A little late becasue I have a massive headache today. Did I forget your favourite arpeggio? Content: 0:00 Intro 0:41 7th Chords 1:54 The Mighty Triads 2:57 Strong And Honest Opinion: Arpeggio Choices and Modes 3:47 Sus4 Triads - The 3-note arpeggio hack (part 1) 4:59 Shell-voicings (Thank You, Pat Metheny) 6:09 Quartal Arpeggios - The 3-note arpeggio hack (part 2) 7:18 Quartals and Sus4 triads 8:00 Strong And Honest Opinion: Inversions 8:24 Spread Triads - Make Triads Great Again 9:30 Quintal Arpeggios 10:18 Solo Tools for Maj7 Chords 10:28 Like the video? Check out my Patreon page
Jens, every week you put out enough information to keep me busy for months. You’re killing us, Man! Thanks so much - it’s great to have your channel in my guitar life.
Jens, I love your teaching. It's very inspiring and I love the way you explain everything in such a comprehensive manner. You certainly give a lot of food for thought. Thank you. Terry
I usually find your videos helpful, but this one was above and beyond, I have to say! Really good stuff, great use of visual aids in eliminating triads containing B etc. Keep it up!
Dear Jens, Thank you for what you do! Your films contain a lot of knowladge which is necessary for every jazz guitarist. Your explenations are really usefull and can truly inspire. Stay health and tuned!
I just love your touch Jens!!! And what you are teaching is theory of course and the application of the theory, but most importantly you are teaching us how to become individual players to have our own voice!!! Our own style!!! I think that's the most important lesson of all!!👍
Wow, this REALLY helped. Having to think what I wanted to play, and not being able to play the shred I usually gravitate to (shred being playing up a scale fast for me) forced me to actually hear what I was playing. I still need to learn to think about how to make the arpeggios interesting by not just playing them up and down in a way that makes sense, how to organically weave these arpeggios into a melody, how to add enclosures and passing notes, and how to learn where to stop the phrase but this was awesome to practice over a D-7 backing track. Gonna watch the Maj7 chord version you put up, and then probably figure out something for Dom7, m7b5 myself
Thank you- I love the way you see music and teach us that from what appears to be a different perspective. It makes so much more sense and easier to understand! “You should think of arpeggios as melodies”, - I never did before and I always will now! Also, excellent graphics with the “right here, right now” notation, in all 3 modes! (This actually helps me read sheet music better, too!!) No need to download additional resources! Fantastic! I will check out more of your offerings! As for suggestions, I would like a lesson on how to approach the song “Misty”, its structure, chord voicings, and maybe some melody /and improv suggestions; its an old tune, but often called out at jam sessions, and I have always struggled with it. Thanks again, Joe Votta
I have never commented in RUclips on anything but since I dig Mr. Larsen so much and he baited us I'm gonna take a shot. I learned harmony at the piano and on the flute after i started on guitar. So the 1st thing I did was learn to read music from the Melbay books, with a little old Italian in the back of the music store. So from the very start as was dimly aware that the shapes and positions of the guitar were not really the theory. If you tune the guitar differently what notes are stay the same and the shapes change. So then I started on the piano and flute. Piano I was doing with with a cat classically trained and that played jazz at my highschool. By the way I should say this is all happening in 1968 or so. Then in senior year I studied flute with a jazz saxophonist. Now he made me really learn my notes. In college I kept at it. So I figured out that people are using the term "music theory" wrong, basically because what they are referring to is really simple what the notes are in the scales and chords. There is nothing theoretical about a C chord being the notes C E G- it's a fact, and furthermore a fact of "sound". There's 11 others. So if you know the notes you can begin study their relationships which is what music is. So if I play F A C over a D minor chord, I'm just playing a D minor 7th- if i play A C E I'm playing D minor 9th- if I play C E G it's D Minor 11th-if I play Eb G Bb it's a D minor with a flat 9, an 11th and a raised 5th and so on and so on...there's a lot of them and how ever many there is, there is 11 more of every one of them. It's only guitar players who think the shape is the notes. You can't play shape tricks on the flute. I'll stop now. Everybody keep picking and I guess washing your hands!
