From our free, Jazz Guitar Lessons Daily Series: Lesson 41
Mondays - Triad Mastery Bootcamp
3/8/21
When is a 7 chord arpeggio NOT a 7 chord arpeggio? When it’s not an arpeggio.
There are many reasons I prefer to think, practice, and teach with triads as the foundation as opposed to 7 chord arpeggios. One is that when I look at the melodic ideas in our favorite standards, I usually see more quadratonics (triads plus melodic tension notes) more often than I see 7 chord arpeggios. Don’t get me wrong, the arpeggios are there too. Just not in the abundance one might expect if you learn the standard jazz guitar approach… which puts an enormous amount of time, effort, and priority of shedding every position of every inversion of every type of 7 chord arpeggio. Again, it’s not bad to know these things. But the way we improvise will always be informed by how and what we prioritize when we practice. If we spent the bulk of our time on arpeggios, that’s what our improv is going to feature the most.
Another reason I don’t talk about using the tension b7 all that much within quadratonics is because most of the musicians that can follow what I’m showing - a practical, step-by-step process for getting theory ideas and concepts off the page and internalizing them into our ears and our musical vobcaularies - they likely already know their arpeggios so well conceptually and on the fretboard that it’s almost impossible to disrupt their wiring and get them to slow down so they can really HEAR what is going on with these notes and learn to think more creatively about how to use them to create lines beyond outlining the dominant7 chord and then voice leading to a major or minor tonic chord.
Today’s lesson is a good example of a way we can use a dominant 7 arpeggio to create something a little bit more outside of the box. Rather than ascending or descending the four notes of a G7 chord (G-B-D-F), we are treating them as the four columns holding up a building. Then, almost in Spiderman fashion, we are leaping around and swinging in and out of them.
We start with a leap up from the root to the 5th. Then we descend chromatically to the 3rd. Then we leap from the 3rd up to the b7th and chromatically ascend up to the root. Once we make it to the root, the pattern repeats. Of course, this just creates a multi-octave warmup that you can practice through the circle of 5ths. If you want to use these types of ideas when playing over changes, you would likely only use segments of it… perhaps only one octave of the shape, or...
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7 мар 2021
