realized that it would be really useful
and practical to start working with the inversions
of those arpeggios, since you're anyway practicing them,
but it can be kind of difficult
to make some good lines with the inversions,
but there is one way that you can start doing this,
where you also add a really nice, large interval skip,
that's gonna make your lines
sound a little bit more surprising
and that's what I wanna show you in this video.
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about improvising over chord changes,
checking out some interesting scales or arpeggios,
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The examples that I'm using in this video
are all on a 251 in the key of D major,
so that's E minor seven,
A7 altered and D major seven,
so the basic idea that I'm working with here
is that we have the inversion of the arpeggio,
that's in this case on the E minor seven,
so that's this G major seven in first inversion,
first the top note and then skip down and play the rest,
the remaining three notes ascending
and then continue from there
and I'm using the exact same idea on the A7,
but then with a B flat minor major arpeggio,
so first that highest note
and again, it's the first inversion,
so that's a B flat, the root,
skipping down to the third and then up the arpeggio
and then
continue like that.
This example is using the third inversion
of G major seven arpeggio
over the two chords of the E minor seven
and I'm starting with the fifth, so that's in this case a D
and then I'm skipping down to a F sharp of the arpeggio
and this is really so nicely connecting,
so now we already have like a large interval skip
from D down to F sharp,
every time I do this, I actually get a sixth interval
and that's a very nice, sort of pretty consonant interval
to skip around with, if you wanna use larger intervals,
because it is the inversion of the diotonic third,
so we have the six down here of the arpeggio,
then I'm encircling the quarter arpeggio,
that I'm starting on the A,
adding an E and then the A7 altered,
it's two triads, first it's a B flat minor triad
and then a G diminished triad
and then just a scale run from A, G down to F sharp
on the D major seven.
In this 251 line, I'm starting with a scale run
just from the root, so really from the E
and then up to the fifth of the chord, so that's a B
and then from the B, I'm using the second inversion
of a G major seven arpeggio, so I'm skipping from the B
down to the D
and then up the arpeggios at F sharp and G
and then on the A7,
first it's an A augmented triad, so
or a C sharp augmented triad
and then an E flat major triad
and then resolving that to the fifth of D major seven.
So on to now, we've seen that this works really well
for a first, second or third inversion
of a seventh chord arpeggio,
but you can actually also use it
for a diatonic seventh chord in root position
and that will sound something like this.
In this line, I start with a G major seven arpeggio,
which is of course just straight up G major seven arpeggio,
except for the fact that I'm starting
with the highest note in the arpeggio,
so I'm playing first the F sharp,
skipping down to the G
and then up the arpeggio
and then I'm kind of using the idea
that F sharp and the D
are encircling the notes of that chord
or harmony arpeggio from E, so that's
this that continues down to a B, so
and then from here, I'm moving to the A7 altered
and the A7 altered line is really
just a B flat sus triad in two inversions,
so first from the B flat, so
and then from the fifth,
and then resolving to the F sharp on the D major seven.
So here, you can also see that very often,
when I'm using the pivot technique like this,
I'm kind of thinking of the arpeggio
as just being embellishments up to our highest note here,
so really what's happening is that melodically
I have the top note that I begin with
and then the note under it
and then these two were a lot less important
and that's why it feels okay to do
this as a sort of
encircling of this E and this line.
This way of using arpeggio inversions
to create some larger interval skips
and also just really to have a practical way
to use the inversions at all
is something that I use quite a lot
and I find that that's a very nice way
to just work with these things
and also to get some interesting,
more surprising effects into your lines,
so that you're not just chaining
together scales and arpeggios
and everything seems to be moving
in one direction all the time,
because I think it's important that we also make lines
that have a few sort of surprises for the listeners
to keep their attention, while we're playing,
this is something that Parker also does really a lot,
so it's not specifically a new kind of technique in any way,
so you can also find him doing this really a lot
with especially the diminished arpeggios that he uses,
so that's also worthwhile checking out,
if you wanna see some more examples of this.
Do you use this technique
or are there similar techniques that you make use of
to make lines with arpeggio inversions,
then leave a comment on this video,
I'm sure everybody's interested in that, I know I am
and we're of course always looking for nice tricks
and nice ideas for making some new licks
and getting some new sounds into our playing.
Do you wanna learn more about jazz guitar
and it's the first time you've seen one of my videos?
Then subscribe to my channel,
the videos that I publish here every week
are on finding some solid methods and good strategies
to explore all the great things on jazz guitar
about improvising and soloing and comping.
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If you support me on Patreon,
I can also give you something in return for that support,
so check out my Patreon page
and that's about it for this week,
thank you for watching and until next week.
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