Your TABs keep me going. Without them I won't be able to follow. Thank you my great teacher. I just wish you can gift me with one of these your guitar on the wall there. Lol
It’s like you have been analysed the language of Metheny, Kreisberg, Lund and Rosenwinkel. Each one of them use one of the approaches that you discuss in this video. Thanks!
Thank you very very much Jens! That was one of my favorite. I'm actually in a band where we play a kind of funk jazz so less functional harmony stuff and more modal. For example we do a lot of Dorian (like Im7 - IV7) where I really need to highlight the 6th so I guess I'm gonna play all the arpeggios you say they don't work and leave out the rest :) I hope your headache's gone. Thanks again!
I love these sounds. Very well laid out, even I can understand what youre saying! Before we knew anything but Mickey Baker chords, my cousin and I had our own lingo for music theory. Of course there was the Hendrix chord, which we produced that name inour own basement world, not knowing it would become a thing. And the David Gilmore note - the 9th on the G string. And these spread triad arpeggios we’d hear, we’d call the “tickle” notes. Our only jazz guy at the time was Johnny Smith, and once in awhile we’d hear Tony Matolla (sp?) on the radio. Yeah Im that old (67). Indidnt know what a major scale was (formaly) until I was 40! When I heard it, I immediately knew what Larry Carlton was doing on BP Blues from his album Last Night....descending F scale over that G blues.
I just wanted to share something I do with D Dorian .( see what you think) I look at it as 2 cadences Dmin7/ G7/ C6/ ( flipping through inversions) Bmin7b5/ E7b9/ Amin6/ ( flipping through inversions) So the whole thing looks like Bmin7b5/ E7b9/ Amin6/ Dmin7/G7/ C6/ F6/ That whole progression is consonant over top of Dmin7 or F6/ ( its true though that certain types there's a lil bit crunch then it relaxes at others) We can even follow same principal for Maj7 chords . ( Fmaj7 in this case)
The second lick you played during the Mighty Triads section reminds me of that Wes Montgomery ascending lick from Four On Six at Smokin' From the Half Note. I'm not sure if you know the lick I'm talking about but he plays it with blinding speed and the fact that he's doing it with his thumb makes it even all the more mindblowing. I can play some of that solo but I have to hybrid pick to accomplish some of the licks.
Loved this video. Gave me a lot of ideas to make lines and practicing over specific chords. I have a few questions: I went through the exercise of finding similar arpeggios for a dominant and a major7 chord and it’s a lot of material (using the 4 as avoid note). How would you suggest practicing these ideas on a simple progression like a II V I? I was also wondering how to do the same for a minor II V I: for example, the half diminished chord does not have avoid notes (if going off a Locrian or Locrian natural 2 mode). That leads to all arpeggios being viable. Maybe there are other rules of thumb for that and maybe for altered dominant too (the 4 becomes #4 so no avoid notes either). What do you think?
I wouldn't worry too much about avoid notes and train my ears and knowledge of how different notes sound and what I want to hear on a chord. In general, it is always better to focus on what to play than what not to play.
Thank you, Jens. Very good lesson. The problem of learning that you have those many options playing harmonically linked melodies (triads, arpeggios, quartals, quintals, etc), and that you may also add chromatic condiments to that, is having to make decisions. How do you choose among all those what to play while keeping time? Do you really think of what comes next or is it practice that leads you to the next phrase?
You're very welcome! You don't think about which arpeggios you use when you play. You practice using them until they are a part of what you play naturally. Everything you do when improvising should be on a higher level in terms of decision making.
@@JensLarsen "Higher level of decision making" How is that higher level? Is it related to the notes that help to define the harmony? Perhaps just being driven by the music and the flow you want to give to it? This sounds like material for a lesson ;-)
Jens ... rare typo for you ... near the beginning when you illustrate the arpeggios of the root, 3rd and 5th, you had the notes of the Am7 as FACE, not ACEG.
Jens Larsen I loved the video. It was one of those “I could have figured that out but I didn’t” moments. So much of your wonderful teaching reminds me to “slow down and see/hear the jazz.”
Really hard to disagree with a guy who presents a common case and makes few arguments why he treats it that way, then admits that there are cases where you might still want to do the opposite successfully. Personally I'm very illiterate with theory outside basics, but I just enjoy the videos and smooth tunes and playing. Hoping to accidentally catch some of the ideas without practicing and learning, like putting a textbook under the pillow at night.
