(jazz guitar)
- Hi everybody, my name is Jens Larsen.
It's important that if you take the time
to learn an arpeggio, that you also spend some time
trying to figure out what other
chords you can use it on,
because in that way,
you can actually use it in a lot of different places and
you add to your vocabulary on several different chords.
In this video, I'm gonna take a minor Major arpeggio,
which I think is something very typical
for the melodic minor sound,
and then I'm gonna go over five different places
where you can put that to use
and show you some examples from standards
of where this happens and how I might use it in a line.
(jazz guitar)
The first example is using
the minor Major arpeggio on a minor Major chord,
so really just the most basic way.
But this tonic minor sound is really powerful
and it's definitely something you want to work with.
I'm using the song, Solar, as an example here
and it's just the first three bars of Solar.
I start off with the arpeggio,
so just the C minor Major arpeggio.
(demonstrates on the guitar)
Really bringing out the Major 7 against the minor chord.
Then I play a Dsus triad in a pattern,
(demonstrates on the guitar)
and that gives me the 9 of the chord.
Again, bringing out the Major 7 and then
we transition to G minor,
by walking up to the minor Third of G minor.
(jazz guitar)
In the second example,
I'm using the minor Major arpeggio
on a half diminished chord, so in this case,
it's an E half diminished chord
and I'm using a G minor Major arpeggio.
(demonstrates on the guitar)
The sound that you get here is actually
the sound of using melodic minor
on top of a half diminished chord,
which is often referred to as Locrian natural 2.
So, what we have here is then a Locrian sound,
or half diminished sound, but with a natural nine
that sounds like this.
(demonstrates on the guitar)
The example that I'm using here
is the first few bars of Stella by Starlight,
and the method is E half diminished,
A 7 to
C minor,
and this doesn't actually call for using
melodic minor on a half diminished chord,
but if you check out a recorded version
by Miles Davis and Herbie Hancock,
you'll hear them both really sort of
pulling out the F sharp,
and really emphasizing that sound on that chord.
The line that I'm playing
is just starting with the minor and Major arpeggio,
(demonstrates on the guitar)
and then I'm running down a D Major triad,
(demonstrates on the guitar)
and then I'm going to the A7b9.
And here, I'm just using a diminished arpeggio
with a few leading notes, so
(demonstrates on the guitar)
and then I'm resolving to the 9 of C minor.
(jazz guitar)
One of the places where we use melodic minor the most
is probably on the Lydian dominants.
So, any dominant that doesn't resolve a fifth down,
or a fourth up, we can make into a Lydian dominant.
Some of the examples where that happens in a Major key
would be the five of five, a triton substitution,
or maybe the back-door dominant or the flat 7 dominant.
And in the example that I'm going over here,
I'm using the standard "Take the A Train",
which is two bars of tonic,
so that's in C Major,
and then two bars of five of five,
where I'm using the Lydian dominant,
(demonstrates on the guitar)
so dominant sharp eleven, that goes to the two chord,
and then back to the one.
The line on the C Major 7 is first some simple melodies,
just emphasizing, a C Sixth sound,
so
(demonstrates on the guitar)
and then a small scale one.
And then I'm chromatically approaching the
A to use the A minor Major arpeggio,
so
(demonstrates on the guitar)
on the D7.
From here I go up the arpeggio from the third of D7,
so F# half diminished,
(demonstrates on the guitar)
and then a small melody around the scale.
(demonstrates on the guitar)
And then using the D sharp as a new note
to resolve to the fifth of the D minor.
(jazz guitar)
The other dominant that we really love
from the melodic minor sound,
is the altered dominant.
So in this example I'm just playing a 2 5 1 in the key of C,
and I'm using a G altered scale,
so that's Ab melodic minor,
and I'm using the Ab minor Major arpeggio.
So the line starts off on a D minor,
and that's just a simple D minor pentatonic,
followed by an A minor run,
(demonstrates on the guitar)
and then on the G7 I start off with a minor Major arpeggio,
(demonstrates on the guitar)
and then I chain that together
with an F half diminished arpeggio
in a pattern.
And then I resolve that to the ninth of C.
(jazz guitar)
This example is the only example
that is not coming out of melodic minor.
So, the progression I'm using here
is the first few bars of a C minor blues.
And the sound that I'm applying here,
is the fourth mode of harmonic minor.
So the scale that's being used is for the biggest part,
just G harmonic minor.
The sound you get if you use the fourth mode
of harmonic minor is like a Dorian #4 type sound.
So that would sound something like this.
(demonstrates on the guitar)
So if we look at the extensions we have available,
I have a C minor 7, with a nine,
a 13,
and a #11.
And I'm using the G minor Major arpeggio
to really emphasize that #11
which is sort of an interesting sound for this.
The example starts by just really stating
the C minor sound, and the way I'm doing that
is that I'm using some lines based on the arpeggio
from the third, so the E flat Major 7 arpeggio,
so that's this part.
(demonstrates on the guitar)
And then in bar three, I really wanna bring out
the Dorian #4 type sound
and the way I'm doing that is that I'm going into
using the 13 here,
and then using the G minor Major arpeggio.
And then really also emphasizing so G major triad,
and then a transition to the C7,
to go to F minor,
and that's
just a C7 from F harmonic minor,
and then resolving to the fifth of F minor.
For anything that we practice
and try to get in while playing,
it is more efficient and is also very useful
to really figure out how many places
can I use it, are there chords that you also use
that you are not thinking about already,
because in that way you have just more options,
and you can easily add something to your vocabulary
and you will get a lot more out of the techniques
that you practice.
If you wanna check out more stuff on jazz guitar,
if you wanna learn things about arpeggios,
improvizing over chord progressions,
chord voicings and that kind of thing,
then subscribe to my channel.
I publish a new lessons every Thursday,
and I've been doing this for quite some time,
so that's already a lot of stuff available.
If you wanna get notified
whenever I upload a new video,
then press the little bell icon next to the Subscribe button
and you'll get an email or a push notification
whenever I publish a new video.
That's about it for this week,
thank you for watching and until next week.
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