(Jazz Guitar music)
- In this video, I want to show you some of the ideas
that I really like to use when I'm improvising
over a minor seven chord.
So I'm going to take a C minor seven
and show you three different lines
and talk about the melodic building blocks
that make up those lines such as arpeggios,
scales, and chromaticism.
I think this is a really good way to demonstrate
how I combine different things in my playing,
and also give me a chance to talk about
some of the things that I didn't really work on
in a systematic way, like stuff I transcribed from solos.
(Guitar Music)
In this first line, I'm starting off with a stack of 4ths.
That's the first arpeggio that I'm playing.
So, normally when you play a stack of 4ths,
you do that with a one note string,
kind of a pattern like this.
But, this is something that I transcribed
out of an Allan Holdsworth solo.
Actually it's from a YouTube Video
so I'll link to it in the description of this video.
And the idea is here that,
instead of using one note per string,
we just lay it out on two strings with a string skip,
so we get this.
And this is something that I kind of took it out
of that solo, and then I've been messing around with it,
and using it.
It works really well if you try to apply it
to pentatonic scales,
because pentatonic scales and stacks of 4ths
are really closely related.
So I've been messing around with that,
and maybe I'll make a video on that at some point soon.
So, first this arpeggio.
Also, already, like, quite a big range on this line.
From here I go down to the fifth of C minor, so the G.
And here, so this is also just like a basic C minor line,
so you here just I'm playing G, and then, actually,
what I'm doing is I'm playing this type of line,
so G and then leave the G and down to the C.
But instead of hitting the C,
I take a chromatic leading note below, so I go.
And then..
On the 1 of the next bar
I can just run up the scale.
And then I skip up to the seventh.
And then up to the root, so the octave where I pull off.
And then I take the last note, and it's this high G.
And the idea with that is
if you have these solo large intervals
at the end of the line, and you can still make it sound
sort of logical, then that really brings out
the ending of the line, and it's sort of
a nice chromatic fix, so it's something
that I mess around with a lot in my lines.
(Jazz Guitar music)
When you're improvising over a minor seven chord,
it's very important that you also know
some of the other arpeggios that you can use
from the scale, and that's kind of what I'm using
in this second line.
So, what I'm starting off with
is the arpeggio from the fifth,
so the G minor seven in this case.
And from there, the G minor seven
is an okay arpeggio to use on a C minor,
but you have to be a little careful
because you are missing the third,
so it can be difficult to really get the sort of the minor
and seven sound out of it.
But in this case, I'm using first a G minor seven,
and then I'm actually using that
to sort of really emphasize the third of the chord
which is the Eb of course, and from there,
I'm playing the Ebmaj7 arpeggio.
So we have.
(Jazz Guitar music)
And up here, we're ending on the ninth of the chord,
so we're really spelling out an arpeggio
on a strong beat, or an extension on a strong beat.
And that's resolved chromatically.
And then just down to the fifth.
And then I'm playing this stack of fourths.
And then resolving that to the fifth of the chord.
(Jazz Guitar music)
If you wanna play a really clear line
on a minor seven chord, you kind of have to hit the third,
so in this case the Eb
But one way to make the line a little more exciting
is also to just delay or suspend that a little bit.
And the way I'm doing that in this line
is that I'm playing a chromatic enclosure
before I hit the third.
So I'm aiming for the Eb here,
but I'm starting on the D.
And then I go up to the F, and then move down to the E.
And again, down to the D,
so I'm sort of coming around it, starting below, above,
and then back down under, and then I'm resolving.
So now we're kind of spelling out the chord a bit,
so we're really emphasizing the Eb.
From there I'm using the arpeggio from the third
as I did in one of the other lines already.
But here I'm using it in sort of a sequence,
so I'm playing first just a Eb major triad.
And then I'm going up to, skipping from the G here
up to the seventh, so the D.
And this I turn into a sort of a Pat Metheny, descending,
chromatically descending thirds idea.
Now, I'm saying Pat Metheny because I think
most of us know it from Pat Metheny,
he uses really a lot.
I think he actually got it from Miles Davis
because I have a few records with Miles
where he's doing pretty much the same thing quite often.
I think it's on Four & More, he does that a few times.
So that could be that Pat Metheny
actually took it from Miles Davis, but I'm not sure.
For me, it's anyway, something that I just really connect
with Pat Metheny.
And then just, since it's just moving down,
I need to resolve it at some point.
And when I move down, so, because I get
the D, Bb, and then C# A,
which is just completely outside.
C, it's not so outside.
Ab is not really fitting in this context
because the lines that I'm using here are all Dorian.
But then I can just resolve by pulling off
to the fifth of C, so the G.
And then from here, I go up to the Bb,
so up to the seventh.
And then I'm sort of making this short,
almost like G minor pentatonic line.
Working in on the 11, which is a nice sort of open note
to end on on a minor seven chord.
That was three examples of some lines
that I might play over a minor seven chord
in sort of a Dorian context.
This is, of course, a bit different
from how I normally do the videos,
but I thought it'd be interesting
just to maybe get some examples of some lines,
and then talk about how they're constructed
in terms of the different things
that I talk about in all the other videos.
So, if you have a favorite thing that you use
over a minor seven chord, then maybe leave a comment
on this video, and so I'm also curious
what do you think about the format?
So, do you think these type of videos
might be something I should do more of?
Or do you think that I should just stick
with the more topical videos that I've been doing until now?
If you wanna download a PDF of the three lines
that I went over in this video,
then you can go to my website,
and the article that accompanies this video,
then there's a PDF download.
And when you're there,
you can also subscribe to my newsletter.
If you subscribe to my newsletter, you get a free e-book
with 15 II V I licks, with some other dominance,
and some other interesting ideas
that you can check out.
And, of course, if you have any questions
about stuff that I went over in this video,
or suggestions for videos, or other remarks,
then feel free to leave a comment.
It's nice to get some feedback from you guys,
and you can, of course, also let met know
by connecting with me on social media.
I'm on Facebook, Twitter, Google+, Instagram.
So there are lots of places where you can reach me.
That's about it for this week,
thank you for watching, and until next week.
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