Arpeggios - Things To Get Right From The Beginning
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- Опубліковано 21 тра 2024
- When you start learning arpeggios then usually it is in positions and that is great for having an overview of all the chord tones of a chord but it is not immediately easy to use them and to add that to your playing in a way that sounds good, it is this separate pattern that you can't really get to work.
This video will help you fix that so that you start playing better jazz solos and don't waste time when you are practicing arpeggios.
The Most Important Scale Exercise In Jazz:
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Content:
00:00 Intro
00:23 Problems with Positions
01:51 Arpeggios In Their Natural Habitat
02:59 Make It Easier To Create Great Lines
03:57 Make It More Natural And More Free
04:34 What to Practice and Explore
05:27 The Best Exercise For Combining Scales and Arpeggios
05:50 Like the video? Check out my Patreon page!
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My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
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What do you think is the best way to practice arpeggios? What do you need to know?
Is it this exercise: ua-cam.com/video/2Ze22BNftAA/v-deo.html
I play bass and am in early learning of bass and piano.
Your teaching is the most valuable I have seen. And I arrived pretty early.
Thanks for your efforts and your time.
By "early" I mean in recent.
I'm curious why so much of arpeggio practice is root based. While I think many players (myself included) might, in C, play a Cma7 (C-E-G-B) and an Em7 (E-G-B-D) arp, but what of the inversions, i.e., a Cma7 arp that starts on 3 (E-G-B-C), 5 (G-B-C-E), or 7 (B-C-E-G)? Because so much music goes up a 4/down a 5 the 7-to-3 voice leading is great, but it's not the only voice leading.
@@jimkangas4176 I would say go for it. Why not?
@@jimkangas4176 Also, for myself when I am learning a new chord on my keyboard, I play that chord with each chordal tone as the root. Later on as I begin to learn other keys, I find I already am familiar with chords that I didn't know I knew. And this knowledge translates fairly well when playing on my bass. I just watched a video that seemed similar to what you said in your comment. I will link it in a minute.
I love it when Jens says "it's easier than you think."
This man is a gem. Love from India
Wonderful and practical lesson! One perspective: I've found triads (with 7th extensions) a more practical way to mentally store / practice this rather than scale-like arpeggios. Bear with me, it's not that I'm not arpeggiating the triads when I improvise, it's that by having the triad as a muscle memory (rather than an arpeggio) means when I need to improv over a chord in real time, my fingers all immediately form to the nearest relevant triad, which means I can instantly start on any chord tone, and introduce nearby scale tones to taste, as I anticipate a new chord coming, I'll try to vice lead to the next triad and do the same thing. At the end of the day its the same result, but archiving things relative to a triad I find mentally simpler (as long as you understand the chord tones in the triad or inversion). One other comment about your comment at the very end about practicing all the arpeggios in the key in one superimposed position. I've never found exercises like that to be musically relevant. Instead I do the same thing but following the most common chord resolutions in music: 5 -1. 1 -4. 2 5 1. 6 2 5 1. etc... I practice those chord resolutions like crazy because that's literally what I'll need to do in a real musical context... I almost never need to follow the major scale progression in numeric order.
Hm, thanks for the tip!
Wow that’s a great ifea
I do the same. Triads on DGB strings. And 145 progression.
Seems to me more practical to make this connection.
Great tip.
I play for almost 25 years now and just recently discovered triads (don't ask why).
They're like a door opener to me. I'm still at the beginning with these but I finally start to understand what's going on on my fretboard.
Great tip.
I play for almost 25 years now and just recently discovered triads (don't ask why).
They're like a door opener to me. I'm still at the beginning with these but I finally start to understand what's going on on my fretboard.
I know this is an older video, but my lord, I am only 3 minutes in and you have touched on every point I’ve been scouring the internet for regarding “playing arpeggios with the corresponding mayor scale”…… okay need to finish the video,,,,,,,
Glad it is useful 🙂
Thanks Jens. Another great lesson to keep us on track! Have a great day.
Thank you very much for teaching us about this. I am a beginner jazz player and I just practiced this every day for a few minutes for almost a year. It made a difference and I started being able to solo over simple jazz songs a little.
That was exactly my problem - the chunks. I could remember the arpeggios but my "soloing" was just sequences of these chunks. This lesson and your new course are real eye-openers to me. Thanks a lot Jens.
Thank you Stephan! Really glad to hear that!
This lesson gave me the biggest boost ever in my playing!
Just what I needed! Thanks so much Jens - as a teacher myself (not guitar though) I appreciate enormously your dedication to making these lessons accessible and useful. I know how much effort this requires.
