Every Arpeggio in the Known Universe

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Are you an Arpeggio master? Do you know all the different types of arpeggios and how to use them in your playing? The Arpeggio is a very important tool when it comes to jazz and jazz guitar. This video is going over a lot of different types of arpeggios. Showing how you might using them in different licks. Applying the arpeggios in a musical context is a much stronger way to apply them in my opinion.
0:00 Intro - Are you an arpeggio master?
0:22 Did I miss one?
0:43 Example 1 - Basic Arpeggios
1:14 Example 2 - Diatonic arpeggios and the "from the 3rd rule"
2:05 Example 3 - Harmonic minor?
3:24 Example 4 - Not always 4 notes and a little Melodic minor
4:16 The triads we forget to check out
4:34 Example 5 - Not always 3rd based
5:41 Example 6 - Larger intervals like the Police!
6:45 The Magic Arpeggio!
7:38 Example 7 - Three notes but not a triad
8:42 Another great sound from Melodic minor
9:22 What did I forget?
9:35 Like this video? Check out my Patreon Page.
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2 июл 2024

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Комментарии : 118

@JensLarsen 6 лет назад

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 лет назад

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

@ylegoff 6 лет назад

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 лет назад

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

@JensLarsen 6 лет назад

You should start with the diatonic arpeggios. Here is a really old video on them: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qTu6PVgd9P8.html

@dakshsoni 6 лет назад

Jens Larsen thanks man!

@RudyAyoub 6 лет назад

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

@JensLarsen 6 лет назад

Haha! Thank you Rudy!

@gerardovaca1994 6 лет назад

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 лет назад

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

@jonathanevans4623 5 лет назад

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 лет назад

Thank you, Jonathan! :)

@urbachd 6 лет назад

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

@JensLarsen 6 лет назад

Thank you Dan! Glad you like it 🙂

@picksalot1 6 лет назад

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

@JensLarsen 6 лет назад

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

@KennethGonzalez 6 лет назад

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 лет назад

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 👍🙂

@yruhatin100 6 лет назад

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

@JensLarsen 6 лет назад

That is great! Good luck with it 🙂👍

@edwardorgera2943 6 лет назад

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

@JensLarsen 6 лет назад

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

@motorcitysmitty 6 лет назад

This is really useful. Great stuff, Jens!

@JensLarsen 6 лет назад

Thank you very much Mike!

@hubertvancalenbergh9022 6 лет назад

These sound great! A valuable lesson, as always.

@JensLarsen 6 лет назад

Thank you very much Hubert! 👍🙂

@jumemowery9434 6 лет назад

Thanks Jens! You are the master!

@JensLarsen 6 лет назад

Glad you like it Jume 🙂👍

@koolword7477 5 лет назад

Best teacher ever

@JensLarsen 5 лет назад

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 лет назад

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

@edwardorgera2943 6 лет назад

KEEP up the great work, that is ;)

@DESIENASHOES 6 лет назад

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

@JensLarsen 6 лет назад

Happy to hear that 🙂

@ylegoff 6 лет назад

Has the hallmarks of concise of elegance. Nice work.

@JensLarsen 6 лет назад

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

@ashandesilvaguitarist 6 лет назад

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

@JensLarsen 6 лет назад

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

@anthonydemitre9392 5 лет назад

Agree

@julescosby2000 6 лет назад

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

@JensLarsen 6 лет назад

Thank you very much Adam! 🙂

@GauravKhuranaxy 4 года назад

Super !

@JensLarsen 4 года назад

Thank you!

@omgilovedischannel 5 лет назад

Awesome thank you so much!

@JensLarsen 5 лет назад

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 лет назад

@@JensLarsen yeah I will. :)

@themainstain130 6 лет назад

Thanks again teach!

@JensLarsen 6 лет назад

You're welcome Justin!

@matiasgabrielterrera5006 6 лет назад

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 лет назад

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

@matiasgabrielterrera5006 6 лет назад

Jens Larsen yes Jens!

@JensLarsen 6 лет назад

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

@matiasgabrielterrera5006 6 лет назад

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 лет назад

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 🙂

@MsDavo123 6 лет назад

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 лет назад

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

@MsDavo123 6 лет назад

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!

@DarkBluePatrick97 6 лет назад

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 лет назад

This video is about using arpeggios: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mLmuA3KNAq8.html It isn't specific to the one from the 3rd,, but maybe that is useful? Otherwise let me know :)

@DarkBluePatrick97 6 лет назад

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

@aikisato7852 6 лет назад

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 лет назад

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

@aikisato7852 6 лет назад

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 лет назад

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

@JensLarsen 6 лет назад

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

@aikisato7852 6 лет назад

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

@eternalrainbow-cj3iu 4 года назад

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

@thesoccerlegion1 6 лет назад

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 лет назад

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

@eternalrainbow-cj3iu 4 года назад

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....

@chrischoir3594 6 лет назад

great thank you

@JensLarsen 6 лет назад

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

@timsmith190 Год назад

Kudos for your humor :)

@JensLarsen Год назад

🙏🙏😁

@sergiog5557 6 лет назад

epic win for the title 🙂

@JensLarsen 6 лет назад

Haha! Thank you Sergio! 😁

@edwardorgera2943 6 лет назад

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 лет назад

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

@downhill240 6 лет назад

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

@JensLarsen 6 лет назад

Haha! Thanks 🙂

@clarkewi 6 лет назад

I like your quiver.

@JensLarsen 6 лет назад

My quiver?

@johnseaman6181 6 лет назад

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

@JensLarsen 6 лет назад

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

@captainkangaroo4301 6 лет назад

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 лет назад

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

@eternalrainbow-cj3iu 4 года назад

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.

@Shuzies 6 лет назад

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

@JensLarsen 6 лет назад

I might have! 🤔

@franckcebret4021 6 лет назад

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

@JensLarsen 6 лет назад

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

@franckcebret4021 6 лет назад

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

@JensLarsen 6 лет назад

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

@JensLarsen 6 лет назад

You checked out the tritone scale videos right? 😎

@franckcebret4021 6 лет назад

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

@eternalrainbow-cj3iu 5 лет назад

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 5 лет назад

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

@WarwickPayne 5 лет назад

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 5 лет назад

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 5 лет назад

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 5 лет назад

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 :)

@niponipo3939 6 лет назад

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

@JensLarsen 6 лет назад

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

@niponipo3939 6 лет назад

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

@JensLarsen 6 лет назад

Glad you find the videos useful. 👍🙂

@MrGranitealchemist Год назад

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 Год назад

It is called playing your scale in diatonic 3rds?

@MrGranitealchemist Год назад

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

@MrGranitealchemist Год назад

@@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 Год назад

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

@eternalrainbow-cj3iu 4 года назад

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

@Lehrerkatzelaptop 6 лет назад

You.are.savage.

@JensLarsen 6 лет назад

Haha! Thanks 🙂

@eternalrainbow-cj3iu 4 года назад

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....

@yruhatin100 6 лет назад

Wow, I am the very first.

@JensLarsen 6 лет назад

Haha, yeah I was in the car 😁