Of course I am curious if there was an arpeggio type that I didn't talk about and that you use a lot 🙂

@lewisjames2025

6 жыл бұрын

often use major 7 or major 7 sharp 5 arpeggio from the flat 7th of a dominant

@ylegoff

6 жыл бұрын

Yes - Sorry, slipped my mind. :-): m11/Wes; Augmented triads (4:11), Esus4 and Dsus4 on CMaj, (4:28), quartal arpeggios/superimposed pentatonics, quintal arpeggios Last, probably most intriguing, is Maj7b5, Dom7#5 to emphasize Aug character/tone. My favourite sound (kind of like a colour), for now, is 13. So, first up in the woodshed will be Maj7b5 and Lydian #4 scales.

@dakshsoni

6 жыл бұрын

Jens Larsen hey newbie here can you please guide me how to decide which arpeggios to play in which key

@JensLarsen

6 жыл бұрын

You should start with the diatonic arpeggios. Here is a really old video on them: kzread.info/dash/bejne/o4ipmLKPl8efgJs.html

@dakshsoni

6 жыл бұрын

Jens Larsen thanks man!

I dont know whats scarier, the clickbait or the fact THAT ITS NOT CLICKBAIT

@JensLarsen

6 жыл бұрын

Haha! Thank you Rudy!

Damn you with every one of these being more difficult than the last. You'll never get me!

Great content man. I always come back to your channel to keep working on my jazz chops. Thanks for sharing all these info.

@JensLarsen

6 жыл бұрын

Thank you very much Gerado! Let me know if you have ideas for topics for videos or other questions 👍🙂

Great lesson, Jens. I'm a big fan of starting off on the 3rd, because of the way the lyrics/vocals for many songs are constructed. It makes for a very natural way of hearing what you play in a context that most of the audience can relate to. In addition, I think it helps reinforce the soloists ability to think about the lines they might play to fit the shape of the song, rather than "fingering constructs" that constrain thinking and ability to visualize. Just because one might learn an arpeggio from a root note doesn't mean we have to start/play from there! There's also a lot to be said for targeting specific chord tones that (again) are in service of the song, not just notes that don't sound "bad" (as in, bad/wrong notes :-P) against it. Keep up the great work!

@JensLarsen

6 жыл бұрын

Very true Kenneth! In the end it is as much about how you use the arpeggios, and that should be more the focus than just learning to play them 👍🙂

Great stuff. Again pulling so much together from your very long history (already) of great theory instruction. Thanks, Jens

@JensLarsen

6 жыл бұрын

Thank you Dan! Glad you like it 🙂

I loved this lesson. A lot of clever ideas that open my mind on how to approach melody. You're awesome Jens, appreciate you!

@JensLarsen

5 жыл бұрын

Thank you, Jonathan! :)

Very useful lesson, and melodic examples. Thanks for also including the notation and tab.

@JensLarsen

6 жыл бұрын

You're very welcome! Glad you like it! If you have any questions or ideas for topics then feel free 👍🙂

I have learning arpeggio forever. Some are more difficult than other. Can't wait to put that knowledge to good practice.

@JensLarsen

6 жыл бұрын

That is great! Good luck with it 🙂👍

Very cool, Jens. I picked up the PDF. Those diminished seventh and major 7 augmented arps are particularly piquant. Thanks again.

@JensLarsen

6 жыл бұрын

Thank you Edward! And thank you for your generous support 🙂

This is really useful. Great stuff, Jens!

@JensLarsen

6 жыл бұрын

Thank you very much Mike!

These sound great! A valuable lesson, as always.

@JensLarsen

6 жыл бұрын

Thank you very much Hubert! 👍🙂

Thanks Jens! You are the master!

@JensLarsen

6 жыл бұрын

Glad you like it Jume 🙂👍

Has the hallmarks of concise of elegance. Nice work.

@JensLarsen

6 жыл бұрын

Thank you very much Yves! I am very happy with that compliment! 🙂

I like the lesson and the licks_ especially the 3rd one :- ) with the diminished sound

@JensLarsen

6 жыл бұрын

Happy to hear that 🙂

KEEP up the great work, that is ;)

Thanks Jens! I'm still a novice, but I get a lot of great ideas from your channel!

