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hi everyone,
having enjoyed this guitar forum (though i'm a pianist) as a guest for some time, i registered yesterday, and did my 1st post in the *blue bossa & melodic scales* thread. as i had the feeling that one got a bit of an informational *overkill* ;-) i frankly decided to open a new thread to share some concepts i've been working on for long.
note: the slashes + backslashes indicate the up + down movement of the line.
maj9-arpeggio: Cmaj9 = C/E/G/B/D (or 1/3/5/^7/9). in this concept i think of B (^7) and D (9) as the diatonic approach notes of C (1). the main arpeggio sequence is: C/E/G/B/D\B/ C (or 1/3/5/^7/9\^7/ 1). by repeating this sequence you can ascend through the octaves. you can start this series of notes at any spot: E/G/B/D\B/C/E~ or G/B/D\B/C/E/G~ or
B/D\B/C/E/G/B~ etc.
of course, this pattern will work on a Cmaj7 chord. but this exact series of notes could be used for an Am7 chord as well, now creating a b3/5/b7/9/11 arpeggio, the 9 and 11 approaching the b3: b3/5/b7/11\9/ b3.
i'm going to use these ascending arpeggio sequences in II V I progressions for the II and I chords. in the key of C : the Fmaj9-arpeggio sequence on Dm7, the Cmaj9-arpeggio sequence on Cmaj7.
for the V chord i'm using what i call the *altered 6-note scale*, descending: 1\b7\b13\3\#9\b9\ 1. for a G7alt chord this is G\F\Eb\B\Bb\Ab\ G. the reason why i skipped the #11 from the common altered scale is that with 6 notes i will always land on my feet when resolving this scale to the I chord.
in licks # 1 thru 3 of the attached pdf file, the initial arpeggio sequence is starting from 3 different spots, thereby entering the altered 6-note scale at again 3 different spots, and resolving in 3 different spots of the final
arpeggio sequence.
licks # 4 thru 6 provide similar lines for minor II V I's, introducing what i call the min-maj9-arpeggio: Cmimaj9 = C/Eb/G/B/D (or 1/b3/5/^7/9). main sequence: C/Eb/G/B/D\B/ C (or 1/3b/5/^7/9\^7/ 1).
for a II V I in C minor: Dm7b5=Fmimaj9-arpeggio, G7alt=G altered 6-note scale (same as in major II V I's), Cm=Cmimaj9-arpeggio.
best
andyLast edited by andypiano; 03-13-2011 at 01:48 PM.
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11-24-2008 08:39 PM
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hi again,
here are some more lines on II V I - this time half-bar changes, also arpeggio down, scale up, arpeggio down.
enjoy
andyLast edited by andypiano; 03-13-2011 at 01:48 PM.
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nice
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Hello!
Just one question; I see soe notes with a triangle. What does this mean?
Thanks in advance.
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Claudi - Maj7.
Sailor
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Maj7?????????????????? And why is it written this way?
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'cause it's easier to write ^ than Maj
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Ok! Thanks for telling me.
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The delta symbol or triangle is a pretty common abreviation for maj, or so I thought. I use it all the time.
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Hi, Derek! How are you?
Well, I always saw the major chords with a capital M or simply omitted, the minor chords with a small m, and the minor seventh with the m omitted and the major seventh like this 7+.
I never saw this triangle before this past half year that I see this website. I saw it once when someone gave us a link to see some jazz scores and then I saw this triangle but I don't know why I didn't ask about it.
Possibly it's an american way to write it.
Thanks everyone for your answers.
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Claudi - I never saw a m7 with the m omitted? The + sign is usually for augmented reasons. I like M7, or Maj7, myself, but the triangle has been used forever too.
Sailor
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Hi, Sailor!
Yes, you're right when you say that the + sign is normally for augmented, but in my chord book and in many scores it's written the way I told you. Believe me I never saw this triangle before.
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Hi, guys!
Recently I've seen another symbol. It's a circle. E.g. Abº. What does this circle mean?
Thanks again in advance!
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It means Ab diminished.
If the circle has a line through it, it means half-diminished or Abmin b5.
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Claudi , I was looking at an old Jamey aebersold book and it shows all the possible ways to designate chords; you should look on-line at this if you have time. There are many ways to write chords, like A-, for A minor, or m7b5 for half diminished, etc.........
Sailor
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Originally Posted by Claudi
As long as you know, it doesn't really make much difference, I guess.
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Hi, guys!
Thank you for all the responses.
Ok, Sailor. It would be good if I know a website where I could have all these responses.
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check out abersold site...he has a jazz handbook thats free and has alot in it..
time spent on the guitar is marveleous...pierre
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hi everybody,
the pdf shows a line on *have you met miss jones* applying the half-bar licks # 1 and 4 from my 2nd pdf. for that purpose i 'reharmonized' the whole-bar ii-V's as | ii | ii-V | throughout (which is quite common). in the final A-section i used some permutations of the 1-3-5-7 arps, eg. 5-7-3-1, 5-1-3-7 and 3-1-5-7 for variety.
enjoy
andyLast edited by andypiano; 03-13-2011 at 01:48 PM.
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Hi andipiano
Thank you for your good material, you explained. It's a great mix between theory and practice. That's what I like.
PatrickLast edited by Pat; 12-29-2008 at 06:29 AM.
RIP Nick Gravenites
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