You made soloing sound so much simpler. You've given me the guidelines that I should've known about. I now know what to practice. Thank you so so much Mr. Ruch!
I learned this exercise from my private instructor when i was in music school. It's the best way to learn to connect arpeggios. Great tune you've selected to practice this.
Thank you. My teacher was talking me through this yesterday, and today he sent me your video to drive the point home. Appreciate the time and effort you put in to make playing more enjoyable to everyone. ❤
A most excellent explanation. I’ve been working at this for some time. I found that transcribing the arpeggios/chord tones I’ll use for each progression relieves some of the cognitive load of trying to visualize and play in time. Also, calling out the chord tones-though a challenge-does help. The one big challenge I’m working on now is listening for the bass notes. Otherwise, I’m “playing the timing,” instead of “playing the changes.” All those advisories to spend time with “ear training” are beginning to make sense. Lots of good stuff here. Makes me proud to support Jack on Patreon! Cheers!
I'm using this for mandolin and its helping me so much. Hard to find this info for my instrument easily so this is a massive help Jack. Much appreciated
Excellent guitar settings - from clean and smooth to beautiful driven tone when pushed - what a balance! And half of that is in your fingers :) Fantastic.
So many others have tried to teach the same thing, but I still did not see the path. Having Jack literally "spell it out" has helped me so much. I am enjoying his course "magic of triads rhythm edition" and plan to follow it up with the course for soloing
Thanks a ton man. You’re helping me get out of a rut I’ve been stuck in for a little while now. Been out of work but I’ll definitely check out your course when I get back on my feet. Love your playing and approach on the fretboard.
53 years old started guitar in 1985 somewhere along the line I realized I was just playing scales and licks as fast as possible. Maybe it's the era of guitar I grew up in but it's always felt very lacking, now that I'm old I like jazz infusion so I'm having to figure all this stuff out now and it's so much more satisfying
Fabulous. You've targeted the topic that has confused me the most -- how to link arpeggios together to actually make music. Thank you for opening the door to a solution!
Great lesson, and it's exactly what I need since I don't sound musical. Hey, I was born with two left ears, so I'm trying. This really helps. But I've become a music theory geek Arpeggiating the 2-5-1 with seventh notes. This is out of my pay grade for now, I'm still learning the fretboard with triads and using the string groups. Baby steps. These are Authentic Cadences. If it finishes on the root note in the soprano, it's a Perfect Authentic Cadence (PAC). Otherwise it's an Imperfect Authentic Cadence (IAC). I'm learning this with thoroughbase terminolody, root position, first inversion or 6, second inversion 6/4. Sevenths add another element, root position 7, first inversion 6/5, second inversion 4/3, third inversion 4/2. My music teacher says the most satisfying songs end up with the PAC, so when I practice this I end up with the tonic as a 6, but when I add sevenths it will be a 6/5. It's a musical tradition going back centuries, so it's worth it to study it, IMHO.
Thanks, Jack. It seems simple, but it sounds so good! And, i like the fact that you can take an unlimited number of routes. For instance, you can start at the bottom, ascend but skip a note and catch it after. So, you're really ascending & descending in the same chord before moving ro next. I like to change rhe phrasing as well.
The Best! What are the best notes to start and end on? Not the fifth or the seventh? But what about starting notes? One of the best songs ever written!
Jack Thanks for this music lesson because if there is a really horrific sounding note that definitely should not be voiced during a live performance with people listening, Guess who plays that note ? Hmmm I will give you three guesses and the first two are wrong!!😮
When I first started playing guitar, I took two lessons from two different teachers. The first guy taught me the Pentatonix scale and the second guy taught me to see diatonic scale. I did what you did and map them out on the neck in the diagram. Funny that we both learned the first two scales the same except you added the flat five to your Pentatonix scale I think. About the cage system. I think the reason for the name is you take an open C chord, then move up three Fretz and make the A shape then go up three more and make the G shape. The next natural shape is E and then D. What’s that spell? Caged.
JACK, I can’t seem to find the Patreon videos associated with this lesson. Is there an hidden index somewhere for finding associated materials? I sure hope this gets some positive feedback. It would be good for all your subscribers.