Thank you! I actually never read any books, I just followed a class at the conservatory. You could check out Frans Elsen's harmony books though, he was very influential at the conservatory
Jens You & your videos are amazing, however You go trew so much...times it can be a bit demotivating. Ever thought of making a few bite size series 'taking by the hand aproach' like the impro videos of Achim Kohl??? Yours would be so much better! Thanks for what your doing!
Jens, The 345 sounds great and I extra-like your videos. The Gm6th that is the same as the dim threw me a bit on the last one. Otherwise I'm planning on going through your series for intermediate Jazzer's like me.
I...I've never thought to practice my Sus arps. Odd. Thanks Jens! Nothing to argue with here, except my Am7 isn't spelled FACE, but I see that you're aware of that already. :)
New to Jazz and trying to add jazzy feel to what I do. Is the video not as correct as it might be at 01:20. #2 and #3 say FACE (#3 GACE) Please some one tell me if I'm correct or not. Love what you do Jens - not complaining.
When I use The GMC i & II Paterns on Dm7: then those two combinations are at hand: F C B(3-7-6-formula)& GMC II(Generic Modality Compression) : E-A-G: 9 5-4 when going to a dominant then the Bb penta would be a nice landing point and of course on Cmaj7 or Em711 i choose a A so we have Dm7 B G7 Bb Cmaj7E A on the Dominant GMC I & II will be two options either a quartekl option: GMC I b6 b2#11: Eb Ab Db and GMC II> #9 7 3 Bb(higest tone) F B, or maybe better: GMC I> Bb F Eb so b10 7 b6 and GMC II> B Eb Db, The GMC on Cmajor is:B E F#(7 -3-#11) and D G A(9 5 6) when using altered scale the problem with avoid tone is not so much there I think more in case when we use classic myxolydian on the Dominant then the avoide tone B on Dm7 Is oof course an avoid tone for a reason...When we work out GMC I & II on Dm7 there is not such a thing as an avoid tone because the Root is omitted, and there for consiedere to be the avoid tone but let's say we make two avoid tones D & B then we have E F G A C let's make now two Triads woth one tone in comen for instance EGA(Em11) and FAC combined with the other GMC's on the Dominant The GMC on Cmajor is:B F# E(7 #11 3) and D G A(9 5 6) Oh no sorry GMC doen't want Triads 1 3 5 so F A C would not be accepted so let's take: FGA(123)Fad9 NON5 and CEF Cmajor11NON5 on the Dm7 so GMC I> F(highest tone) G A and GMC II> CFE(C highest tone) It's up to the player&listener what sounds better, maybe the avoid tone is in the end a good or better option also in the case of altered scale in usage...
I couldn’t really figure out anything to get mad about this time. Maybe Pat will? But it’s okay to make fun of Pat a little. It seems like he knows he’s pretty good, this probably won’t affect his confidence as a player. Besides, he may not even see this lesson (he’s pretty busy). 😉 But I learned a lot! Thanks for the spread arpeggios and the quintile arpeggios. That’s some great new ammo for the next time I find myself in a Gunfight at the D Minor Corral. Oh, by the way, for a while now I have been sometimes approaching major 2-5’s (in C), phrasing from a D minor 7 arp on the ii chord, then making a very simple transition to the D Dorian scale on my V chord. I know, I know, it’s all completely diatonic. But it has the same effect you mention (of delaying the B), so I feel like it does sound a wee bit more informed than just wading around in C Ionian scale harmony over all three chords, and it’s a super easy go-to in a pinch. I never considered that substitute arpeggios and triads were subject to the same laws of gravity. I probably would have realized that on my own in a few years. But thanks for pointing it out sooner!
Thanks for that brilliant lessons Sir, but i concluded the following, in that scale ur using if starting from the third of Dm we get a maj7 thn starting from the 5th we get a minor 7 thn starting from the seventh its a maj7 again....am I right :)
Hi, Mr. Larsen. I appreciate how you take the time to respond to comments. Was there a deliberate decision to not include the G quintal triad (GDA) or the Em7 shell voicing (EGD) despite them not having the avoid note, B? Thank you.
