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So about those arpeggios from hell...


bdemon

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Posted

I programmed a real simple jam into my computer, banging away on an Am7 chord over a drum beat. Trying out all the modal arpeggios, finding some cool ideas that I'd overlooked with my usual shredding, finding some of the sounds a little more unusual. But say you have a 12 bar blues in A, based off power chords or Am. How would you guys approach that? You're in the key of A still, but assuming you keep strictly to I-IV-V, you're still playing over three chords. Keep focusing on arpeggios in the key of A? Work on arpeggios based off each chord?

 

Hmm...

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Posted

since you've mentioned shread..

If you approach the 12 bar from the jazzy side you have a dom-7 chord for each of the I-VI-V progression, right?

That's basically the mixolydian scale per chord. What you can try is to actually play/shread over these chords and trying the usual chord subsitutions.

As simple as the 12 bar blues is, it's not a simple diatonic progression. Take advantage from that. You'll need to think fast but it will sound flashy.

Nils

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Posted

Using theory is like baking a cake with a tin pan. But using too much theory is like baking a cake made out of a tin pan. Theory is a guide, but if you use too much, it becomes the music.

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Posted

just using arpeggios of based on the chords themselves would be a bit bland after a while.
my tip is to treat each chord as a mixolydian and try using other arpeggios from each mixolydian scale, for example, if you're playing a blues in A, play an A7 arpeggio over the 1 chord and then an Am7 arpeggio over the IV chord (5th arp from D mixolydian) and maybe an Amaj7 arp over the V chord (4th arp in E mixolydian)

i just chose these examples at random - i'm not saying they'll sound good - let your ears be the judge - there are obviously 7 possibilities over each chord - try them all

the next step would be to learn all the melodic minor and harmonic minor arpeggios and mix some of them in, but that's another post...

cheers

sim

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Posted
Originally posted by edeltorus


but what if something with theory behind it does actually sound good?


:)



All music has "theory beind it", whether the musician recognizes it as such or not.

I agree that it's possible to make music from a place that's very intellectual, though. Sometimes it sounds good and sometimes it doesn't. On the other hand, sometimes music that's "raw" and "honest" and "from the heart" sounds like crap.

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Posted

This is almost too silly to warrant a reply. It's clear that the 'theory' referred to here is a foreign, unknown subject to most of these posters.
It might be well for those who pontificate here to actually learn theory, avoid dabbling in modal crap-ass excuses, save their simple-minded advice for their pud-wacking buddies in their garages, and learn to play, rather than trying to 'shred' or what ever other simple-minded excuses for musicianship they vomit up.

Posted

Originally posted by bigmun

This is almost too silly to warrant a reply. It's clear that the 'theory' referred to here is a foreign, unknown subject to most of these posters.

It might be well for those who pontificate here to actually learn theory, avoid dabbling in modal crap-ass excuses, save their simple-minded advice for their pud-wacking buddies in their garages, and learn to play, rather than trying to 'shred' or what ever other simple-minded excuses for musicianship they vomit up.

 

 

There seems to be a mighty big chip on your shoulder...

 

I see this thread as someone asking a question about the old Jimmy James thread stickied and everyone giving ideas on how to use what is in that lesson.

 

Content of that lesson aside, the Lesson Loft really doesn't have any 'shredders' per se around here. A lot of jazz guys and some rock players, a few classical players, but there aren't any shredders that stick out in my mind.

 

I don't know what your problem is, but you're attacking an issue that doesn't really exist here. The regulars on the Lesson Loft are all very helpful, wise, and musicaly diverse players.

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Posted

Originally posted by Poparad



There seems to be a mighty big chip on your shoulder...


I see this thread as someone asking a question about the old Jimmy James thread stickied and everyone giving ideas on how to use what is in that lesson.


Content of that lesson aside, the Lesson Loft really doesn't have any 'shredders' per se around here. A lot of jazz guys and some rock players, a few classical players, but there aren't any shredders that stick out in my mind.


I don't know what your problem is, but you're attacking an issue that doesn't really exist here. The regulars on the Lesson Loft are all very helpful, wise, and musicaly diverse players.

 

 

Thank you! Jeez, I was just hoping for a few tips on how modal arpeggios might be used in a diatonic chord progression and I get all this hostility about "real" players not needing it! OF COURSE it's about playing from the heart. I just liked that thread on what to jam over an Am chord (I felt the brain expanding in cool ways that day) and wanted to take it further.

 

Anyway, back to the lessons.

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