@JensLarsen

6 жыл бұрын

Thank you very much Adam! 🙂

I don't think there's another arpeggio lesson to beat this on youtube! Thank you sir!

@JensLarsen

6 жыл бұрын

Thank you Ashan! Very nice of you to say so 👍🙂

@anthonydemitre9392

6 жыл бұрын

Agree

Awesome thank you so much!

@JensLarsen

5 жыл бұрын

Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍

@omgilovedischannel

5 жыл бұрын

@@JensLarsen yeah I will. :)

In terms of aroeggio structures you really cobered every possible arpeggio but same aroeggios based on triads-have more sweepy shapes after extending them with Octaves covering 5-6 strings which is used a lot in neoclassical rock malmsteen jason becker and so on-same goes for 7th arpeggios after extending them with octaves! from technical point of view triad arpeggios can be played with string skipping which Paul Gilbert does a lot and 7th aroeggios are played with string skipping tappings which Michael Romeo from Simphony X made very popular😎

@JensLarsen

6 жыл бұрын

Multi Octave triads are often considered uninspired or boring in jazz, so it would have been really strange to include them 🙂

@MsDavo123

6 жыл бұрын

Jens Larsen take my comment as "different techniques and way to play arpeggios" 1.sweeping 2.string skipping aroeggios 3. String skipped tapping Thats was the summary of what i said!

Best teacher ever

@JensLarsen

5 жыл бұрын

You're very welcome! 🙂 If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup

@koolword7477

5 жыл бұрын

I definitely will. Thank you again for your time and effort! This is just priceless

Thanks again teach!

@JensLarsen

6 жыл бұрын

You're welcome Justin!

Wow! incredible lesson Jens, I admire you very much. I continue my studies with your lessons. I need tips to create better phrases. Thanks Jens!

@JensLarsen

6 жыл бұрын

That is great Matias! You are looking for tips on writing better lines?

@matiasgabrielterrera5006

6 жыл бұрын

Jens Larsen yes Jens!

@JensLarsen

6 жыл бұрын

For me analyzing lines I transcribed and writing variations on them where very very useful. Do you already do that?

@matiasgabrielterrera5006

6 жыл бұрын

It's hard for me to transcribe alone, but I'll put more effort into it, what guitarist do you recommend me to transcribe? Thank you!

@JensLarsen

6 жыл бұрын

If you are working on transcription then take something you like and that is easy. If you don't know it really well already then listen to it a lot before you begin 🙂

Super !

@JensLarsen

4 жыл бұрын

Thank you!

Hi Jens, I think a great video would be soloing over a song that changes keys constantly like Time Remembered by Bill Evans!

@JensLarsen

6 жыл бұрын

Actually there is not too much difference if you think in target notes, so the videos on that might already give you some ideas 🙂👍

great thank you

@JensLarsen

6 жыл бұрын

You're very welcome! Let me know if you have ideas for topics or other questions 👍🙂

Hey man! Great video I really liked it. Do you have a video where you go more in depth into using the arpeggio from the 3rd of a chord? And then where to go from there? Thank you so much for all the great information!

@JensLarsen

6 жыл бұрын

This video is about using arpeggios: kzread.info/dash/bejne/n4Ch16Nse7GnoZs.html It isn't specific to the one from the 3rd,, but maybe that is useful? Otherwise let me know :)

@DarkBluePatrick97

6 жыл бұрын

Jens Larsen it's good stuff! Thank you so much for the help!

Great vid man, being a massive arpeggio freak i really digged it :) I think you could have mentioned the MinMaj7 and the Augadd5 arpeggios that i use quite a bit

@JensLarsen

6 жыл бұрын

Thank you! They are both diatonic arpeggios in melodic minor. Augmented add 5 is the same as a maj7#5 right? 🙂

@aikisato7852

6 жыл бұрын

Jens Larsen Not exactly : Maj7#5's formula is 1-3-#5-7, whereas what I call Augadd5's formula is 1-3-5-#5 I don't see many people using it XD

@JensLarsen

6 жыл бұрын

Yes, but Ab C Eb E is Ab augmented add 5 and Emaj7#5

@JensLarsen

6 жыл бұрын

People use that and it's inversions all the time 🙂

@aikisato7852

6 жыл бұрын

Jens Larsen Oh yeah, you're right ! Didn't think of it this way, thanks for clearing that up :)

also in Minor II V try to play D7#9 over a Dm7b5 on for instance Beaetiful love pianist do that much... or Em7b5 substituted by E7#9....

