The Jazz Guitar Chord Dictionary
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  1. #1

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    What I've been doing up to this point is, instead of outright memorizing arpeggios, I will come up with a melody and supporting chord progression/harmony, and when I want to play jazzy lines I will target the chord tones of the chords in the chords progression, throwing in some passing tones and chromaticism, with voice leading. Maybe some here already do that, I'm sure somebody has at some point. But if using this method, it seems to generally be a little more difficult to get the jazzy effect, unless somebody has some advice they can throw at me about using this method. Maybe I'm just not practiced enough.

    Maybe it's time to move onto memorizing whole arpeggio shapes.
    Last edited by Jazzy_Dan; 08-10-2017 at 10:31 PM.

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  3. #2

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    Diatonic arps first.
    Jazz is all about moving from a to b so for starters, learn them in pairs. II-V, V-I, etc. You can get one V7 arp in 1/2 hours probably but switching this to another takes some days to ... "master". Then try II-V-I.. and I-VI-II-V. then... just pick some standard and see if you can pull off what you've "memorized". It's a struggle at first. People get all whiny cuz its so hard on the guitar.. Very rewarding eventually though.

    The "jazzy effect" is 99% about the swing feel and not about the notes so much.
    Last edited by emanresu; 08-11-2017 at 01:39 AM.

  4. #3

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    Which ones first? A learning ramp might look like this;

    Maj7, Min7, Dom7
    Then add Mi7b5 and Dim7.


    But emanresu said it well. In terms of approach, go diatonic. Learn "skips" (skips being arpeggios of course) from all scale tones in Major, Melodic Minor, and Harmonic Minor (not all at once, one at a time, this takes a little time).

    Learn to play 3 note, 4 note, and 5 note skips/arpeggios. Play them ascending from all seven tones of each scale. Then do the same descending from all scale tones. Not so easy.
    Last edited by Jazzstdnt; 08-10-2017 at 10:44 PM.

  5. #4

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    Or you could study the arpeggios related to whatever song(s) you are working on.

  6. #5

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    Quote Originally Posted by Jazzy_Dan
    What I've been doing up to this point is, instead of outright memorizing arpeggios, I will come up with a melody and supporting chord progression/harmony, and when I want to play jazzy lines I will target the chord tones of the chords in the chords progression, throwing in some passing tones and chromaticism, with voice leading. Maybe some here already do that, I'm sure somebody has at some point. But if using this method, it seems to generally be a little more difficult to get the jazzy effect, unless somebody has some advice they can throw at me about using this method. Maybe I'm just not practiced enough

    Maybe it's time to move onto memorizing whole arpeggio shapes.
    If you can already find the chord tones, you already know the arpeggios, unless you're referring to well-practiced fingerings that you can play really fast.

    I think the issue may be what you hear as "jazzy effect". Maybe it's time to learn to play some solos (from records) that you really like -- so that you can get the effect you want with their notes. Then, try to figure out what it is you like -- and try to get those things into your soloing.

    For raw arp memorization, I found it helpful to learn 7th arpeggios in 5 positions (4 would work too) in 12 keys. Once you've got those, you just adjust a note or two to get a lot of other arps.

  7. #6

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    Quote Originally Posted by rpjazzguitar
    If you can already find the chord tones, you already know the arpeggios, unless you're referring to well-practiced fingerings that you can play really fast.
    When I think more about it, I think I was trying to say that I want to be able to play longer phrases for single note lines, which may require a broader knowledge of soloing techniques? Or maybe I just have to spend some time making my phrases longer.


    I think the issue may be what you hear as "jazzy effect".
    Lol.... Since various jazz terms tend to have broad meaning I thought I would start making up my own lingo. The "jazzy effect" is where it's at, baby


    Anyway, lot of good advice here..Thx everyone. What bako said makes good sense. That is, I could just expand the arpeggios in the songs that I'm working on so that they span at least two octaves, taking from the pot only what I need at this point in time, and spend some time lengthening my single note phrases (lines).


    EDIT: I have to clarify that I'm talking about playing lines in the context of solo guitar (no accompaniment). When playing over recorded chord progressions, I seem to do alright, but always trying to improve.
    Last edited by Jazzy_Dan; 08-11-2017 at 05:14 AM.