Hi Jack, I'm a bit confused as you show the G7 arpeggio as G-B-C--E, but when I look it up online it shows notes as G-B-D-F, could you comment please to clarify?
you are correct, GBDF. At what time in the video does he say that? I didn't hear it as GBCE at any time. he was playing a CMajor7 (CEGB) at 3:41 and he did not start on the root note C but rather the lowest note on the low E string of CMaj7 which is G then B and C on A string, then E on D string
If you wanted to do arpeggios as simply as possible, can't you just play the notes, from withing the chord shape, for each chord? I have a bad memory so memorizing different scales for each chord is difficult. But I can hang with shapes. They're easier for me to remember. Love your playing, Jack
@@tommym321 imagine you have a common progression: a Major ii-V-I in C. This is comprised of the chords Dm7 G7 Cm7. In order for music to not sound terrible you have to land on strong notes on the strong beats of a measure. There are a bunch of exceptions and ifs and buts because you can bend this a fuckton if you desire, but this is true regardless and a good principle for most of your playing. Strong notes refer to any note contained within the chord: 1-3-5-7. This means that for this example we start for example on the 1 of our D chord: d you do what you want or need within that D chord measure and by the time the first beat of the following G chord, your first note on the strong note has to land either on a B, an F, a G or a D. You again do whatever you want or need and the resolving chord: C chord has to start on either a B, a G an E or a C. The hard part is that imagine your last note on the D chord measure is a C, to properly voicelead you have to find the closest note so that the interval isnt so big from your last C note that you played that is in your now G7 chord. That would be B and again the same for the C measure. An example to visualize this better could be: |D f a c| D f a c | D b g f | D b g f| E These are two bars of Dm7 ascending, two G7 descending resolving to the 3rd of C. If you play It youll hear It. Thats voiceleading only using arpeggios. You can start any of these bars with enclosures such as: | e eb d f a c blablabla You can permute them however you want and start on the 7th, the 3rd, the 5th whatever you want During bebop era playing was mostly done by doing patterns with these arpeggios and some special "appogiaturas" that add the characteristic chromaticism known as enclosures. You get good at those 2 while ensuring voiceleading is preserved and you are now playing bebop. As simple (and complex) as that.
@@tommym321 apologies for the spam i tried to be comprehensive. There are good videos on the topic chadlb and saxologic i think have top notch ones. They are Sax players but the same concept applies
First off, it's Dmin7, G7, and Cmaj7. And there is no 'why.' It's just a chord progression I picked to demonstrate one approach for practicing. Use any chord progression you want.
Its a ii-V-I one of the most common jazz progressions. A way of going from some unresolved but not tense sound, to a tense sound (the V, G7) and then resolving -> the tonic chord or I, CM7. This is roughly equivalent to the all pervasive pop progression IV-V-I or FM7, G7, CM7. You can go balls deep into harmony and understand why these progressions are chosen and not any other random combinations and youll land on the same basic concept. Subdominant (Rest that prepares the tension) moves to a dominant (tense) you can keep tensing and tensing if you want via many other techniques and then you resolve It to a tonic ( VI, III, I). Go Wild, its exciting, choices abound but the basic, for jazz is ii V I. Its the staple, its all over the place and you cant escape It. Embrace It. others are: turnarounds, cycle of dominants, the blues progression etc
There are other guitar teachers that I watch,
but Jack is the one I actually want to sound like.
So smooth.
...that is what keeps bringing me back to his lessons - smooth.
You made soloing sound so much simpler. You've given me the guidelines that I should've known about. I now know what to practice. Thank you so so much Mr. Ruch!
I learned this exercise from my private instructor when i was in music school. It's the best way to learn to connect arpeggios. Great tune you've selected to practice this.
Jack Ruch is my spirit animal.
Sometimes your lessons are so personal to me that it feels as if it's just the two of us.
Smooth
He's got that nice quiet, low-toned conversational voice, which confers intimacy.
calm down Dan
😅😂😊
True
You are a great teacher man. So glad I found your channel.
Thank you. My teacher was talking me through this yesterday, and today he sent me your video to drive the point home. Appreciate the time and effort you put in to make playing more enjoyable to everyone. ❤
A most excellent explanation. I’ve been working at this for some time. I found that transcribing the arpeggios/chord tones I’ll use for each progression relieves some of the cognitive load of trying to visualize and play in time. Also, calling out the chord tones-though a challenge-does help. The one big challenge I’m working on now is listening for the bass notes. Otherwise, I’m “playing the timing,” instead of “playing the changes.” All those advisories to spend time with “ear training” are beginning to make sense. Lots of good stuff here. Makes me proud to support Jack on Patreon! Cheers!
Great! I 'lost' my guitarplaying, .. and ths is the way back for me and my guitar
Thanks
I'm using this for mandolin and its helping me so much. Hard to find this info for my instrument easily so this is a massive help Jack. Much appreciated
Great lesson Jack, you have a wonderful way of gently explaining quite complex theory in an unpatronising way. Thanks mate!
