The Jazz Guitar Chord Dictionary
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  1. #51
    Gustaff Guest

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Just letting you know, I'm new to this, since I got SX acoustic guitar a few months ago, this jazz in an insperation. I stopped playing the guitar 25 years ago, don't ask me way, I just did. Now I'm picking in up pretty easy, yet I'm still learning lots.
    I am not on the internet I use the local library, therefore I'm a little slow on learning jazz guitar and getting feed back and questions I may have but I will over come this . best of all it;s great fun

  4. #53

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    im having a hard time understanding the whole arpeggio thing i dunno what note i should start with... and why i should start there... for e.g. the other website said if i was on the chord d i should start with f#???? it didnt say why though... can u please help a newbie like me??

  5. #54

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    Quote Originally Posted by carl
    im having a hard time understanding the whole arpeggio thing i dunno what note i should start with... and why i should start there... for e.g. the other website said if i was on the chord d i should start with f#???? it didnt say why though... can u please help a newbie like me??
    There are lots of books out there with various arpeggio shapes, and if you pick one up, I recommend Mimi Fox's (Mel Bay). After she runs you thru various shapes of major, minor, dominant, etc, she uses parts of standards to have you use them over real chord progressions.

    They aren't too tough to sort out though. Look at a 6th string root major 7th chord shape. Start on the root (6th string), then staying within the shape of the chord, play the 3rd, 5th, & 7th for an octave. You will then run into another root, and you can continue on to the first string with a 2 octave arp.

    Take a minor 7 chord and do the same, repeat for dominant 7, half diminished and diminished 7th chords. I strongly recommend saying or singing the degrees as you play them, so for minor; root, b3, 5, b7.

    After you work this out for a 6th string root chord, then repeat for 5th string root chords. This will give you major, minor, dom, half dim, and dim arpeggios for 2 different positions on the neck. Practice them around the key circle so you can do any chord/key. Will take 2-4 months of steady work, depending on your ability, to get them down cold.

    Once you get them though, they are the handiest improv devices imo. Good luck
    Last edited by derek; 09-04-2008 at 12:23 PM. Reason: missing info

  6. #55

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    It's a shame this website isn't more "printer friendly." It would make practicing these exercises a bit easier and more inviting...

  7. #56

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    Quote Originally Posted by shelgunther
    It's a shame this website isn't more "printer friendly." It would make practicing these exercises a bit easier and more inviting...
    Well,
    what I do is, I save the lessons I need often as pdf, at least on mac there's a 'print as pdf' way, if you go to 'print'. I don't know about pc,
    Peace
    &
    Keep on going, always
    Skei (the mac one)

  8. #57

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    I copy and paste into MSWord... it would be nice if the site/page had a "printer friendly" button... just a 'wish list' item...

  9. #58

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    Do you guys have any tips for improvising? I have Band in a Box and I have memorized these shapes off by heart. I have trying to play random notes but whatever I come up with sounds the same if you know what I mean. How did you guys learn to improvise? Do I just have to keep at it everyday and maybe it will click? Do I need to learn other licks to get some ideas?

  10. #59

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    Start checking out licks, learn lines and try and fit them into the shapes that you've already learned. The licks might use notes outside of the shapes, but it will give you an idea of how to build your own lines using the shapes you already know, if that makes sense.

    MW

  11. #60

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    Quote Originally Posted by Ben
    Do you guys have any tips for improvising? I have Band in a Box and I have memorized these shapes off by heart. I have trying to play random notes but whatever I come up with sounds the same if you know what I mean. How did you guys learn to improvise? Do I just have to keep at it everyday and maybe it will click? Do I need to learn other licks to get some ideas?
    Saw your post, and felt I was exactly where you're at, only a few weeks ago. It's discouraging and feels like dark matter, as DNA would perhaps have said.
    Now, only a few weeks after having been in the 'limbo' state for what seems like an eternity of running up and down shapes and stuff, one morning, after listening to Parker, can't recall what tune, it just 'clicked', much like you said, and I could just play and follow the music without thinking about what I was doing. Much like a shadow following a body, or so it seems. I just followed the discussions here, sucking up all pieces of knowhow that might surface. And started playing off of the third. That was the key for me. Now it feels natural, and lots of those things I hear when listening to the pros, here and elsewhere, started making sense when I thought of the third degree.
    But you should know, I've been at it every day for some 7-10 hours since christmas. I'm unemployed, probably due to my being an artist and enjoying only jazz. It comes if you keep at it. It does, and it feels super when it finally does. But there's no end, now the goal is understanding Coltrane, and of course acquiring the speed necessary to do his stuff without making it sound too bad. So there's no end.
    Peace
    &
    The third...
    Skei (the third one)

