How many notes to a D9 arpeggio?

[geezer]

I am a beginner jazz guitarist, currently working on a few jazz standards.

I'm practising playing the changes in a tune going from one arpeggio to the next.

So far I've been using some fairly basic chords(Am7, D7, Gmaj7 etc), all chords being made of 4 notes, making them very neat to play as arpeggios as 4 (or 8) notes fits nicely into one bar of music.

Now, whats the best way to play for example a D9 arpeggio? I found two approaches:

1. Keeping the essentials r-9-3-7 and leave the 5th out of the arp. This makes it a neat 4 tones but sounds a bit weird when you play it since there's a big jump from 3rd to 7th.

2. Playing all chord tones r-9-3-5-7 sounds a lot smoother but since its 5 notes you cant fit them into the 4notes/bar thing. And what do you do if you want to add the 11th and 13th to the arpeggio?

How is it generally played out there?

[randalljazz]

|| r-3-5-7-9-7-5-3 :||

[geezer]

Quick reply, thx!

In general, when building arpeggios, do you "stack" the notes numerically, (so to speak) and not by how close they are, ie th 9 also being the 2nd and thus close to the root?

[BigDaddyLoveHandles]

Six ideas, if you only have room for four notes:

3-5-7-9
9-7-5-3

7-9-10-12 (ie 3-5, above the 7-9)
12-10-9-7

3-9-7-5 (The jump of a seventh sounds cool)
5-7-9-3

All there leave out the root: let the bass supply it.

[innerjazz]

geezer

The most common choice of notes for D9 chord is 3-5-b7-9.
Is the D9 (D7th) functioning (V of I... D9>>Gma7 - If D7(9) has a V-I relationship, you can also use altered tension -- Lets try a b9 instead of the 9th. Let say your progression is Am7-D7-Gmaj7. When you get to the D7th play the arpeggio 3-5-b7-b9 (F#-A-C-Eb) This will give you a D7b9 sound over the D7.
You could also do this for 8 notes --- play 3-5b7-9-3-5b7-b9...

[randalljazz]

Quick reply, thx!

In general, when building arpeggios, do you "stack" the notes numerically, (so to speak) and not by how close they are, ie th 9 also being the 2nd and thus close to the root?

R-2-3-5-7 doesn't sound like an arpeggio--it sounds like a scale fragment or passing tone--and sound is what matters.

play arpeggios in thirds until you have the sound firmly in your ears and fingers. then use that to make other things ( R-#2-3-#4-5; R-3-5-7-9-#11-13; R-5-3-7-5-9-7-6; etc).

[geezer]

This helps a lot guys - thank you!

It seems you can have lots of fun playing over a dom7 chord!

[FatJeff]

This helps a lot guys - thank you!

It seems you can have lots of fun playing over a dom7 chord!

Nope, sorry Geezer - no fun allowed here. This is serious jazz only.

[gregoryjames]

You'll want to use different inversions depending upon the setting; fewer notes if you are playing with several musicians, probably more notes if you are playing solo or in a duet. With just D, F# and E, you can imply the chord, or even just F# and E.

Best,

Gregory James

[fep]

Here's a picking excercise I made up based a F9 arpeggio (I do it with eighth notes, triplets and 16th notes), enjoy:

[TommyD]

I took a lesson with a well-known classical guitarist one time - over on West End Avenue. I schlepped my brand-new classical guitar all the way across town, went up on the elevator, knocked on the door, went in, sat down, and played him a D9th. He said, "What's that? Where's the root?"
I said, "The bass player plays the root."
He said, "Lesson over. Goodbye!", got up and put his guitar away. (True story!)
That was the day that classical guitar lost the next Segovia.


Tommy/

[FatJeff]

I took a lesson with a well-known classical guitarist one time - over on West End Avenue. I schlepped my brand-new classical guitar all the way across town, went up on the elevator, knocked on the door, went in, sat down, and played him a D9th. He said, "What's that? Where's the root?"
I said, "The bass player plays the root."
He said, "Lesson over. Goodbye!", got up and put his guitar away. (True story!)

What a putz. Classical guitarists sometimes remind me of road cyclists - nose so far up their a$$ they can't even recognize their own stink.

[BigDaddyLoveHandles]

I don't know where West End Avenue is, but a similar thing happened to me when I shredded at a music lesson with a well-known jazz guitarist. "What make of guitar is that?" I said, "it's an Ibanez". Lesson over.
.
.
.
.

[fep]

I took a lesson with a well-known classical guitarist one time - over on West End Avenue. I schlepped my brand-new classical guitar all the way across town, went up on the elevator, knocked on the door, went in, sat down, and played him a D9th. He said, "What's that? Where's the root?"
I said, "The bass player plays the root."
He said, "Lesson over. Goodbye!", got up and put his guitar away. (True story!)
That was the day that classical guitar lost the next Segovia.


Tommy/

Ha Ha

That guy didn't know his head from his .... well from his tin ear.

D9 with no root is a F#m7b5 or as a classical musician with an ear would call it, a F#half diminished 7 chord.

[derek]

What a putz. Classical guitarists sometimes remind me of road cyclists - nose so far up their a$$ they can't even recognize their own stink.

Now wait just a gall darned minute. As a classical guitar playing, road cyclist, I am very familar with my own stink. I just prefer it to the stink of others.

[FatJeff]

Oh believe me, I've been both of those thing before, too, but I never really looked down my nose at others because of it!

[Gramps]

Poor road cyclists. Minding their own business and all of a sudden they're painted with the same brush as classical guitarists. LOL

Lots of jerks in the world and some of them belong to every group there is.