II V I licks using 1-9 arpeggios and altered 6-note scale

[andypiano]

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
andy

[andypiano]

hi again,
here are some more lines on II V I - this time half-bar changes, also arpeggio down, scale up, arpeggio down.
enjoy
andy

[mrodrigues]

nice

[Claudi]

Hello!

Just one question; I see soe notes with a triangle. What does this mean?

Thanks in advance.

[Sailor]

Claudi - Maj7.

Sailor

[Claudi]

Maj7?????????????????? And why is it written this way?

[bob32069]

'cause it's easier to write ^ than Maj

[Claudi]

Ok! Thanks for telling me.

[derek]

The delta symbol or triangle is a pretty common abreviation for maj, or so I thought. I use it all the time.

[Claudi]

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.

[Sailor]

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

[Claudi]

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.

[Claudi]

Hi, guys!
Recently I've seen another symbol. It's a circle. E.g. Abº. What does this circle mean?

Thanks again in advance!

[Jazzaluk]

It means Ab diminished.

If the circle has a line through it, it means half-diminished or Abmin b5.

[Sailor]

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

[mangotango]

Possibly it's an american way to write it.

That's what I've been told Claudi by various teachers here in the UK.

As long as you know, it doesn't really make much difference, I guess.

[Claudi]

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.

[pierre richard]

check out abersold site...he has a jazz handbook thats free and has alot in it..
time spent on the guitar is marveleous...pierre

[andypiano]

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
andy

[Pat]

Hi andipiano
Thank you for your good material, you explained. It's a great mix between theory and practice. That's what I like.
Patrick