Yes, I didn't feel that these structures really sounded like they were connected to a Dm7 and started to sound like another chord. I guess it is all the context, it is never really enough to just look at the notes.
A little late becasue I have a massive headache today.
Did I forget your favourite arpeggio?
Content:
0:00 Intro
0:41 7th Chords
1:54 The Mighty Triads
2:57 Strong And Honest Opinion: Arpeggio Choices and Modes
3:47 Sus4 Triads - The 3-note arpeggio hack (part 1)
4:59 Shell-voicings (Thank You, Pat Metheny)
6:09 Quartal Arpeggios - The 3-note arpeggio hack (part 2)
7:18 Quartals and Sus4 triads
8:00 Strong And Honest Opinion: Inversions
8:24 Spread Triads - Make Triads Great Again
9:30 Quintal Arpeggios
10:18 Solo Tools for Maj7 Chords
10:28 Like the video? Check out my Patreon page
Hi Jens, what is the reason for removing triads with a B in it?
Get well soon!
Thanks Adam!
I explain why I don't include the B in the video :)
Nice shirt, Jens! It's definitely a D minor kinda vibe.
Man best channel on you tube..Thanks for sharing!
Glad it is useful :)
Jens, every week you put out enough information to keep me busy for months. You’re killing us, Man! Thanks so much - it’s great to have your channel in my guitar life.
Glad you like it!
I am self taught and have played for 55 years. I always get about 2 years worth of lessons from each of your youtubes!! Thanks so much!!
Knowing an arpeggio = knowing a melody - or knowing a melodic building block. That's powerful knowledge. Thanks Jens.
Exactly 🙂
Great work (as always) Jens!!!
Thanks Jacob! :)
@@JensLarsen :)) Let's do another collab soon!
@@QuistJam Yes!!
Jens, I love your teaching. It's very inspiring and I love the way you explain everything in such a comprehensive manner. You certainly give a lot of food for thought. Thank you. Terry
You are so welcome!
This is the best of the best things, most of the guitarists (even musicians) have been looking for. Really appriciate it.
Glad you find it useful 🙂
"so you have something to disagree with in the comments." brilliant haha
Thanks :)
@@JensLarsen watching at 2am, I laugh snorted so loud I hope I didn't wake anyone.
Jens, you are the best at explaining jazz guitar techniques. Truly a gem on youtube, thank you for your giving.
I usually find your videos helpful, but this one was above and beyond, I have to say! Really good stuff, great use of visual aids in eliminating triads containing B etc. Keep it up!
Dear Jens,
Thank you for what you do! Your films contain a lot of knowladge which is necessary for every jazz guitarist. Your explenations are really usefull and can truly inspire.
Stay health and tuned!
I just love your touch Jens!!! And what you are teaching is theory of course and the application of the theory, but most importantly you are teaching us how to become individual players to have our own voice!!! Our own style!!! I think that's the most important lesson of all!!👍
Very good, Jens. Very useful. It opened my mind to a lot of stuff. Many thanks, keep up the good work and God bless u.
Happy to hear that!
Amazing! Videos keep getting better and better. Thank you for your hard work and knowledge Jens.
Glad you like it Brandon!
I have learned so much from you! Thank you! I’m a bluegrass flat picker and I love jazz and mixing some into other styles!
Wow, this REALLY helped. Having to think what I wanted to play, and not being able to play the shred I usually gravitate to (shred being playing up a scale fast for me) forced me to actually hear what I was playing. I still need to learn to think about how to make the arpeggios interesting by not just playing them up and down in a way that makes sense, how to organically weave these arpeggios into a melody, how to add enclosures and passing notes, and how to learn where to stop the phrase but this was awesome to practice over a D-7 backing track. Gonna watch the Maj7 chord version you put up, and then probably figure out something for Dom7, m7b5 myself
Thank you- I love the way you see music and teach us that from what appears to be a different perspective. It makes so much more sense and easier to understand! “You should think of arpeggios as melodies”, - I never did before and I always will now! Also, excellent graphics with the “right here, right now” notation, in all 3 modes! (This actually helps me read sheet music better, too!!) No need to download additional resources! Fantastic! I will check out more of your offerings! As for suggestions, I would like a lesson on how to approach the song “Misty”, its structure, chord voicings, and maybe some melody /and improv suggestions; its an old tune, but often called out at jam sessions, and I have always struggled with it. Thanks again, Joe Votta
Wow 2:54 sounds so good! And so helpful to know. Thanks Jens.