My sincere advise is when playing Charmonic minor, on Cmaj7 to play Eharmnic minor with c as avoid note, becaUSE you played it already on the G7 it is no use to play that root it will bring your solo to the ground...if you play a minor tonic than a Maj7 arpeggio on the #VII will sound very interesting...when a dominant in Minor cadens don't play altered scale it is too much done use octatonic...the next chorus first chorus okay be free to use it than later on on a G7 use B triad when resolving to Cmaj...if you want reharm more interesting use instead of all the other thongs what everyone does use the following recept: Dm7-G7 Bm7-E7b9- Cm Call that Coltrane Phrygian Dominant

I'll have to come back to this after the cramp in my brain abates! Great lesson though!!

@JensLarsen

6 жыл бұрын

Haha! Thanks 🙂

Thanks Jens. Another great lesson. Do you have a PDF of the examples shown? I did not see a link on your website for one. Ignore the haters and jeep up the great work. I've studied with a few jazz guitar teachers over the years but none of them covered this material. Maybe they preferred to have it shrouded in mystery to protect their ability to get gigs.

@JensLarsen

6 жыл бұрын

Thank you Edward! The PDF for this one is available on Patreon 🙂 Glad you like the videos!

I like your quiver.

@JensLarsen

6 жыл бұрын

My quiver?

epic win for the title 🙂

@JensLarsen

6 жыл бұрын

Haha! Thank you Sergio! 😁

Kudos for your humor :)

@JensLarsen

Жыл бұрын

🙏🙏😁

do you have this in a loop where I can hear all of the solo lines together over and over?

@JensLarsen

6 жыл бұрын

Sorry I don't 🙂 I do have the tabs on Patreon?

I think you left out The Naganandini Add #2 Scale Group....?

@JensLarsen

6 жыл бұрын

I might have! 🤔

For real click bait you needed to call this “Master Every Arpeggio In The Known Universe In Just 5 Minutes With No Effort And No Practicing “.

@JensLarsen

6 жыл бұрын

Haha! Nothing about Jazz Guitar is "no effort '🙂

If G7 resolves to Mi7 Btriad on G7 will sound less good because a Btriad is a substitution for Cminor as I said before.. n major II V 's altered will sound good also arpeggio;s related everything metioned befor.

What’s it called when you play two arpeggios? Example a C arpeggio and a Dminor arpeggio but using this pattern. 1-3 2-4 3-5 4-6 5-7 6-8 7-9 etc

@JensLarsen

2 жыл бұрын

It is called playing your scale in diatonic 3rds?

@MrGranitealchemist

2 жыл бұрын

@@JensLarsen oh shoot ok that’s easy. I’ve been wondering that for a while 😅thank you 🙏

@MrGranitealchemist

2 жыл бұрын

@@JensLarsen I thought there was a name for it like double arpeggiation but when I googled that it turned out to be something else.

@JensLarsen

2 жыл бұрын

@@MrGranitealchemist No worries, Overlord. It is a solid exercise 🙂

Hi Jens, Can you tell me why Jazz players always describe arpeggio's as if they are root arpeggios in isolation rather than how they relate to the chord you are playing over? Like how you call the Dm7 from the third an FM7 rather than a DM9 without the root? I appreciate that this is the way it's done but to me it kinda takes away from the clarity of the harmonic progression... As a classically trained guitarist I'd like to understand the reasoning so that I can think more like a jazz player! :-)

@JensLarsen

6 жыл бұрын

That's because we practice the different arpeggios, so Fmaj7 is something we know. We don't practice rootless Dm9 arpeggios, but mostly do know that that is what you get if you use an Fmaj7 arpeggio over a Dm7. So it is a question of efficiency I guess? Does that help?

