a lesson on 7th arpeggios, here I demonstrate how to master these structures all over the guitar. I mostly play the major 7th arpeggio, but you can use any arpeggio in any key.
Printable PDF: 7th arpeggios – shapes
Tag: Jazz
2-5-1 minor
Like the 2-5-1 in major this is quite a reoccurring progression in many different styles. Its originates from the Harmonic Minor scale and the chords are IIm7(b5)-V7(b9)-Im(maj7). In the video I show you a scale (that really has no name) that fits these 3 chords, and if learned in all keys, will cover your basic soloing needs for this kind of progression. It is basically a natural minor scale with an added major 7th. To me it sounds a bit like a bebop scale so it naturally sounds its best when played in a descending fashion. This is the scale in Cminor:
C D Eb F G Ab Bb B (C)
You can download the printable PDF file: Minor 2-5-1/ Eight note scale.
2-5-1 Pt2:Examples
Just some examples on the 2-5-1 (to be ‘proper’ I should write II-V-I ) progression in C major, using only notes from the major scale. Remember the harmonic rhythm concept: strong notes on strong beats. I definitely advice recording yourself and criticize your playing in a positive way. There is no point in saying ‘that was horrible’. Istead say ‘ why does that not sound as it should?’. Am I playing too many wrong notes? Is my timing off? Are my melodies not strong enough? Try again and fix what you think is wrong.
Again you can find the 2-5-1 all keys Printable PDF >Here<
2-5-1 Pt1:Explanation
The 2-5-1 Progression (or to be ‘proper’ I should write II-V-I) is quite a popular progression of chords that you will find in abundance in jazz standards and all kind of tunes. You should have figured out by now that it is made up by the second, fifth, and first chord of the harmonized major scale. In C major it would be: Dm7 G7 Cmaj7.
A good way to underline the progression in a solo is to understand what are the important notes and how they move from a chord to the next one. So let’s see two important concepts:
1. Harmonic Rhythm
The harmonic rhythm is nothing but ‘when’ certain notes happen in the rhythmic flow. Let’s say as a generic rule that important notes (root, 3rd, 5th, 7th) will make your melody sound stronger if they fall on the strong beats of the bar (the 1st and 3rd beat in a 4/4 bar).
2. Voice Leading
Voice leading is nothing but ‘how’ notes move from a chord to the other. There are ‘more advisable’ ways to move these notes, and in the traditional theory rules can be quite strict. A good rule to keep in mind in the 2-5-1 progression is the 7th in the IIm7 chord resolving to the 3rd of the V chord. Also the 3rd of the IIm7 chord stays and turns into the 7th of the V chord. Furthermore the 7th of the V chord resolves down to the major 3rd of the I chord. The 3rd of the V chord stays the same turning into the maj7th of the I chord. In C major this would look something like this:
Dm7 G7 Cmaj7
C ——–>B -stays- B
F -stays- F———>E
D G C
Listen to some examples in the next video. You can download a chart of all 2-5-1 in all keys >here< print it, learn how to play all the chords, record a track for yourself to solo over, and good luck!!