Great lesson Jens. Along with your lesson on identifying triads within the scale I've found this approach very helpful in breaking the habit of, as you say, running up and down the whole arpeggio. These techniques, as well as getting more adept at enclosures and note targeting (from your book) are letting me make lines that feel a bit less predictable to me. I know you have covered it before, but videos building on this one which talk more about voice leading with the 3rd and 7th guide tones would also be fantastic. Thanks
Thanks for the great tips!
I feel like I've been given permission to be creative with only what I need, as opposed to trying to cram in everything that I don't. Thank you!
Just because someone is a great guitar player doesn't mean they can be a great guitar teacher , Jens you are great at both, I so enjoy watching your vids ! You're so awesome at making jazz not seem so darn complicated. Thanks for all you do !!!
Great lesson every time.
Wow finally! Arpeggio’s makes so much sense now, thank you!
Also for me this lesson is a great insight. I feel that limit myself to one octave really open the door to sound more melodic and less mechanical. Thanx a lot 🙋🏽♂️👍🏽
This is a great lesson Jens, pitched perfectly at a pivotal point in my practice progress
Great to hear Pete! :)
profoundly poetic, Pete
P GAME STRONG
P GAME STRONG
Jens, the way you super-imposed the scale with the arpeggios showing the relationships was really helpful
Thank you! That is really great to hear :)
Jens is great teacher and player!
Thank you 🙂
thank you, very helpful
You opened my mind to some things I wasn't realizing. So many thanks to you and other teachers as well.
Great! Go for it! :)
This is a great exercise for someone like me to add to that first lesson in the Jazz Guitar Roadmap! Makes it easy to put the arpeggios I'm learning to use.
You're very welcome! Glad it all fits together
This is a reslly grest lesson. An important easy to comprehend point put clear.
Thank you, Peter
Great video, super clear and useful as always!! Registered yesterday to your new “Jazz Guitar Roadmap” course and am so much looking forward to diving deep into it!! (great that you use the Take the A Train standard as a course example, super useful!!)
Awesome, thank you! :) I'll see you in there!
Thanks Jens!
Thank you a lot Jens you give us a the way out the rest is in our hands!!! With work "Yes we can"
You can do it!
Thanks for this. The algorithm connected us. Looking forward to more instruction that is inspiring.
Glad it was helpful!
I just bought your book. Getting more out of the exercises in a week than I have gotten out of theory books for the past year.
That's really great to hear, Barry! Go for it!
This is great stuff as always. I have actually taken it down to just triads over the chord changes of a standard to 1. not rely on specific positions and get better at moving around the neck, and 2. force myself to internalize the sound of the notes (I sing along with what I'm playing) and then 3. try to be more melodic with fewer note choices for each chord. If I really get comfortable with a particular tune I start using enclosures and chromatic approach notes.
You are always a good Instructor. I have Basic Knowledge in Jazz , for a Beginner could be difficult .
Great video, thanks! I was so tired with watching videos teaching arpeggios, but everytime it was " oh, you go 1-3-5-7th note of scale " and it was always up and down and boring as hell.. Finally your video shown me how to make it more musical aslo without playing hundreds notes with it. I was sitting with my six string during watching your video and i played really cute solo over Am7 chord looped. Even if it was one chord playing arround i could easy mess with 1-3-5-7 without going up and down all the time and add some extra notes from scale to spice it up and it sounded extremaly better than ususally. Now time to make propet practise. Thank you Jens!
To me, you could put the last bit first - practicing arpeggios inside the scale is so useful. I would never practice am arpeggio outside of its scalar context after learning that way. I also like to move a scale to different positions and starting places to learn the different ways of playing the same arpeggios. It's so much better for me than learning just patterns.
True, I usually start there with my students too :)
Thanks for your efforts...❤🌹
My pleasure 😊
2:15 :)
Thanks for another great lesson Jens, you're the best!
Great lesson!!!!!!!!!! Thank youuuuuuuu
You're very welcome!
Hey, there is always something to get out of learning from arpeggios! Great work!
Thanks RC! :)
@@JensLarsen My pleasure!
Great lesson!
Glad you liked it!
@@JensLarsen It's the sticking within the octave that made the difference. I have a tendency to whip through the whole arpeggio from the root on the bottom E string up to to the top E string. I shuffle the notes about, but the licks/runs still sound like exercises rather than melodic ideas.
lol, that really was the trick! working with 1 octave arpeggios makes it much simpler
Indeed! 😁
The way I seen it a down thumb is better than no thumb at all. Thanks Jens. LEGEND 🙌
Thank you, I would indeed think so 🙂
Mr. Larsen, without doubt, you are a spectacular teacher of guitar. I’m thankful for you sharing your knowledge and your channel.