Glad it was helpful 🙂
I've always watching your videos. I've been learning so much about it. Well Done! Stay safe!
Thanks, you too!
@@JensLarsen your welcome idol! 🙏🎸👍
Really great video ... packed with cool ideas, and presented so clearly. I hope your headache gets better soon.
Thank you so much! It is already better, just needed 12 hours of sleep :D
I have never commented in RUclips on anything but since I dig Mr. Larsen so much and he baited us I'm gonna take a shot. I learned harmony at the piano and on the flute after i started on guitar. So the 1st thing I did was learn to read music from the Melbay books, with a little old Italian in the back of the music store. So from the very start as was dimly aware that the shapes and positions of the guitar were not really the theory. If you tune the guitar differently what notes are stay the same and the shapes change. So then I started on the piano and flute. Piano I was doing with with a cat classically trained and that played jazz at my highschool. By the way I should say this is all happening in 1968 or so. Then in senior year I studied flute with a jazz saxophonist. Now he made me really learn my notes. In college I kept at it. So I figured out that people are using the term "music theory" wrong, basically because what they are referring to is really simple what the notes are in the scales and chords. There is nothing theoretical about a C chord being the notes C E G- it's a fact, and furthermore a fact of "sound". There's 11 others. So if you know the notes you can begin study their relationships which is what music is. So if I play F A C over a D minor chord, I'm just playing a D minor 7th- if i play A C E I'm playing D minor 9th- if I play C E G it's D Minor 11th-if I play Eb G Bb it's a D minor with a flat 9, an 11th and a raised 5th and so on and so on...there's a lot of them and how ever many there is, there is 11 more of every one of them. It's only guitar players who think the shape is the notes. You can't play shape tricks on the flute. I'll stop now. Everybody keep picking and I guess washing your hands!
Your TABs keep me going. Without them I won't be able to follow. Thank you my great teacher. I just wish you can gift me with one of these your guitar on the wall there. Lol
You are welcome!
congrats for the 300K !
Excellent Jens . Super melodic material. Also for saxophone. Thanks.
That's great to hear :)
OMG the spread triads sound so good!
They are nice 🙂
It’s like you have been analysed the language of Metheny, Kreisberg, Lund and Rosenwinkel. Each one of them use one of the approaches that you discuss in this video. Thanks!
Thank you very much! I did check out those guys for sure, but of course there is more to their style than a few arpeggios 🙂
THE BEST LESSON ON THE INTERNET! Thanks Jens
Glad you think so!
So useful ! Thankyou Jens .
Glad it was helpful!
There's some powerful stuff packed in this video. On a micro as well as on a macro level. Thanks Jens.
Thank you very very much Jens! That was one of my favorite. I'm actually in a band where we play a kind of funk jazz so less functional harmony stuff and more modal. For example we do a lot of Dorian (like Im7 - IV7) where I really need to highlight the 6th so I guess I'm gonna play all the arpeggios you say they don't work and leave out the rest :) I hope your headache's gone. Thanks again!
Thank you! This lesson is invaluable.
Excellent! Thank you Jens!
Glad you liked it!
Wonderful lesson Jens,you are a master.
Thank you! 😃
Really amazing how you can make infinite uses out of a single chord! Really enlightening my man!
Glad you like it RC!
Very useful exploratory approach
Glad you think so!
I love these sounds. Very well laid out, even I can understand what youre saying! Before we knew anything but Mickey Baker chords, my cousin and I had our own lingo for music theory. Of course there was the Hendrix chord, which we produced that name inour own basement world, not knowing it would become a thing. And the David Gilmore note - the 9th on the G string. And these spread triad arpeggios we’d hear, we’d call the “tickle” notes. Our only jazz guy at the time was Johnny Smith, and once in awhile we’d hear Tony Matolla (sp?) on the radio. Yeah Im that old (67). Indidnt know what a major scale was (formaly) until I was 40! When I heard it, I immediately knew what Larry Carlton was doing on BP Blues from his album Last Night....descending F scale over that G blues.