  8. #7

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    I would advocate learning small 1 octave arpeggios.... In terms of which ones to learn - who do you like to listen to.

    I've been transcribing Hank Mobley for instance and he is the maj7/maj9 arpeggio KING. He will play these arps on any chord - for example from listening to If I Should Lose You...

    Dmi7 --> Fmaj7/9
    Em7b5 --> Bbmaj7/9
    C7 --> Bbmaj7/9

    On Split Feelings he uses Ebmaj7 on F to get a F mixolydian modal vibe.

    I used to think Wes was the maj7/maj9 arp king but Hank has dethroned him.

    But if you like Charlie Christian, or Django, you might choose different arps... CC use the m6 on everything, Django used m6 but also lots of triad arps (often quite big ones) and dim7s.

    So listening and working out lines will more likely show you the path than asking others. You know what sounds appeal to YOU.

  9. #8

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    Quote Originally Posted by christianm77
    I would advocate learning small 1 octave arpeggios....
    Sounds reasonable

    But if you like Charlie Christian, or Django, you might choose different arps... CC use the m6 on everything, Django used m6 but also lots of triad arps (often quite big ones) and dim7s.
    Are you saying that some players will use only one arpeggio on everything? I imagine that implies flat(ing) and sharp(ing) some of those tones and using a lot of other tricks like "enclosure", using the said arpeggio as a foundation? When I first started playing with the simple maj7 arpeggio, moving in and out of the chord tones (key) always resolving back to the arpeggio, created a pretty neat tension and resolution effect, and potential for song. I may try this some more if I can get your blessing... haha



    EDIT: I should specify more what I'm trying to do. I'm talking about playing lines in the context of solo guitar (without accompaniment). When I record some chord progressions and I play over them, I feel I can come up with lines/phrases pretty well, for the most part...although of course I'm always trying to improve.
    Last edited by Jazzy_Dan; 08-11-2017 at 05:12 AM.

  10. #9

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    Quote Originally Posted by Jazzy_Dan
    Sounds reasonable



    Are you saying that some players will use only one arpeggio on everything? I imagine that implies flat(ing) and sharp(ing) some of those tones and using a lot of other tricks like "enclosure", using the said arpeggio as a foundation? When I first started playing with the simple maj7 arpeggio, moving in and out of the chord tones (key) always resolving back to the arpeggio, created a pretty neat tension and resolution effect, and potential for song. I may try this some more if I can get your blessing... haha
    Well CC, doesn't use m6 on major chords. He plays Chuck Berry licks on those haha (or rather... Chuck played CC licks.)

    It's always a simplification of course, but the extent to which Mobley plays straight up maj7/9 arps as a melodic device on every chord is pretty striking. Sometimes he uses passing tones in the arp. He then connects these to other arps using simple chromatic voice leading things. It's not all he does but it's a feature of his playing that jumps out right away.

    Not every player does this, but most of the good ones appear to be very systematic about applying material in every situation they can. It would be a good practice exercise to practice playing one arpeggio type on every chord in a blues, say...

    EDIT: I should specify more what I'm trying to do. I'm talking about playing lines in the context of solo guitar (without accompaniment). When I record some chord progressions and I play over them, I feel I can come up with lines/phrases pretty well, for the most part...although of course I'm always trying to improve.
    I do exactly the same stuff solo as I would in a group for solo lines. You do need to juggle back and forth between lines and chords with a strong bassline to give some context but it works. At least IMO :-)

    I rarely practice with backing tracks myself.... For me a melodic line needs to express inner voice movement, so to speak, not necessarily spell out the root movement all the time, although sometimes it is important to hear the root. So one strategy is to trade with yourself playing chords and then practice using different numbers of bars and starting on different beats/upbeats to make it more fluid and get that 'jazzy effect.'
    Last edited by christianm77; 08-11-2017 at 05:46 AM.

  11. #10

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    Quote Originally Posted by christianm77
    Well CC, doesn't use m6 on major chords. He plays Chuck Berry licks on those haha (or rather... Chuck played CC licks.)

    It's always a simplification of course, but the extent to which Mobley plays straight up maj7/9 arps as a melodic device on every chord is pretty striking. Sometimes he uses passing tones in the arp. He then connects these to other arps using simple chromatic voice leading things. It's not all he does but it's a feature of his playing that jumps out right away.