  12. #61

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    Quote Originally Posted by skei
    Saw your post, and felt I was exactly where you're at, only a few weeks ago. It's discouraging and feels like dark matter, as DNA would perhaps have said.
    Now, only a few weeks after having been in the 'limbo' state for what seems like an eternity of running up and down shapes and stuff, one morning, after listening to Parker, can't recall what tune, it just 'clicked', much like you said, and I could just play and follow the music without thinking about what I was doing. Much like a shadow following a body, or so it seems. I just followed the discussions here, sucking up all pieces of knowhow that might surface. And started playing off of the third. That was the key for me. Now it feels natural, and lots of those things I hear when listening to the pros, here and elsewhere, started making sense when I thought of the third degree.
    But you should know, I've been at it every day for some 7-10 hours since christmas. I'm unemployed, probably due to my being an artist and enjoying only jazz. It comes if you keep at it. It does, and it feels super when it finally does. But there's no end, now the goal is understanding Coltrane, and of course acquiring the speed necessary to do his stuff without making it sound too bad. So there's no end.
    Peace
    &
    The third...
    Skei (the third one)
    Skei you sound kind of like me. I don't even work full time at the moment and dropped out of university while I 'sort things out'. I was playing guitar everyday all day but lately I have been trying to limit myself to about 3-4 hours as I find I take more in instead of noodling.

    Oh well... I'm getting there.

  13. #62

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    Thank you for the arpeggio lesson Dirk - as an absolute beginner to theory (and jazz) - I find it understandable, and now I just need to practice until it sinks in. I have been put off by theory before, and I have always relied on my ears - making lots of mistakes on the way. Now I'm retired I have more time to try and understand what makes good music. Keep up the good work.

  14. #63

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    This lesson is so good, just what I've been looking for!


    One prob though: how do I know what fingering to use for each arpeggio?

    It seems that sometimes one way of playing the arpeggio is good when playing it UP the neck, whereas I'm more comfortable using a different fingering on the way back. Hope u understand what I mean...

  15. #64
    Stringbean Guest
    Quote Originally Posted by geezer
    This lesson is so good, just what I've been looking for!


    One prob though: how do I know what fingering to use for each arpeggio?

    It seems that sometimes one way of playing the arpeggio is good when playing it UP the neck, whereas I'm more comfortable using a different fingering on the way back. Hope u understand what I mean...
    Initially I was wanting some fingerings to copy as well. but, I think it's best to explore fingerings on your own, develop stuff that works for you. More fun that way.

  16. #65

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    Quote Originally Posted by dirkji
    Discussion about this beginner lesson about arpeggios: Jazz Guitar 101: Arpeggios

    You can post all questions or general feedback about this tutorial in this thread.

    - Dirk
    Dear Dirk,

    I am not sure if I am going this right but he goes.

    I realize that to play Jazz guitar, learning arps is a must. My question is "What is the best way to approach learning?"

    1. should I approach this by trying to learn each arp individually? For ex. learn a shape for the minor7th chord?

    2. should I try to learn a different shape for each chord voicing of the same chord? For example, I would play the voicing I commonly use and play the arp for each, trying to see the arp within the chord?

    3. should I simply try to memorize the notes of each type of arp. (Maj7, m7, 7th, m7b5 and dim7) and forget about trying to memorize shapes?

    4. should I try to memorize the arp for each chord in a given progression. For example, I might play a ii V I progression in a particular position on the neck and learn the arp for each chord in that position.

    5. should I try to memorize (and see) the arps in the same position for each of the chords in the progression. That is, trying to learn the "arp of the progression" instead of chord by chord?

    Thanks for a great site.

    Doug

  17. #66

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    Hi Doug, you should practice all of the thing you listed...