Excellent guitar settings - from clean and smooth to beautiful driven tone when pushed - what a balance! And half of that is in your fingers :) Fantastic.
Thank you Jack for helping us improve our musical language. Greetings from Uruguay!!! everyone 🙋♂️
Thanks for sharing this stuff, it is just brilliant knowledge to have, much appreciated.
The course is amazing Jack!
This is pure gold, thank you so much Jack!
So many others have tried to teach the same thing, but I still did not see the path. Having Jack literally "spell it out" has helped me so much. I am enjoying his course "magic of triads rhythm edition" and plan to follow it up with the course for soloing
Thanks a ton man. You’re helping me get out of a rut I’ve been stuck in for a little while now. Been out of work but I’ll definitely check out your course when I get back on my feet. Love your playing and approach on the fretboard.
A truly great lesson, it gives me something to practice for the next few years.
😂
Fantastic light just went on at the end of the tunnel...thanks!
Nice lesson using Just the Two of Us as he example . Love that tune😊
Learned a lot about lead from this lesson. Thank you.
This is the best explanation I’ve had so far, Thank You.
53 years old started guitar in 1985 somewhere along the line I realized I was just playing scales and licks as fast as possible. Maybe it's the era of guitar I grew up in but it's always felt very lacking, now that I'm old I like jazz infusion so I'm having to figure all this stuff out now and it's so much more satisfying
very cool man ... as a horn player first it always arpeggios ... love your approach
Mister Mellow Tasty Chops - almost makes me believe I could actually learn how to play a little jazz
Fabulous. You've targeted the topic that has confused me the most -- how to link arpeggios together to actually make music. Thank you for opening the door to a solution!
Tomo calls it 'Guitar Wisdom.'
But here on this channel we call it 'Ruch Wisdom'. 😉
Top shelf lesson, Jack. 🫡
Great lesson, and it's exactly what I need since I don't sound musical. Hey, I was born with two left ears, so I'm trying. This really helps. But I've become a music theory geek
Arpeggiating the 2-5-1 with seventh notes.
This is out of my pay grade for now, I'm still learning the fretboard with triads and using the string groups. Baby steps. These are Authentic Cadences. If it finishes on the root note in the soprano, it's a Perfect Authentic Cadence (PAC). Otherwise it's an Imperfect Authentic Cadence (IAC). I'm learning this with thoroughbase terminolody, root position, first inversion or 6, second inversion 6/4. Sevenths add another element, root position 7, first inversion 6/5, second inversion 4/3, third inversion 4/2. My music teacher says the most satisfying songs end up with the PAC, so when I practice this I end up with the tonic as a 6, but when I add sevenths it will be a 6/5. It's a musical tradition going back centuries, so it's worth it to study it, IMHO.
😳❓
Thanks, Jack.
It seems simple, but it sounds so good!
And, i like the fact that you can take an unlimited number of routes.
For instance, you can start at the bottom, ascend but skip a note and catch it after. So, you're really ascending & descending in the same chord before moving ro next.
I like to change rhe phrasing as well.
Silky smooth
great lesson...thank you
Great Tasty lesson. Fundamental Elements of Jazz.
That’s a great lesson. Thanks for sharing!
Great! Thank you, Jack!
i like your video and you are one of my favorite .
well said and well done jack..
Great lesson Jack, that was just two much tasty stuff.
Absolut lovely! Very helpful! Thanks for your time!
This stuff is so useful! Thanks Jack 🤘
Thank you ... Bookmark to self 1:25, 8:37
Fabulous thanks a million for that 👍🎸
Great lesson. Thanks
I loved the explanations!!!
Nicely done .. very helpful Mr. Mellow Tasty Chops
Thank you!! Great lessons always!!
Great lesson 👍👍👍
Really nice lesson
As always- super cool😊
Awesome sir !
Outstanding!!!
The Best! What are the best notes to start and end on? Not the fifth or the seventh? But what about starting notes? One of the best songs ever written!
Wicked Jack 🤘
Just Two of Us progression.❤
What a fantastic video have a wonderful day Jack also tomorrow is my friends birthday also my birthday ❤❤❤❤❤❤😊😊😊😊😊😊
Jack
Thanks for this music lesson because if there is a really horrific sounding note that definitely should not be voiced during a live performance with people listening, Guess who plays that note ? Hmmm I will give you three guesses and the first two are wrong!!😮
When I first started playing guitar, I took two lessons from two different teachers. The first guy taught me the Pentatonix scale and the second guy taught me to see diatonic scale. I did what you did and map them out on the neck in the diagram. Funny that we both learned the first two scales the same except you added the flat five to your Pentatonix scale I think.