Edit: Also I enjoy listening to your Brooklyn accent.
Thank you! Go Dodgers! :D
Much appreciated
You’re awesome Teacher
Thank you!!
Thanks
Thank you for the support Ian! 🙏
I found call and response patterns a great way to create melodies while practicing. I will limit myself to just the chord tones during the call part and mix it with some scale notes during the response. It helped me tie into the sound of the chord better, and think about my phrasing instead of randomly going up and down the scale.
One step further would be to play the call part at one location of the fretboard and connect it with the response part at a location above/below that location. When repeated over a progression, keeping the relative position of the notes same during the call for each chord, and adding variations during the response is a challenging yet rewarding practice. The different locations give different voicings, as if two people are singing and mirroring each other.
Thanks Jens :-) That cool, Fedt :-) Jeg nybegynder og syntes det er spændene med Jazz, ku være fedt og sæt noget sammen med "moderne" musik og de fede lyde der er i jazz skala. Nice video`s :-)
I have searched for 2 and half years for this lesson! You are amazing dude thank you so much! Is the point of this lesson basically when you use the arpeggio to land on the new chord tone does the scale map around that arpeggio change for example:
If we have a progression that is 1,4,5 in G,
If I go down the arpeggio with the passing tones of the G major scale, upon landing on the C root not, does the scale/arpeggio map in my mind change to the C major scale and then to the C major arpeggio until land on a D chord tone which will then change the map again into to the D major scale and D arpeggio until I arrive at the G again?
Hi Jens, thanks for the lesson, I think one thing people should try to do more is practice arpeggios in context of playing them over a jazz standard. You can get a lot of benefit and make the exercise more musical this way.
Exactly! I have my students do that all the time! :)
You are the best
Arpeggios, scales, target notes, enclosures, pentatonics, all up a string, across the fretboard, across and up the fretboard and all in the context of a progression. I’ve spent a lot of practice time on these ideas but rarely played anything I was happy with. This lesson is a eureka moment for me. Specifically, 2:59 to 5:11. I tried limiting myself within an octave and immediately started to make meaningful melodies. THANK YOU JENS. You are doing a wonderful service with your in-depth instructions. As with practicing, I keep going over and over many of your videos to make the material second nature to me.
Great to hear that you can put it to use 🙂
Also I'm finding with more knowledge my playing feels less soulful and melodic, this is because I have more confidence and I try to cram in way more notes than I should be. As soon as force myself to slow down, take a breath, play small melodic chunks with really good rhythm... it sounds way way better. An example is when I first learned the melodic minor scale and its use.. I tried to play almost every tone from the scale at lightning speed where I could. I would follow a pattern so it didn't sound like the scale, but it still didn't sound as musical as it could. Instead if I just leave tons of empty space, play a few "important" notes from that scale (like a 6th and a minor 3rd or something) at just the right moment... Sounds lovely and melodic again. I'm constantly at risk of trying to say too much with my guitar as I expand what I'm capable of
Thanks for this. I was told by an instructor (when I tried learning Jazz a few years ago) to practice 4 note arpeggios over a. Iim V I and he didn’t want me to deviate from it. I was trying to do exactly what you said, but he didn’t want me to do this. I’m working on arpeggios again and this is a GREAT lesson. I appreciate your lessons very much.
Thank you Stephen! There is something to be said for practicing soloing only with chord tones :)
Great lesson. Yeah playing in position and making music out if it. Very nice. Do you take lessons? That also I wanna know.
man i get way more out of these videos than Beato. Ricks great but most of his stuff is way over my head! Especially on applying what your attempting to learn in the real world playing with other people.
Thanks for this video!!! Do you have a video talking about typical scales for typical 7 chords? Thnks again man, your videos are amazing!
Glad you like it! I do have a video that covers how to deal with harmony and scales, but it is not enough to just look at the chord. You need to look at the key and the chord progression as well. So this may be a bit of a difficult video: ua-cam.com/video/NEvBZTD-f6s/v-deo.html
@@JensLarsen Ok I Understand ! Im trying to apply your concepts to "How Insensitive" with arpegios en V positions. I'll watch this vídeo, tnks again !!!
Great, now I have to start over.
In what way?
@@JensLarsen sarcasm intended. But I do enjoy the work.
@@MarkAnderson-iv1zt No worries!
Hey, Jens, Thanks for the lesson. I've practiced diatonic arpeggios in the key of c major for about over a month following your lessons, and got great improvements on improvising , thanks alot. But along with the progress I made, I found one problem I just can't figure out my self.
Which is that when I was practucing arpeggios, I can only think about one thing in mind, the note names or the intervals.