    Not every player does this, but most of the good ones appear to be very systematic about applying material in every situation they can. It would be a good practice exercise to practice playing one arpeggio type on every chord in a blues, say...
    Well if they're doing it, I'm gonna try it

  12. #11

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    Quote Originally Posted by Jazzy_Dan
    Sounds reasonable



    Are you saying that some players will use only one arpeggio on everything? I imagine that implies flat(ing) and sharp(ing) some of those tones and using a lot of other tricks like "enclosure", using the said arpeggio as a foundation? When I first started playing with the simple maj7 arpeggio, moving in and out of the chord tones (key) always resolving back to the arpeggio, created a pretty neat tension and resolution effect, and potential for song. I may try this some more if I can get your blessing... haha



    EDIT: I should specify more what I'm trying to do. I'm talking about playing lines in the context of solo guitar (without accompaniment). When I record some chord progressions and I play over them, I feel I can come up with lines/phrases pretty well, for the most part...although of course I'm always trying to improve.
    As one who ignored (but is now consolidating) the basics, this is a useful thread and an interesting read. I'll add some observations.

    Firstly, the importance of explorative play (studying?) at a piano/keyboard - in order to learn arpeggios as music.

    Secondly, to report teacher Peter Farrell's spoken claim (to me, via Skype) that "George Benson converts everything to major." It's kind of obvious, except when one is - like me - over-awed (or willfully blind). EDIT I think the claim was a well-intentioned over-simplification.

    Moreover, those major sounds aren't difficult for anyone who - unlike me - can muster a modicum of conscientiousness (or summon the temerity to say what they believe to be true).

    Thirdly, a metaphor - from years of marking batches of exam papers. Instead of marking Candidate A's whole paper before moving on to mark Candidate B's, I'd focus on the task-specific criteria and requirements of one question and mark Candidate A's answer to Question 1, then Candidate B's, and Candidate C's - and repeat the process for Question 2. The whole paper is the song, each question is a chord - making up a progression - and the criteria and requirements are a single arp, with nuances which make them 'task-specific'.

    Fourthly, I agree that one octave is fine - but what I think is most desirable as a practical resource is fretboard knowledge throughout the range. And for solo playing, even to begin with, I think it's important to at least 'see' how notes might be harmonised.

    Fifthly, personally, I'm fond of arpeggios from the seventh ('ymmv').

    Finally, musically, Jordan Klemons's teaching on the subject of Triads is - without doubt - the most exciting musical concept I've ever encountered. The fact that I find it challenging is a reflection on me and my situation (and of having skipped what, seeming pointless, bored me). That's the way direction I'd follow.
    Last edited by destinytot; 08-11-2017 at 12:55 PM.

  13. #12

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    Quote Originally Posted by Jazzy_Dan
    What I've been doing up to this point is, instead of outright memorizing arpeggios, I will come up with a melody and supporting chord progression/harmony, and when I want to play jazzy lines I will target the chord tones of the chords in the chords progression, throwing in some passing tones and chromaticism, with voice leading.
    That's basically what solo guitar playing comes down to. Harmonize the melody; play embelishments. If you can do that, plus periodically break out and play single note lines and licks, you've got a pretty good system.

    As to "memorizing arpeggios". That's not something I ever explicitly set out to do. It's something that just happened as a consequence of general practicing and playing. I guess certain things facilitate it, such as practicing harmonized scales (including by arpeggiating the chords in harmonized scales), but I don't see "memorizing arpeggios" as a) an end in itself or b) particularly difficult. I'm not sure I've even memorized arps per se at all. If you ask me to play a particular arpeggio starting on a particular note, I can do it, not because I've explicitly memorized where all the arps are, but because the logic of arps is straighforward enough not to have to. Chord are made out of 3rds (or inverted to 6ths). Chord name tells you which ones are major, which are minor, which notes are altered. Boom, no memorization needed other than the inherent logic of chords.

    Quote Originally Posted by Jazzy_Dan
    Maybe some here already do that, I'm sure somebody has at some point. But if using this method, it seems to generally be a little more difficult to get the jazzy effect, unless somebody has some advice they can throw at me about using this method. Maybe I'm just not practiced enough.