@WarwickPayne

6 жыл бұрын

Hi Jens, Thanks for your fast reply! Yes that helps and I do understanding it in principle. I guess I am getting hung up on it from a melodic analysis perspective, especially if you are using upper extensions exclusively... Would you ever see a melody (without a bass line or chords) based on |C E G B |F Ab C E| B D F A....| and recognise that as a ii - V - I in C? I realise that that example is pretty extreme but in terms of harmonising the scale, these notes all 'work' within a ii - V - I. That's where I freak out a bit, with the harmonic description not necessarily relating to the harmonic progression... I love your videos man :-) Thanks again

@JensLarsen

6 жыл бұрын

Cool! Your melody there I would not see as a II V I. Cmaj7 is not a good fit for a Dm7, Bø doesn't really sound like Cmaj7 and FmMaj7 is at the very least unclear as a G7. I think you have to remember that it is not only about note choice but also about how you place the notes in the melody. Another thing you should check out is that if you analyze some jazz solos you will see them connect more to the basic chord than what your suggestions are. But I have no issue with recognizing a II V I line in a melody that does not contain the root :)

im sorry for stupid question - you play agpeggio of different chord in scale on top of other?

@JensLarsen

6 жыл бұрын

Yes, I use other arpeggios from the scale on the chords. But they are not random chords right? 🙂

@niponipo3939

6 жыл бұрын

Jens Larsen thanks! And for all the work you done so far, its really helps a lot!

@JensLarsen

6 жыл бұрын

Glad you find the videos useful. 👍🙂

I would have liked an example with 2 arpeggios a tritone apart :)

@JensLarsen

6 жыл бұрын

Well, that is then not about arpeggios really is it? 🙂

@franckcebret4021

6 жыл бұрын

Jens Larsen you’re right.. more about triad ?

@JensLarsen

6 жыл бұрын

No, I mean more about a combination of triads than the the triads themselves 🙂

@JensLarsen

6 жыл бұрын

You checked out the tritone scale videos right? 😎

@franckcebret4021

6 жыл бұрын

Yes of course...😏 it was unusual for me but I really love this sound now..

What about: Over Dm7 F# F C# A# than octave lower F# F this is one patern than from C# A# the same than after three ovtaces down you switch to F E C A lower octave FE you could choose how many times 6 tones you play of course the longer you wait so the more octaves you play F#maj7 patern over Dm7 then longer it sounds out, if you play this system as fact AS POSSIBLE like 16 triplets than it starts to make sense you could see it as fast cadenzes it also soundes nice if you play immideately Fmaj7 over Dm7 the Nice thing is the NoN Root aspect! also paterns of 2 3 & are comon and sound graspible 5 and 6 sound more alien and they tend to serve sa hemioles… What I play a lot is a trick from Chick Corea that is to play 1347 and thaan the same patern I just gave thus over a 6tole, going down as many octave as possible and the faster you play them the better the sound if you master them outsight playing work also nice, if you soon enougfh reslove just matter of good taste.. so over each Chord one arpeggio realy works marvellous: D C- G F D C ver Dm7 over E7 over G7 you could play for instance Bb Ab D C Bb Ab over Cmaj7 I would prefer B-A F#-E, B-A(Aibersold theory, you could treat each major 7 with a #11, because of the avoid note "f" a # 11 sounds Always great again al this arpeggio's(except the Dm711 arpeggio) tend to be Non Root arpeggio's, they are light and tend to flight long...

@JensLarsen

6 жыл бұрын

I guess you never read my replies, but anyway... I cover maj7 arpeggios. It is not about reharmonizations,it is about the arpeggios 🙂

arpeggio's sound in my ears more better when played over two octaves, and sorry, if you want to vconvince the ear, certain speed or sweeps are not unimprtant alos the ametric is important to not sound predictable there for i recommend 5 and 6 forms of arpeggios

Wow, I am the very first.

@JensLarsen

6 жыл бұрын

Haha, yeah I was in the car 😁

You.are.savage.

@JensLarsen

6 жыл бұрын

Haha! Thanks 🙂

I would highly recommend to use more digits let's say 16 24 or even 36 digits per chord...thab arpeggio's are more better usable...for me the word arpeggio is undertsandable when you understand the development of it during music history so wothout paganini what is ther e to understand about it???that's why speed is as we learn form parker and coltrane an aspect that is important but the strategy is smart not to immideatley play beyond your own speed there for put the metronome numer down so that you can effortless play something how you want to sound in fututre that;s why pactice with more digits...other wise you are not practicing you force yourself to at once play something in time that is contraidtory to practicing....