I agree about the B. If you use it on the subdominant parallell (as Dm13) the dominant is weakened.
Great Video. Have a nice day. Greetings from Austria
Thanks very much for sharing your great knowledge. Really good stuff. Please keep posting, thanks!!
Thank you! I will do my best to continue making videos :)
Good idea! Hugs from Brazil
Thank you! 😊
Gran maestro señor Larsen muchas gracias!
its so simple to understand. thanks!
You're welcome! :)
Thank you, greetings from Argentina
You are very welcome! :)
Thank you for sticking to Cmaj scale🙌 it makes a lot easier to learn/understand on all of your vid lessons 😊👌
Another great lesson. Thanks Jens. Small error at 1:22: The A-7 was not spelled correctly. Thanks.
Another golden video!
Thanks John!
Excellent content kind sir. I appreciate your work.
Great video, thank you Jens.
Glad it was helpful!
Legend has it that Pat Metheny is still up there playing those shell-voicing a to this day...
Haha! 👍👍
Beautiful ! Thank you 😊
Glad you like it 🙂
Very useful. Thank you!
Glad you like it 🙂
As always, thanks for the lesson!
Can we get one more (#26?) by adding in the Em7 Shell-Voicing?
Thank you so much Sir Jens👌👍
Always welcome
I just wanted to share something I do with D Dorian .( see what you think)
I look at it as 2 cadences
Dmin7/ G7/ C6/ ( flipping through inversions)
Bmin7b5/ E7b9/ Amin6/ ( flipping through inversions)
So the whole thing looks like
Bmin7b5/ E7b9/ Amin6/ Dmin7/G7/ C6/ F6/
That whole progression is consonant over top of Dmin7 or F6/
( its true though that certain types there's a lil bit crunch then it relaxes at others)
We can even follow same principal for Maj7 chords .
( Fmaj7 in this case)
If you want less spicy then
Dmin7
Bmin7b5/ Bdim7/Amin7/Dmin7/Bdim7/C6/F6/
Love it Jens...helps me get those sounds I knew were in there somewhere...on the bass!!
Go for it! :)
@@JensLarsen 👍
Good Lesson! i tried all the sus paterns with ánd without the " B " but the avoid method is still nice to have seen at work. Thanks a lot!
Jens, as always many thanks for a typically clear exposition. Maybe do the same for V and I chords?!
The second lick you played during the Mighty Triads section reminds me of that Wes Montgomery ascending lick from Four On Six at Smokin' From the Half Note. I'm not sure if you know the lick I'm talking about but he plays it with blinding speed and the fact that he's doing it with his thumb makes it even all the more mindblowing. I can play some of that solo but I have to hybrid pick to accomplish some of the licks.
very cool video.easy to aunderstering.good theacher.
Great lesson
Thank you 🙂
Thank you very much for this video
You are welcome
Loved this video. Gave me a lot of ideas to make lines and practicing over specific chords. I have a few questions: I went through the exercise of finding similar arpeggios for a dominant and a major7 chord and it’s a lot of material (using the 4 as avoid note). How would you suggest practicing these ideas on a simple progression like a II V I? I was also wondering how to do the same for a minor II V I: for example, the half diminished chord does not have avoid notes (if going off a Locrian or Locrian natural 2 mode). That leads to all arpeggios being viable. Maybe there are other rules of thumb for that and maybe for altered dominant too (the 4 becomes #4 so no avoid notes either). What do you think?
I wouldn't worry too much about avoid notes and train my ears and knowledge of how different notes sound and what I want to hear on a chord. In general, it is always better to focus on what to play than what not to play.
Jens Larsen I guess I was using avoid notes as criteria to choose what to play. How would you choose arpeggios on a half diminished chord?
This is very useful!
Glad to hear that!
These videos are the best
This video is a godsend thank you so much!!!
I just realized i commented on this video a year ago lol
Great one, Jens.
Thanks Brad!
Thank you, Jens. Very good lesson. The problem of learning that you have those many options playing harmonically linked melodies (triads, arpeggios, quartals, quintals, etc), and that you may also add chromatic condiments to that, is having to make decisions. How do you choose among all those what to play while keeping time? Do you really think of what comes next or is it practice that leads you to the next phrase?