    Maybe it's time to move onto memorizing whole arpeggio shapes.
    If the issue you're having is "I'm playing a bunch of stuff, but it doesn't sound like jazz to me," I doubt that the resolution lies inmemorizing and playing more arps. Some players explicitly play a lot of arps in their solos; some don't. What makes their playing jazz is the totality of what they're doing, especially time and phrasing, and how they deviate from strict diatonicism (e.g., going outside, chromaticism, blues-isms). My recommendation is that you drill more deeply into what you mean by the "jazzy effect" (I honestly have no idea what you mean, even after having read through the whole thread). Pick examples of what you're thinking of and use your ears to imitate them.


    John
    Last edited by John A.; 08-11-2017 at 11:11 AM.

  14. #13
    I think it's helpful to have a basic positional reference for arps to start. Reg would say 4 inversions of 2-octave arps from 2nd finger/6th string. Much more doable as a starting reference than the commonly mentioned "everything from every position". Eventually yes, but it's easy to get bogged down for decades and not spend enough time with real music. With that approach, you can more quickly get onto things like melodic minor arps etc.

    Then, move on to more specific MUSICAL applications, like simple one octave patterns or just basic language-based stuff from recordings/teachers. A lot of people advocate learning fretboard basics and language simultaneously. Didn't work as well for me. Getting some basics for major and melodic minor gave me a lot better context for understanding real musical applications to the fretboard. YMMV
    Last edited by matt.guitarteacher; 08-11-2017 at 12:12 PM.

  15. #14

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    I recall a lesson with the great Steve Erquiaga in which he played a single Bb note against two bars of Bbmaj7 and got what I thought of at the time as a terrific "jazzy effect". One note, but timed and articulated perfectly.

    One of my favorite horn players is LA great Robert Kyle. Melodic and great drive. To me, his playing sounds very inside. Other players are constantly outside. They all have great "jazzy effect".

    So, the question becomes, what gives a solo the "jazzy effect"?

    Clearly it isn't the choice of scales, since one guy gets it with G mixo against G7 and another guy gets it with notes that the theorists later have to argue about using arcane language.

    Mostly, I think it's

    1) rhythmic content of the line.
    2) melodic content of the line
    3) placement and accenting of the notes

    If you do those things well, it will sound like jazz. It might sound more like Coleman Hawkins than Ornette Coleman, but it will sound like jazz.

    After that, most players want to add more sophisticated harmonic content. For that, it helps to know some arps and you have to be able to apply them in ways which create interesting sounds.

    As others have pointed out, some great players have found clever ways to create interesting sounds with something as simple as major arps. Or, even simpler, pentatonic scales.

    So, not that anybody would do it this way, it might make sense to learn just a couple of scales and arps, pick a tune that is simple enough that that's all you need, and then use those materials to get a jazzy feel with simple harmonic content -- and then use the same arps (changing key as needed) to create different harmonic juxtapositions. It seems like a lot of great players are good at that.

  16. #15

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    Quote Originally Posted by destinytot
    As one who ignored (but is now consolidating) the basics, this is a useful thread and an interesting read. I'll add some observations.

    Firstly, the importance of explorative play (studying?) at a piano/keyboard - in order to learn arpeggios as music.

    Secondly, to report teacher Peter Farrell's spoken claim (to me, via Skype) that "George Benson converts everything to major." It's kind of obvious, except when one is - like me - over-awed (or willfully blind). EDIT I think the claim was a well-intentioned over-simplification.

    Moreover, those major sounds aren't difficult for anyone who - unlike me - can muster a modicum of conscientiousness (or summon the temerity to say what they believe to be true).

    Thirdly, a metaphor - from years of marking batches of exam papers. Instead of marking Candidate A's whole paper before moving on to mark Candidate B's, I'd focus on the task-specific criteria and requirements of one question and mark Candidate A's answer to Question 1, then Candidate B's, and Candidate C's - and repeat the process for Question 2. The whole paper is the song, each question is a chord - making up a progression - and the criteria and requirements are a single arp, with nuances which make them 'task-specific'.

