- Hi, everybody, my name is Jens Larsen.
In this video, I'm going to show you
some longer melodic ideas or licks,
that are based on using arpeggios,
I'm going to do this on the first part of a minor blues,
but of course it will work as well,
if you're using it in sort of a modal minor situation
and I'm going to use some different scale sounds,
that you normally associate with a minor blues
and also a few that are maybe a little bit less common.
I'm going to focus on using the arpeggios
to sort of really get the sound of the scale across
and I'm going to use the Diatonic arpeggios,
but I'm also gonna use some of the other arpeggios,
that you can take out of a scale
like quartal harmony and shell voicings.
The nature of these arpeggios also really helps
with creating some interesting odd-note groupings,
you can take that away from this video as well
and of course you also get an overview
of the more common scale choices
ranging to the more exotic or outside
scale choices for a minor chord.
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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The most common tonic minor sound in jazz
is probably melodic minor,
it's even sometimes referred to as jazz minor,
because in jazz, we don't use different scales
ascending and descending for a melodic minor, but
also I think mostly we just call it melodic minor anyway
and we don't really care about how the classical guys
use it, they can figure that out by themselves.
They way that you wanna understand this lick,
well actually there are two ways you can interpret it,
because you can look at it as being
a variation based on just one single Triad,
which is the augmented Triad
and another way of looking at it
is there's actually three individual chords,
that are being arpeggiated in a sort of cascading way.
So if we take that interpretation first,
first we get this
and that's an E flat major seven sharp five arpeggio,
notice that I'm playing this using first downstroke on the D
and then upstrokes on the rest
and that's actually the plectrum
that I'm using in my right hand
for the first part of this lick for all the arpeggio
and then the next string will be
and this arpeggio is not strictly
a Diatonic arpeggio in C melodic minor,
if you look at it like this, then it's a B7 sharp five
and then the next one
is a G7 sharp five, so we have
and then I'm just finishing the line
by just hitting, well basically,
the color notes in melodic minor,
which will be the major six and the major seven,
then the 3rd
and ending on the nine of the C minor.
The other sound that's most commonly used
on the minor chords in jazz would be the Dorian sound
and I think the chord voicing you will associate with that
would be some sort of minor 13,
so in this case, a C minor 13 would be this
and where we have the C minor seven,
so the flat seven and the flat three
and then the 13 or the major six on top of that
and that's what I'm using here.
So the first part of the line is just a Chromatic enclosure
targeting the 3rd, so the E flat
and then on the third beat, I have first
the E flat major seven.
I'm playing this as a shell voicing arpeggio,
so I'm playing E flat G and D,
so I have actually turned the Diatonic 7th chord
into a three-note arpeggio instead,
which is a nice way to create something,
that just moves on top of the beat
and that allows me to get some more colors,
but also really add a rhythmical element to the line
and that's also continued, because first I have
the E flat major seven, then a G minor seven
and then a B flat major seven
and here we also have sort of the emphasis
on the 13 in the chord,
so we have just the shell voicings
moving up through the scale in Diatonic 3rd,
so E flat to G to B flat
and then I'm just ending it
with another E flat shell voicing arpeggio
and then again ending on the high nine here on the C minor.
The idea behind the arpeggios used in this line
is something that harmonic minor does extremely well,
because it has that flat six in there,
it's because I'm using diminished Triads
alternating with tonic minors or C minor Triads.
So the first part is just,
the diminished Triad
from D down
to A flat,
then a descending C minor Triad.
Notice that when I'm playing this also,
I'm again using first downstroke and the two upstrokes
just to make it easier to pick
and then moving up, another diminished Triad,
so from F down to B
and then descending C minor root position
and then skipping back up to the 5th,
to the G and then
just a scale run down to the D.
Quartal harmony and quartal arpeggios
are probably mostly associated with modal jazz
and especially with the Dorian sound,
like I'm using it here,
but of course you also wanna check that out
for a melodic minor and harmonic minor
and use in other contexts,
because it's also just a great melody,
if you wanna use it in your lines
or a great chord voicing, while you're comping.
The first part of this line
is just a really basic C minor pattern,
so I'm starting on the 5th
and then skipping down to the 3rd
and then down the scale,
then I'm going up and playing
a D flat major seven arpeggio just starting on the 7th
and then I move into the quartal harmony,
the quartal arpeggios starting from G
and then it's really just moving up the scale,
so G, C, F,
A, D, G
and then B flat, E flat and A
and here with the last one.
So with quartal arpeggios and quartal voicings,
you can't really name them,
it doesn't really make too much sense,
if you wanna relate it to any kind of chord
that you're working with,
because you can use them for a lot of different chords
and they're very often
a little bit ambiguous and incomplete,
but in this case I'm actually ending
on the voicing that I would say
if you play it as a chord,
then this is actually a C minor 13,
so in that way, I'm really spelling out
the Dorian C minor 13 sound.
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This example is a lot more outside
and doesn't actually fit
with a normal C minor, tonic minor chord
mainly because it doesn't actually have a 5th in the scale,
but you can still work with it and it will still work
as a sort of variation or something,
that you can throw in there when you're improvising.
It's a great sound, it's using the diminished scale,
the idea is kind of that we're taking
the melodic minor sound, so
and then the 5th is being split,
so now instead of having the G,
I'm gonna add the F sharp or G flat and then the A flat
and then I have this scale
and that's a C diminished scale,
so I'm using material out of the C diminished scale
and I'm using quartal harmony out of the C diminished scale,
because there's one quartal structure,
that works really well on that scale and that's this one,
which is sort of similar to like the top
of a dominant with a 13 or a dominant sharp nine sound
and I'm moving that around.
In this example, I'm using that I can turn
the quartal arpeggio, which is a three-note arpeggio
into a five-note grouping
by playing the arpeggio first as four notes,
so really emphasizing the melody
and then adding a note,
so now I have four notes
and then one more, that's five notes,
so I have a five-note grouping
that's sort of shifting nicely across the 4/4 meter.
The first part of the line is just really a scale run
in either the diminished scale or the melodic minor scale,
so starting on the D and then down to the B
and then up the scale
and then I get into the quartal harmony here,
so the quartal arpeggios, so first,
this idea and of course, the diminished scale
is a symmetrical scale
and we don't really expect to hear
a symmetrical scale on this tonic minor chord,
so using that here works really well
and it doesn't get too predictable too easily,
especially if you don't do it too much,
so this and then I'm moving it up a minor 3rd
and doing exactly the same thing, so,
and then finally resolving
and here I'm using this quartal harmony,
this quartal arpeggio is in fact
the top part of a C minor six,
so I'm kind of resolving back into a C minor melodic sound
playing this last pattern
and that means that I have this sort of diminished sound
sort of shifting and then immediately resolving
back into the C melodic minor sound,
which is an easy, pretty smooth way to use this idea.
If you want to check out some more ideas
and some more material on what you can use
on a modal minor chord, then maybe check out this video,
where I'm also really focusing on the modal aspect of it.
If you wanna learn more about jazz guitar
and this is the first time you've seen one of my videos,
then subscribe to my channel,
if you wanna help me keep making videos,
then 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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