- Hi everybody, my name is Jens Larsen.
Most of the time, I'm talking about chord progressions
with lots of chords and lots of moving harmony and scales,
but of course there are also cases
where we are improvising over a single chord
for a longer period of time,
and if you're working on vocabulary for one chord
in a progression with a lot of chords,
it can also be really useful to just take that chord out
and practice improvising over it
in sort of more of a modal setting.
In this video I'm going to take five examples
of some lines that I would play over a G7,
or sort of G mixolydian sound,
and then I'm gonna go over what I'm playing,
explaining some of the devices that I'm using,
and also give you an exercise
so you can start to get that into your fingers,
and in that way use it in your own playing.
Finding small structures
that you can insert into your own playing
is a great way to really develop a flexible vocabulary
that you can actually improvise with,
instead of playing really big chunks
of licks that might not fit together,
and that's also how I'm working
when I'm trying to learn new things.
I try to find a core idea, work a little bit on that,
and then work on using it.
If you wanna learn more about jazz guitar,
improve the way that you solo,
check out some interesting arpeggios or chord voicings,
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For each of these examples,
I'm going to go over what I'm playing,
and I'm also going to give you an exercise
so that you can just see sort of the core idea,
whether it's an arpeggio or a pentatonic scale,
and relate that to the G7,
and that way start using it in your own playing.
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The first note in this first example
is not even diatonic to G7,
because it's a leading note to the third,
so it's an A-sharp or a B-flat
going up to the third, so the B.
Then we get this sequence in a G7 arpeggio,
so first a third, and then down to the root,
skip up to the five, and down to the third,
and then the seventh, five,
and then all the way up to the nine,
and then down to the root,
and from the root here in the second bar,
I get first this ascending chromatic idea where I go from G,
and then chromatic movement up from A to B, so
and then down to A again,
and then via the A-flat down to the G,
down to the seventh, and then root,
and ending on the fifth, D.
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The basic idea in this lick is to use an arpeggio,
and then use a sequence in that arpeggio to create a melody,
and of course you can do it with any arpeggio.
In this case I'm keeping it kinda simple,
I'm just doing it with a G7,
because probably you already have the G7 in your system.
So if we take a G7 arpeggio like this one,
and then the sequence I'm playing
is sort of skipping in between the different notes.
So it's sort of skipping up to the third,
and then down to the root again,
and then I skip up to the fifth, down to the third,
and then through the pattern like that, so
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The main idea in this example
is to use a D-minor pentatonic scale over the G7,
so that's also
what the biggest part of the lick actually is.
So first we have this pattern,
which is a D-minor 7 arpeggio.
Then we get this,
which is kind of a D-minor triad inversion,
and then this part,
which is again also heavily sort of coming out of this
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D-minor pentatonic scale.
So we have
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and then I'm going into
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this chromatic movement from the third
up to the fifth on the G7,
so from B, and then skipping up to the root,
and then down to the seventh.
So the whole thing sounds like this.
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So what I'm doing here is that
I'm using the pentatonic scale
found on the fifth of the chord,
so that's a D-minor pentatonic scale
because the fifth of G is, of course, D,
and that would be this pentatonic scale.
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And I'm playing this descending right now
because that's how I'm using it in the line,
and it's just easier to see how it sort of fits together,
how we get the
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all out of that pentatonic scale.
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(jazz guitar music)
Similar to superimposing the D-minor pentatonic scale
on top of the G7 chord,
we can also use another scale
that's kind of, well, related to a pentatonic scale,
which is the G-major blues, or the E-minor blues scale.
So that would be this scale.
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And of course it's not really giving us any new material
besides this leading note to the third,
but that can also give us a lot of color already.
So the way I'm using it in the line here is,
I'm starting on a C, so not even using that scale,
and then going down to the B-flat or A-sharp leading note,
sliding into the third, the B, so
and then some movement within the E blues scale,
or G-major blues scale,
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going up to the G here and then up the scale,
and then I'm introducing a G7 arpeggio
just to sort of really get the color,
so the G7 across as well,
because we don't have an E in that scale, so
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Skipping up to the 13, the E,
and then ending on the fifth, D.
So what I'm using here is the E blues scale,
or the G-major blues scale, that would be this scale.
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And the finished line would sound like this.
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Another great sound
with a lot of interesting melodies you can tap into
with fairly little effort
is to start using quartal arpeggios
in your mixolydian lines.
So that's also what I'm doing here.
The first part of the line is fairly simple.
First I'm using the arpeggio from the seventh of the chord,
so that's, in this case, an F-major 7 arpeggio.
I'm playing that as triplets, so
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and then down the scale,
skipping down to encircle the third, the B.
From the B, I start playing quartal arpeggios,
so first the quartal arpeggio from B, so B, E, A.
Then I'm moving down a whole step and doing the same thing,
so A, D, and G,
and then skipping up and doing a quartal arpeggio from E,
and then down to B, A,
and then ending up on the 13, the high E.
So if you wanna work on this,
the quartal arpeggios are easy to work on
if you work on them on string sets,
and that's kinda also, as you can tell,
how I'm using it here, so
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it's really sort of moving around like this
while I'm in a position,
and that's also easier to practice them like that,
so that would be an exercise like this.
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And of course you can practice this
in scale positions as well,
but I would say try and work on, first, the string sets.
You can do this string set, and also the high,
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and maybe the one that's found here as well.
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Once you start to get used to it,
it's not so difficult to check out,
and it's extremely good for your right hand as well,
because you're doing a lot of cross-picking,
playing alternate picking across three strings all the time.
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Another way to deal with
not just running up and down the scale in your lines
is to start using some structures
that have really large intervals in them,
and of course I already mentioned the quartal arpeggios
that work really well for this,
triads in inversions are also gonna work really well,
and another thing that works really well
is to use spread triads like I'm doing here.
So the first part of the line
is just a quartal arpeggio from F,
so in this case I'm playing the E first, skipping down,
and then running up the quartal arpeggio, so F, B, E.
Now this arpeggio is kinda a mirror of this G-major triad.
So it's kinda easy to play, and keep in mind like that,
so they're associated.
For me they're somehow associated like that, so
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and then going down to the F,
and then here we have a spread-voiced
or open-voiced G-major triad,
because that's G, D, and then B all the way up here,
and from there I'm going down the scale, so
and then a D-minor triad,
and then G, and ending, again, on the 13, the E.
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And it kinda sounds nice if you do the slide.
So if you wanna work on these open-voiced triads,
then I think a good place to start
is just to learn the major triad in inversions,
and that would be this exercise.
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Now, this can be kinda tricky to learn in the beginning,
because you have a lot of different string skips,
but it is also really a great exercise for your right hand,
and definitely something you wanna check out
if you wanna develop some flexibility with alternate picking
and using sort of different string configurations,
which is something that makes a lot of things a lot easier
if you start getting it into your playing.
If you wanna check out another video
that's based on this idea of taking a type of chord,
and then using some different options on top of it,
then check out this video
where I'm going over 10 different arpeggios
that you can use over a minor 7 chord.
If you want to improve your guitar playing,
and this is the first time you've seen one of my videos,
then subscribe to my channel.
These are the kind of videos
that I'm publishing here every week,
and of course if you wanna help me keep making videos,
then check out my Patreon page.
That's about it for this week.
Thank you for watching, and until next week.
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