Best Arpeggio For Dominants! ???? #jazzguitar
This is an easy way to make some solid Jazz licks and get an altered dominant sound. Adding a bit of motivic development and voice-leading.
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#Arpeggio #Dominants #jazzguitar
Originally posted by UCqepSCHTyWj4BzHxEEUNvlg at https://www.youtube.com/watch?v=hEcubU-r5T8
That's such cool voice leading, thanks so much!
This is exactly what a short should be. Thanks for the hard work!
Yep, been playing that arpeggio over altered chords for years. I like it better than the diminished up a half step thing, altho that's pretty good too. And of course, the F-7b5 works just as well if the dominant chord is written as Db7 (bII7 chord and V7alt are really the same thing)
Reminds me of some of those elusive Beverly Hillbillies licks!
I like the voice leading on this! Ab maj7 is also great on G7alt
Valeu!
RANDY JUDAH TORREZ ❤<><
Those 3 chords alone are amazing ????
I will definitely practice those 3
Thank you very much ✨️????
RANDY JUDAH TORREZ ❤<><
Those 3 Chords alone are amazing very interesting indeed .????
Awesome tip!!
thank you for all the magic lessons jens!
Hello Jens, ,I understand the arpegios on Dm7 and CMaj7 chords you start one 3rd up.But for G7 i do not get it? Why F 1/2 dim arpegio? Why not for instance G# dim arpegio or FMaj7 arpegio?
Thanks Jens
Sounds great.❤❤❤❤❤
Beautiful
Jens, Thank You ????
Love your shorts on arpeggios my friend. Regards from Mexico.
how good you are!Mr.11Absolute amazing man!thx for chairing!?!
Wow really cool, thanks a lot Jens!!
thanks a lot, but it's to quick.
Hihi new subscriber ????????????????
Beautiful demo of great ideas!! Thank you!
I LOVE THIS I AM JAZZED UP HAHAHAHAHAHAHAHA thank you ????
I love that! Thanks !????
Hi Lars; thank you for this. I play alto saxophone and I’ve tried you licks and they sound really cool. It has a Charlie Parker « twist » to it!!! It’s all really good for 251over 2 bars!!! Works also very nicely on Giant Steps, especially the last 8 bars (the 251 sequence)..
Clear and brilliant explanation. Truly inspiring . Thanx Jens.
Awesome.
Good materials Thanks
A great one. I had thought of Fm7 over G7alt for an altered sound, but not Fm7b5
You should release some learning material. Would be one of the most interested students.
For a long time I've been practicing, dmi, f halfdim, Cmaj7, in all positions and all inversions, I've become a studying Monk.???? Your concept is more a less the same except you get the 9 on Dmi and Cmaj7, great lines
Excellent ????????
Yes I like that❤
This just connected the dots for a competely new concept for me: staying in the same area of the fretboard but playing different scales. How could I have missed this for years? ???? Thanks Jens, always love your videos!
What happens if this progression goes to a C minor ? Will it work?
Jens, I'll throw in my 2 cents to this discussion. I have developed a system of "Modal Pentatonics Scale Patterns" which I think are very useful and "guitar friendly" for guitar improvisation.
The raw scale patterns are:
④ E F ③ A B C for Dm9
④ Eb F ③ Ab Bb Cb(B) for G7alt
④ D E ③ G A B for Cmaj9
These patterns would "transfer beautifully" to strings pairs – ② ① & ⑤ ④
The ④ ③ patterns listed above could start both at the 2nd and 14th frets.
Of course , it would up to the ear, imagination and musical sensibility of each individual guitarist to create their own licks and melodic ideas from these Modal Pentatonic Scale Patterns.
Some potential names for these Modal Pentatonic Scale Patterns are:
Fma7 Lydian Pentatonic
Fm7b5 Pentatonic
Em Pentatonic
Thank you for your consideration.