    Fourthly, I agree that one octave is fine - but what I think is most desirable as a practical resource is fretboard knowledge throughout the range. And for solo playing, even to begin with, I think it's important to at least 'see' how notes might be harmonised.

    Fifthly, personally, I'm fond of arpeggios from the seventh ('ymmv').

    Finally, musically, Jordan Klemons's teaching on the subject of Triads is - without doubt - the most exciting musical concept I've ever encountered. The fact that I find it challenging is a reflection on me and my situation (and of having skipped what, seeming pointless, bored me). That's the way direction I'd follow.
    Thx. The idea of explicitly memorizing arpeggios seems like a ridged and boring task and I never wanted to do it, though I'm not knocking anybody else that has done it. I think I need to spend more time getting comfortable with my current system which apparently is not a bad system by any means, utilizing the suggestions on this thread of course. Somebody on this forum once said that one of the problems with solo guitar is that there is too much freedom; That is so true. I often catch myself over-doing and/or working out lines to the point that the melody is lost or un-resolvable (if playing outside). I need to prioritize and stick more to the melody and/or support it.
    Last edited by Jazzy_Dan; 08-11-2017 at 03:48 PM.

  17. #16

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    Quote Originally Posted by John A.
    That's basically what solo guitar playing comes down to. Harmonize the melody; play embelishments. If you can do that, plus periodically break out and play single note lines and licks, you've got a pretty good system.

    As to "memorizing arpeggios". That's not something I ever explicitly set out to do. It's something that just happened as a consequence of general practicing and playing. I guess certain things facilitate it, such as practicing harmonized scales (including by arpeggiating the chords in harmonized scales), but I don't see "memorizing arpeggios" as a) an end in itself or b) particularly difficult. I'm not sure I've even memorized arps per se at all. If you ask me to play a particular arpeggio starting on a particular note, I can do it, not because I've explicitly memorized where all the arps are, but because the logic of arps is straighforward enough not to have to. Chord are made out of 3rds (or inverted to 6ths). Chord name tells you which ones are major, which are minor, which notes are altered. Boom, no memorization needed other than the inherent logic of chords.



    If the issue you're having is "I'm playing a bunch of stuff, but it doesn't sound like jazz to me," I doubt that the resolution lies inmemorizing and playing more arps. Some players explicitly play a lot of arps in their solos; some don't. What makes their playing jazz is the totality of what they're doing, especially time and phrasing, and how they deviate from strict diatonicism (e.g., going outside, chromaticism, blues-isms). My recommendation is that you drill more deeply into what you mean by the "jazzy effect" (I honestly have no idea what you mean, even after having read through the whole thread). Pick examples of what you're thinking of and use your ears to imitate them.


    John
    Great and liberating wisdom here. That is, apparently I'm on the right track.

  18. #17

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    Quote Originally Posted by rpjazzguitar
    I recall a lesson with the great Steve Erquiaga in which he played a single Bb note against two bars of Bbmaj7 and got what I thought of at the time as a terrific "jazzy effect". One note, but timed and articulated perfectly.

    One of my favorite horn players is LA great Robert Kyle. Melodic and great drive. To me, his playing sounds very inside. Other players are constantly outside. They all have great "jazzy effect".

    So, the question becomes, what gives a solo the "jazzy effect"?

    Clearly it isn't the choice of scales, since one guy gets it with G mixo against G7 and another guy gets it with notes that the theorists later have to argue about using arcane language.

    Mostly, I think it's

    1) rhythmic content of the line.
    2) melodic content of the line
    3) placement and accenting of the notes

    If you do those things well, it will sound like jazz. It might sound more like Coleman Hawkins than Ornette Coleman, but it will sound like jazz.

    After that, most players want to add more sophisticated harmonic content. For that, it helps to know some arps and you have to be able to apply them in ways which create interesting sounds.

    As others have pointed out, some great players have found clever ways to create interesting sounds with something as simple as major arps. Or, even simpler, pentatonic scales.

    So, not that anybody would do it this way, it might make sense to learn just a couple of scales and arps, pick a tune that is simple enough that that's all you need, and then use those materials to get a jazzy feel with simple harmonic content -- and then use the same arps (changing key as needed) to create different harmonic juxtapositions. It seems like a lot of great players are good at that.
    Perfect.

