It is very important to use the material that you practice in as many ways as possible! That way you spend more of your practice time making music than working on technical exercises with scales and arpeggios.
In this lesson I am going to show you how you can use the same Maj7 arepggio over 5 different chords and give you some examples of how that might sound in a jazz line!
The Maj7 arpeggio
To keep it simple I am going to use this Cmaj7 arpeggio in all the examples. I wrote it out in one octave and in the context of a position.
#1 Arpeggio from the 3rd
One of the most common devices is to use the arpeggio from the 3rd of the chord. That is how I am using the Cmaj7 in the first example. Here it is used over an Am7 chord in the context of a II V I in G major.
#2 Lydian sound with a Maj7 arpeggio
The definition of a the Lydian sound is a Maj with a #11. Therefore the Maj7th arpeggio on the 5th degree works well for. In the 2nd example I am using the Cmaj7 over an Fmaj7. The line is over a II V I in F. I use the Cmaj7 together with some stronger F notes so that we get the sound of the Fmaj7. After that I add the Cmaj7 arpeggio that I use to really bring out the #11 (which is the 7th of Cmaj7)
#3 b5 of a m7b5
The arpeggio on the b5 of a m7b5 arpeggio is a great arpeggio to use for lines. The m7b5 is a chord that many have trouble finding good melodies on. Using this arpeggio is great! Especially because it is very easy to use and then move to the dom7th a half step below if the m7b5 is a II in a cadence.
#4 b7 on a Dom7th
Using the Maj7 on a dom7th chord is also a fairly common device. You will find a lot of examples of the bebop and hardbop players doing this. In the example I chose to put it to use in a cadence where the Dom7th is a tritone. So the cadence is a II Vsub I in Db.
#5 b2 on a Dom7th
If you are playing a dom7th chord using the Harmonic minor scale sound then you have a Maj7 chord on the b9 of the dominant. In this example I am using the Cmaj7 over a B7(b9) chord. Since the Cmaj7 contains the E it is useful to try to play the D# in the line as well to get the B7 sound across.
I hope you can use the concept for some new melodic ideas in your playing.
If you want to download a PDF of the examples you can do so here:
If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
Ni muhimu sana kutumia habari unayojifunza kwa njia nyingi iwezekanavyo! Kwa njia hiyo unatumia wakati mwingi wa mazoezi yako kutengeneza muziki kuliko kufanya mazoezi ya kiufundi ya mizani na arpeggios. Katika somo hili nitakuonyesha jinsi unaweza kutumia sawa Maj7 arepggio juu ya chords tano tofauti na kukupa baadhi ya mifano ya jinsi ambayo inaweza sauti katika mstari wa jazz! Kwa mfano, katika Arpeggio ya Maj-7 (na inaonekana kuwa ni ya kawaida), tunatumia Arpeggio ya Maj-7 ya Cmaj-7 kwa kila mfano. Niliandika katika oktafu moja na katika muktadha wa nafasi. Arpeggio ya tatu ya chord ni moja ya chords maarufu zaidi katika muziki wa muziki wa muziki wa muziki wa muziki wa muziki wa muziki wa muziki. Kwa mfano, kama unavyoona, CMAG7 ni mfano wa kwanza wa mfano. Hapa ni kutumika juu ya Am7 chord katika muktadha wa II V I katika G kubwa. "Lydian sauti ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj"" ni ""maj"" na ""maj""." Kwa hiyo, Arpeggio ya Maj-7 katika daraja la 5 inafanya kazi vizuri. Katika mfano huu, mimi kutumia CMAJ7 juu ya FMAJ7. "Kama ni kwa njia ya ""F"" au ""F"" (kwa Kiingereza: ""F"" in the English language) tunatumia F7 na F7 (kwa Kiingereza: F7 and F7) pamoja na F7 (kwa Kiingereza: F7 and F7) ili kupata sauti ya F7." "Kama ""Arpeggio"" ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7 ya Caj 7." M7B5 ni chord ambayo wengi wana shida kupata nyimbo nzuri juu yake. Kutumia arpeggio hii ni kubwa! Kwa sababu ni rahisi sana kutumia, na kisha kuhamia dom 7th nusu hatua chini kama m7b5 ni II katika cadence. "B7 ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom"" na ""Dom"" ni ""Dom""." Utapata mifano mingi ya wachezaji wa bebop na hardbop kufanya hivyo. Kwa mfano, mimi ni kuangalia kwa ajili ya kuanzisha na kuanzisha katika mstari wa kwanza, ambayo ni katika mstari wa tatu. Kwa hiyo cadence ni II Vsub I katika Db. "B2 - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom"" - ""Dom""" Katika mfano huu, tunatumia Cmaj7 juu ya chord ya B7 (b9). Kwa kuwa CMAJ7 ina E, ni muhimu kujaribu kucheza D# katika mstari pia ili kupata sauti ya B7. Natumaini unaweza kutumia dhana kwa baadhi ya mawazo mapya melodic katika kucheza yako. Ikiwa unataka kupakua PDF ya mfano unaweza kufanya hivyo hapa: Ikiwa una maswali yoyote, maoni au mapendekezo kwa mada au jinsi ninavyoweza kufanya masomo kuwa bora basi tafadhali nijulishe. Acha maoni juu ya video au utume barua pepe. Hiyo ndiyo njia bora zaidi ya kuboresha masomo yangu na kuyafanya yafanane na kile unachotafuta.