You're very welcome! You don't think about which arpeggios you use when you play. You practice using them until they are a part of what you play naturally. Everything you do when improvising should be on a higher level in terms of decision making.
@@JensLarsen "Higher level of decision making" How is that higher level? Is it related to the notes that help to define the harmony? Perhaps just being driven by the music and the flow you want to give to it?
This sounds like material for a lesson ;-)
Jens ... rare typo for you ... near the beginning when you illustrate the arpeggios of the root, 3rd and 5th, you had the notes of the Am7 as FACE, not ACEG.
Thank you Steve, that is indeed a typo 🙂
Jens Larsen I loved the video. It was one of those “I could have figured that out but I didn’t” moments. So much of your wonderful teaching reminds me to “slow down and see/hear the jazz.”
Isso é maravilhoso! obrigado Jens Larsen
Really hard to disagree with a guy who presents a common case and makes few arguments why he treats it that way, then admits that there are cases where you might still want to do the opposite successfully.
Personally I'm very illiterate with theory outside basics, but I just enjoy the videos and smooth tunes and playing. Hoping to accidentally catch some of the ideas without practicing and learning, like putting a textbook under the pillow at night.
In music context is everything :)
Very good! Jens, can you recommend some books you read in your harmony studies?
Thank you very much in advance!
Thank you! I actually never read any books, I just followed a class at the conservatory.
You could check out Frans Elsen's harmony books though, he was very influential at the conservatory
@@JensLarsen Very Nice!!! I'm gonna check it out on the internet to see If I can find them! Thank you so much and keep up the awesome work!!
Jens You & your videos are amazing, however You go trew so much...times it can be a bit demotivating. Ever thought of making a few bite size series 'taking by the hand aproach' like the impro videos of Achim Kohl??? Yours would be so much better! Thanks for what your doing!
nice video :-) , as usual inside a 10 min there are tons of hrs of pre work to be done in order to get it at first sight :-)
What DFAC? So cool, still learning! Thnx for the Lessons.
My pleasure!
Lots of things to work on, thanks!
You're very welcome!
Thanks Jens !
Jens, The 345 sounds great and I extra-like your videos. The Gm6th that is the same as the dim threw me a bit on the last one.
Otherwise I'm planning on going through your series for intermediate Jazzer's like me.
Thank you very much! Go for it!
Hey Jens! Greta video as always, super informative. Slight typo at 9:11, I don't think you played the F on beat 3 on this example.
Thanks Benjamin! It would not be a true video of mine if it did not have at least 3 typos :)
I...I've never thought to practice my Sus arps. Odd. Thanks Jens!
Nothing to argue with here, except my Am7 isn't spelled FACE, but I see that you're aware of that already. :)
Haha! Yes, If it wasn't for the fact that I screw stuff up a the time I should put them in there on purpose for engagement
New to Jazz and trying to add jazzy feel to what I do. Is the video not as correct as it might be at 01:20. #2 and #3 say FACE (#3 GACE) Please some one tell me if I'm correct or not. Love what you do Jens - not complaining.
Thanks Richard! That is just a copy/paste mistake. It should be A C E G for the Am7 arpeggio :)
When I use The GMC i & II Paterns on Dm7: then those two combinations are at hand: F C B(3-7-6-formula)& GMC II(Generic Modality Compression) : E-A-G: 9 5-4 when going to a dominant then the Bb penta would be a nice landing point and of course on Cmaj7 or Em711 i choose a A so we have Dm7 B G7 Bb Cmaj7E A on the Dominant GMC I & II will be two options either a quartekl option: GMC I b6 b2#11: Eb Ab Db and GMC II> #9 7 3 Bb(higest tone) F B, or maybe better: GMC I> Bb F Eb so b10 7 b6 and GMC II> B Eb Db, The GMC on Cmajor is:B E F#(7 -3-#11) and D G A(9 5 6) when using altered scale the problem with avoid tone is not so much there I think more in case when we use classic myxolydian on the Dominant then the avoide tone B on Dm7 Is oof course an avoid tone for a reason...When we work out GMC I & II on Dm7 there is not such a thing as an avoid tone because the Root is omitted, and there for consiedere to be the avoid tone but let's say we make two avoid tones D & B then we have E F G A C let's make now two Triads woth one tone in comen for instance EGA(Em11) and FAC combined with the other GMC's on the Dominant The GMC on Cmajor is:B F# E(7 #11 3) and D G A(9 5 6) Oh no sorry GMC doen't want Triads 1 3 5 so F A C would not be accepted so let's take: FGA(123)Fad9 NON5 and CEF Cmajor11NON5 on the Dm7 so GMC I> F(highest tone) G A and GMC II> CFE(C highest tone) It's up to the player&listener what sounds better, maybe the avoid tone is in the end a good or better option also in the case of altered scale in usage...