For example, if I was playing E7, what happenes in my mind would be E,G#,B and D, I cannot bring up the numbers or the intervals of each notes at the same time. It's like I might forget the numbers of each notes when thinking about the alphabets, and as the same as I was thinking. about numbers.
I know it might seem like an old question for you but, Jens, is it okay if I only think about one thing when practice, or I.need to force my self to think about both of the note names and intervals at a time. Plz help. thanks alot.
To me the hardest is chaining these "smaller" arpeggios together when creating a melody/improvising a longer bit.
Asolutely awesome lesson. Thanks! I got a question. Would it always be safe to use notes from a D maj scale, for example, over a D7 chord, even if those notes are out of the context pf the key, if it's a modulation on the song?
You want to use a scale where the chord is a diatonic chord. In D major: D E F# G A B C# D there is no D7: D F# A C, so that is not a really good fit.
Does that help?
@@JensLarsen very helpul. Thank you so much!
@ 2:42 pause the video when the picture of the C major seven scale comes on. Then turn it upside down.. it becomes the Dorian scale!!!!!
Sorry to ask a stupid question. But if I move an arpeggio a half step to the right; from a major or minor to a# major or minor, can I do that?
Hi Jens, thanks for the video! What would you suggest to begin with: practise soloing with arpeggios and scale notes as you presented in this video OR practise soloing with diatonic chords' triads within the same position (Cmaj7 - 8th fret example)? 🤔
Depends on what you want to achieve, if you want it to sound like Jazz then don't do triads only, follow what I cover here 🙂
I like your free jazz english, please "it of more" ;-)
basic stuff, usefull!
Glad you think so!
These arpeggios start again at the root an octave above (8), but sometimes I see the upper keys start at 9 and onto 11, 13
Maybe it’s just me but are the neck diagrams the wrong way round? The should be flipped 180.
Great video though thanks.
New subscriber here😁
Hope you find something you can use 🙂
Hi Jens I miss the improvisational aspect in those lessons..it seems that Jazz is just composing licks which it is not...so could this info be helpful...I also like lessons wothout theoretical explanation ...because all the time getting info that is already the basics for the 1000;'s time is sometimes feeling constantly in the first class musicschool or preperation year conservatorium....of cours I lke basic stuff and have a lot to learn still but gthis would be my Ultimate crticism meant to create lessons for people like me i know You can because a lot of lessons of yours were interesting for me of at least parts of it with refreshing idea's or new concepts even new Theory but this would be My Suggestion....I wish it is helpful and taken full with the respect I mean them.....
do this and scat alongside your guitar you will start to make v pretty melodies v quickly
okay... nice maj7 shape ... are there other ones?
Is it possible that you missed the point of the video, Michael?
@@JensLarsen possibly hehe ... helpful neverthough
Great tip, though I was hoping the video could be shorter and more straight to the point.
Pretty amazing to my novice ears.
Try harder to make bad licks.
🔥
What guitar is that?😍
It is an Ibanez AS2630 🙂
So play in scales but think in arpeggios. 👍🏻👍🏻
Rather, be aware of both but know them so well that you don't have to think about it 😁
How to play what you hear in your head instantly? If you can do that and listen to a lot of jazz so that melody is internalized in you, then you can just play what you hear right? Isn't that what all the great guys do? How to do that?
No, that is not really how that works 🙂 Watch out that you don't end up chasing myths.
@@JensLarsen oh. Indian classical musicians also play mostly improvised stuff like jazz musicians but they always say that they play what they hear. And I've heard people like Miles Davis and Chick Corea saying that that's how they do it. Isn't that really how it's supposed to be done. That you learn all this and practice all this stuff and when you play, you just play what you hear. How do you do that anyway? Be able to play what you hear instantly.
@@aadityakiran_s Yes, but they trained to hear that type of melody, so it is not only play whatever you can think of. Otherwise, people with perfect pitch could immediately play any style of music, and that is also not the case :)
I love you Dutch guitar Jesus
I am not Dutch 😂
@@JensLarsen I love you Scandinavian guitar Jesus
We're waiting for you to actually use these methods dude! Can you play music and play a few (3-4) lines so we can hear changes being played, please? Also, can you leave out the backtrack? Thanks...
Hahaha free jazz with the english language!
Glad you like it!
I love what your doing but could you please slow down a bit so I can catch what it is your doing
mynameisjenslarson
learn jazz
make music
Am I the only one who finds this weirdly catchy?
I could be one hell of a musician if I could understand what any of this theory shit means. But i just can't
As it gets better it starts sounding worse.
You talk too much no use for this video
Good thing that nobody forces you to watch it at gun point then 🙂