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Lessons: Lesson #177: Extended Arpeggios |
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Pages: 1 2 3 4
Suggested Tempo: 200 |
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So, I was checking out Sam Munro's great lesson about Extended 9th's and I started thinking about how I sometimes arpeggiate upper structure triads on certain chords to convey that "jazz" type of feeling (whatever that means). If you're not familiar with upper structure triads, I interpret them to mean 3-note chords built from whatever scale or mode you're overlaying on top of a particular chord, and that don't include the root of the chord.
Let's look at the example below which features an Amin7 chord. The scale I'll use on top of this is A dorian. If you want to know more about the dorian scale, check out this lesson. The notes for an A dorian scale are:
- A · (B) · C · (D) · E · (F#) · G
where non-chord tones are in parentheses. If we look at these non-chord tones, we have B, D, and F# which form a B minor triad. Thus, B minor is a possible upper structure triad on an A minor 7 chord and comes from the A dorian scale. These three notes are also the natural tensions of the Amin7 chord, where the B is the 9th, the D is the 11th, and the F# is the 13th. The example below features four arpeggiated lines using parts of the B upper structure triad. Mms. 1-2 feature the B and the D, mms. 3-4 also feature the B and the D, but with a slightly different rhythm. Mms. 5-6 feature the B, D, and F#, while mms. 7-8 are similar except for the rhythm. |
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