eternal rainbow funny, I wuz thinking the same thing😉🎶🦐
thank you so much jens!
Any time!
thank you larsen
You're welcome
before I knew you I thought jazz was more incomprehensible than quantum physics. Thanks a lot
You're very welcome! I am glad you like it! 🙂
I know quantum physics. I don't know jazz
could someone explain me why in the key of cmaj fsus4 should be fsus#4?
Write out the scale and build diatonic sus4 triads on each degree
C F G
D G A
E A B
F.....
Does that help?
@@JensLarsen yes, thanks!
Top notch stuff. Thanks.
Superb vid again Jens .... never ever going to leave you an angry comment ! 🤘😂🎸👍
!? Question:!?
When you play FACE and ACEG over dm7, what do u call that?
Very interesting and I'd like to look that up
I think I mention that in the video?
@@JensLarsen I think you called it the arpeggio of the 3rd and 5th of the chord. Is there a concise term for that?
@@noneofurbusiness906 I would say that is the concise term? If you call it something more general then you loose information about what it is
@@JensLarsen alright, thanks :)
Do you have a video on that?
Fantastic stuff and not a 2 5 1 in sight!
Except the one at 2:57 :D
Absolutely awesome video format. I would love to see one for other common chord types.
Coming soon! Give it a few weeks :)
I couldn’t really figure out anything to get mad about this time. Maybe Pat will? But it’s okay to make fun of Pat a little. It seems like he knows he’s pretty good, this probably won’t affect his confidence as a player. Besides, he may not even see this lesson (he’s pretty busy). 😉 But I learned a lot! Thanks for the spread arpeggios and the quintile arpeggios. That’s some great new ammo for the next time I find myself in a Gunfight at the D Minor Corral. Oh, by the way, for a while now I have been sometimes approaching major 2-5’s (in C), phrasing from a D minor 7 arp on the ii chord, then making a very simple transition to the D Dorian scale on my V chord. I know, I know, it’s all completely diatonic. But it has the same effect you mention (of delaying the B), so I feel like it does sound a wee bit more informed than just wading around in C Ionian scale harmony over all three chords, and it’s a super easy go-to in a pinch. I never considered that substitute arpeggios and triads were subject to the same laws of gravity. I probably would have realized that on my own in a few years. But thanks for pointing it out sooner!
How do you enable the timestamps in the player timeline? Do you need to flip some extra switch after writing the text in the description?
No, RUclips takes care of it :)
Where do I go for beginners jens. I’m trying to keep up with this but it’s going over my head
You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions!
Great ..thanks
Glad you like it 🙂
I want to know how to be able to not avoid playing the major 6th of the ii chord in a ii-V
Gracias Maestro!!!!
You're very welcome! Glad you like it!
Thanks for that brilliant lessons Sir, but i concluded the following, in that scale ur using if starting from the third of Dm we get a maj7 thn starting from the 5th we get a minor 7 thn starting from the seventh its a maj7 again....am I right :)
Glad you like it! Yes that is correct :)
Hi, Mr. Larsen. I appreciate how you take the time to respond to comments. Was there a deliberate decision to not include the G quintal triad (GDA) or the Em7 shell voicing (EGD) despite them not having the avoid note, B? Thank you.
Yes, I didn't feel that these structures really sounded like they were connected to a Dm7 and started to sound like another chord. I guess it is all the context, it is never really enough to just look at the notes.
I wonder if Slash uses quartal arpeggios
He does actually, in a ver famous song 😁