About the cage system. I think the reason for the name is you take an open C chord, then move up three Fretz and make the A shape then go up three more and make the G shape. The next natural shape is E and then D. What’s that spell? Caged.
“Pentatonix”?!?!
You might want to look into all of this a little deeper.
JACK, I can’t seem to find the Patreon videos associated with this lesson. Is there an hidden index somewhere for finding associated materials? I sure hope this gets some positive feedback. It would be good for all your subscribers.
Do you give private lessons if so please respond with link
Regards JL
I've got to practice I've got to practice I've got to practice
Hi Jack, I'm a bit confused as you show the G7 arpeggio as G-B-C--E, but when I look it up online it shows notes as G-B-D-F, could you comment please to clarify?
you are correct, GBDF. At what time in the video does he say that? I didn't hear it as GBCE at any time. he was playing a CMajor7 (CEGB) at 3:41 and he did not start on the root note C but rather the lowest note on the low E string of CMaj7 which is G then B and C on A string, then E on D string
If you wanted to do arpeggios as simply as possible, can't you just play the notes, from withing the chord shape, for each chord? I have a bad memory so memorizing different scales for each chord is difficult. But I can hang with shapes. They're easier for me to remember. Love your playing, Jack
Dm, G7, CMaj7
😮😮😮😮
Arpeggios are easy until you voicelead. Then its painful asf, but its THE game changer
What is voicelead?
@@tommym321 imagine you have a common progression: a Major ii-V-I in C.
This is comprised of the chords Dm7 G7 Cm7.
In order for music to not sound terrible you have to land on strong notes on the strong beats of a measure. There are a bunch of exceptions and ifs and buts because you can bend this a fuckton if you desire, but this is true regardless and a good principle for most of your playing. Strong notes refer to any note contained within the chord: 1-3-5-7.
This means that for this example we start for example on the 1 of our D chord: d you do what you want or need within that D chord measure and by the time the first beat of the following G chord, your first note on the strong note has to land either on a B, an F, a G or a D. You again do whatever you want or need and the resolving chord: C chord has to start on either a B, a G an E or a C.
The hard part is that imagine your last note on the D chord measure is a C, to properly voicelead you have to find the closest note so that the interval isnt so big from your last C note that you played that is in your now G7 chord. That would be B and again the same for the C measure.
An example to visualize this better could be:
|D f a c| D f a c | D b g f | D b g f| E
These are two bars of Dm7 ascending, two G7 descending resolving to the 3rd of C. If you play It youll hear It. Thats voiceleading only using arpeggios.
You can start any of these bars with enclosures such as:
| e eb d f a c blablabla
You can permute them however you want and start on the 7th, the 3rd, the 5th whatever you want
During bebop era playing was mostly done by doing patterns with these arpeggios and some special "appogiaturas" that add the characteristic chromaticism known as enclosures. You get good at those 2 while ensuring voiceleading is preserved and you are now playing bebop. As simple (and complex) as that.
Or finish with the 5th instead of going to the 3rd like this:
(Descending):
D b a ab G
@@tommym321 apologies for the spam i tried to be comprehensive. There are good videos on the topic chadlb and saxologic i think have top notch ones. They are Sax players but the same concept applies
@@Oi-mj6dv this is really kind of you. I’m going to sit down after dinner and study your response. Thank you!
how in the world am i supposed to remember all of this. especially the transitions. fukk
Dude you didn’t tell us why Dm7, GM7 and C7 ? . We know it music theory but just telling us those cores are commonly used is not clear…
First off, it's Dmin7, G7, and Cmaj7. And there is no 'why.' It's just a chord progression I picked to demonstrate one approach for practicing. Use any chord progression you want.
Its a ii-V-I one of the most common jazz progressions. A way of going from some unresolved but not tense sound, to a tense sound (the V, G7) and then resolving -> the tonic chord or I, CM7.
This is roughly equivalent to the all pervasive pop progression IV-V-I or FM7, G7, CM7.
You can go balls deep into harmony and understand why these progressions are chosen and not any other random combinations and youll land on the same basic concept. Subdominant (Rest that prepares the tension) moves to a dominant (tense) you can keep tensing and tensing if you want via many other techniques and then you resolve It to a tonic ( VI, III, I). Go Wild, its exciting, choices abound but the basic, for jazz is ii V I. Its the staple, its all over the place and you cant escape It. Embrace It. others are: turnarounds, cycle of dominants, the blues progression etc
Dang pitch a course 30 seconds in without even demonstrating a note… bro…
Bro bro…bro