  19. #18

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    Quote Originally Posted by destinytot
    Finally, musically, Jordan Klemons's teaching on the subject of Triads is - without doubt - the most exciting musical concept I've ever encountered.
    Oh my. Well that's very flattering of you Mike, thank you! Hope we get to work together again sometime soon! Hey, do you mind if I put this on my business card?!?! hahaha

  20. #19

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    Quote Originally Posted by rpjazzguitar
    I recall a lesson with the great Steve Erquiaga in which he played a single Bb note against two bars of Bbmaj7 and got what I thought of at the time as a terrific "jazzy effect". One note, but timed and articulated perfectly.
    It probably doesn't matter, but thinking back, Steve played a single D against two bars of Bbmaj7.

  21. #20

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    Learning this stuff varies from individual to individual.

    There are some people who go along, never learning note names on the fretboard....and just playing through positions...most of them conclude later on they've wasted a lot of time, futzing around, when some application (learning each note name, cold) might have served them better.

    I find, I learn things better, if I learn them well, and somewhat completely...and these things should be reinforced fairly often. So that includes major, minor, dom., min 7 flat five, arpeggios from different string sets and fingers...maybe not every possible permutation, but enough to get you going playing against real songs.

    Then, you can being to explore approach tones, etc.....Rich Severson has some lessons on his site that illustrate use of non-arpeggio tones, even in his pretty basic soloing advice/exposition....not just pure "arpeggio only" stuff.

    Look at the lictionary stuff on this site, and look at some of the examples...you have the notes, and can hear them, and play them....you'll see where elaboration, approach tones, enclosures, etc. are used.

    Look at the first phrase of "Scrapple from the Apple"--mostly a gm, to c7 arpeggio but its got that chromatic slide.

    Still, basic arpeggios are hugely important, and form the skeleton of most songs, e.g. the 1st phrase of "Back Home Again in Indiana" and a million others.

    You're really asking about several different things--learning the fingerboard; learning harmonic structure and function; and learning vocabulary; and being able to play them effectively, technique.

    It's no accident a LOT of great guitarists, e.g Van Eps, Howard Alden, Charlie Christian, Herb Ellis started out on different instruments---they already had some of these musical essentials under their belt, so to speak.
    Last edited by goldenwave77; 08-11-2017 at 07:35 PM.

  22. #21

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    Quote Originally Posted by jordanklemons
    Oh my. Well that's very flattering of you Mike, thank you! Hope we get to work together again sometime soon! Hey, do you mind if I put this on my business card?!?! hahaha
    Sorry for flattery - but defining triads means being in the driver's seat from the get-go. That's a great place to be. Looking forward to catching up after the holidays - when I go back to work for a rest!

  23. #22

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    I play more in the Ted Greene style and I was just getting ready to buy a looper to work on arps......just to add some solo lines to all the harmony....now I'm not so sure....scales drive me nuts.....I can't spend hours on scales...arps are at least somewhat musical sounding.....anyway.....if nothing else, they are a good warm up

  24. #23

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    Jazzy_dan - you are going to drown in info here. The best thing is check out your favourite players in depth and the relevance of the info will become plain.

    Who do you like to listen to?

  25. #24

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    Quote Originally Posted by christianm77

    Who do you like to listen to?
    Good question. Let's see, I've taken a liking to Wes Montgomery, Andy Brown, and Joe Pass. There are of course several others I've listened to and enjoyed but I can't think of names. I guess that's just part of being relatively new to jazz

  26. #25

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    Yeah, tbh I think learning a few arpeggio shapes will help a lot. I recommend having a look into Wes maybe - Joe Pass is a bit more chopsy and fast (although wes was no slouch.)

    Try and learn to play some of Wes's lines by ear if you can, and see what use he makes of arpeggios. I'd advise picking something that you enjoy listening to but also sounds like some of it might be playable by you! Don't try to do a whole solo at first, just a line or two, but concentrate on how the work over the chords of the song, so make sure you know what those chords are!

    For this reason blues is best early on. How about something like No Blues from smokin at the Half Note?

    If you need more specific guidance at that stage I'd have to say get a teacher. Every student is different in their needs.
    Last edited by christianm77; 08-12-2017 at 04:44 PM.