  18. #67

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    i have a couple of questions concerning the use (and maybe abuse) of arpeggios...

    i am new to arpeggios, so i have to ask: arpeggios can be treated as box patterns (like pentatonic patterns or scale patterns) to create licks or is it recommended to play the whole pattern while improvising?

    also, i'm a metal guy at heart so, i need to know... arpeggios do not have to be played with "sweep picking" all the time right? you can play them over chords slow and with some kind of groove?

    and, finally, are all of those patterns movable? the ones on the 1st and 2nd lesson.

    thanks in advance for any replies

    Gabe~

  19. #68

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    If you want maximum benefit from this excellent lesson you should try and start the arpeggio from "any" note/point, up or down! All the notes belong to the accompanying chord so they will all work. To start try target the 7th note first (Gmaj7 go from a lo F# to High F# and back down etc). Also and I cant stress this enough, add some rhythmic quality to your runs.

    Ed

  20. #69

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    You don't need to sweep arpeggios in a jazz setting, you certainly can, but picking the whole or part of the arpeggio works well too. At first you might try learning them in box patterns like pentatonics to get them under your fingers, then try playing them on one string, or two strings only.

    The most important thing is to be able to improvise with these arpeggios, so once you know a fingiering try soloing with it right away. Just noodle a bit to see what you come up with. Put a one chord vamp in band in a box, or other looping program and start to create some music with these patterns/shapes.

    MW

  21. #70

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    Quote Originally Posted by m78w
    You don't need to sweep arpeggios in a jazz setting, you certainly can, but picking the whole or part of the arpeggio works well too. At first you might try learning them in box patterns like pentatonics to get them under your fingers, then try playing them on one string, or two strings only.

    The most important thing is to be able to improvise with these arpeggios, so once you know a fingiering try soloing with it right away. Just noodle a bit to see what you come up with. Put a one chord vamp in band in a box, or other looping program and start to create some music with these patterns/shapes.

    MW
    that was the answer i was looking for.

    i actually do improvise with every new pattern i learn, i find it easier for me to learn the patterns if i play them with a certain groove or rhythm and not like a mechanical thing.

    thanks for the reply, it really helped.

  22. #71

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    don't for get rhythmic articulation and the use of dynamics when playing arpeggios....yes first get them under your fingers then....use the forementioned rhythmic articulation...train your right hand....
    time spent playing your guitar is wonderful........pierre..........

  23. #72

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    Hi Hicksy,
    It depends on what is your intention. If you just want to learn the arpps it's is easier to start with the key /root note but if you want to learn about the variations of the arpegio you're playing you can start on the highest or lowest note. Another good way to practise the hole arps is to make sure on which positions the notes of each arpegio are on each string and to combine them
    G maj
    e-2-3-7-10
    B-0-3-7-8
    G-0-4-7-11
    D-0-4-5-9
    A-2-5-9-10
    E-2-3-7-10
    So that you're able to use the hole neck and to creat a rising or falling action in your solo

  24. #73

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    Hi Hicksy,
    It depends on what is your intention. If you just want to learn the arpps it's is easier to start with the key /root note but if you want to learn about the variations of the arpegio you're playing you can start on the highest or lowest note. Another good way to practise the hole arps is to make sure on which positions the notes of each arpegio are on each string and to combine them
    G maj
    e-2-3-7-10
    B-0-3-7-8
    G-0-4-7-11
    D-0-4-5-9
    A-2-5-9-10
    E-2-3-7-10
    So that you're able to use the hole neck and to creat a rising or falling action in your solo

  25. #74
    that conversation cleared the way for some/confident riffs/relating to arps 101/meaning its such a used part of the fret board

  26. #75

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    Hi I'm new at the forum and it is great to have a site like this . thank you dirk for all the work and education you give us all.
    About arpeggios , it's important to be able to play arpeggios starting on any note of the arp, on all five positions as well as on any given string.
    for a Jazzier sound I like to start a note below or above the target note of the Arpeggio. I also practice every arp very slow. first, starting with the Root , then the 3rd , 5th, 7th,etc. when you practice this way after awhile as you move across the neck with the arpeggios you begin to see the chromatic notes. I also always practice slowly, with a backing track playing a II V I progression, making melodies using different rhythms with arpeggios. because thats what it's all about , making music.