Combining TRIAD ARPEGGIOS for ADVANCED USE - Crystal Clear Lesson
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- เผยแพร่เมื่อ 25 ม.ค. 2020
- Learn to combine simple triad arpeggio shapes to a more sophisticated shape across the neck over two and three octaves. Learn major, minor and diminished triad arpeggios and find out how to use them in modal music like Dorian, Phrygian, Lydian and Mixolydian. Complete with tablature, lots of examples and crystal clear explanation.
*** correction ***
In the section about superimposing arpeggios over other chords, I mentioned that D over G results in a Gmaj11 chord. That's an error. It results in a G maj9 chord.
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You can support me on my patreon page (also for tabs of the licks played in this video):
www.patreon.com/QJamTracks
Artwork:
(c) 2020) Rob van Hal
Used:
Ibanez JEM 7vb (www.Ibanez.com)
Ibanez SD GR Bass (www.Ibanez.com)
Takamine GD930 (www.takamine.com)
Castilla Classical Guitars
Samson Concert 99 Wireless system
Rode Microphone
Axe FX II (www.fractalaudio.com)
Social Media/contact:
www.patreon.com/QJamTracks
QJamTracks
QJamTracks
/ qjamtracks
(c)2020 Rob van Hal, Netherlands - แนวปฏิบัติและการใช้ชีวิต
Correction: In the section about superimposing arpeggios over other chords, I mentioned that D over G results in a Gmaj11 chord. That's an error. It results in a G maj9 chord.
Amazing!!! Like I have mentioned before, the best guitar learning channel ever on TH-cam!!!
Thanks again Jose!
This is a plug of musical knowledge
Great lesson! I don't know why I never thought of connecting triad arpeggios in this way. So useful!
Wow....... Amazing..... I have been wandering around the fretboard playing Major arpeggios aimlessly for over 30 years........ Not once have they ever sounded musical when played over a backing track........... How you explained playing major and minor Triads over modal backing tracks is literally mind blowing for me......... So simple........ Playing two simple major arpeggio shapes over a lydian backing track..... And actually achieving that lydian sound.... While only playing a major arpeggio, was literally a life-altering moment...... Truly inspirational...... thank you.
Great Lesson. Looking forward to your video of the application of arpeggios over different chords (example D major over G major).
Thanks Tom!
Amazing stuff. You make it look easy
Marvelous musician and great teacher, a rare combination.
Great as always
Cool, i've not seen that chord combination to produced modal sounds idea before - very nice!
You are the best. period
Amazing lesson
Greetings from Austin~!. Really liking the very descriptive explanations, the graphics and especially which finger to use while sliding up and down the fretboard. I 'save for later' to watch during my practice time too. Thanks a lot for all you're doing~! Ciao'.
Thanks Spyder! Have fun with the video.
As someone who knows this quite well...
I still watched your video for the high quality, clarity, and professionalism.
Thank you so much for your comment Timmy!
Indeed... this video is easy to folow, easy to understand and easy to apply. If you can't apply what you learn then there's no point. Great video.
Thank you so much. I love your videos, they are pure gold my friend.
This is really good
I learned something from this video
Ok..that modal chord chart was a lightbulb moment. Best explanation of the arpeggios I've seen, combining theory and a visual approach. Looking forward to the next video about playing arpeggio's over different chords. Thank you very much for putting this out there.
Great to see the video was useful for you!
Only found this channel a week or so ago... definitely one of the very best. Thanks so much for posting so many awesome lessons !!
Thanks Timothy!
Awesome video as always keep them coming!
Thanks Montana. They will keep coming :)
Great lesson. The quality of your videos is outstanding. Absolute best. Thank you.
Thanks Francois!
What a descriptive lesson!!
Thanks sir
Thanks, and you're welcome Anurag.
Love your work...
Thanks!
Brilliant man brilliant
Thanks Enrico!
I like the fretboard on that Ibanez
I've just become a Patreon of yours on the back of this lesson, very well presented! Thanks, Jim.
Hi Jim, Now I know your name :) Thanks for being my patreon!!
Worth every penny, thanks for the great instruction.
thanx
Just a lovely lesson so I learnt this trick first time from Marty friedman he does it a lot in his instructional video Melodic control, later I saw more spicy things that John 5 does for instance with a slide he mixes minor 7th arpeggio with raid based major arpeggio and slide is done on D string! Loved your lesson very inspirational!thanks a lot!
Hi Dave. Good to see you liked the video!
Sir your timing is impeccable, could you please make a video on timing or groupings if you don't have already?
Regards.
a great video. Everything is clear and well explained. I will reserve if you agree! Thank you very much for sharing. See you soon
Thanks Jordan. I really like your playing. Excuse me, maybe I missed somtething, but what do mean with "reserve'? Will you play in the Netherlands?
@@QJamTracks thank you so much.
Sorry I used google trad :-D
By the word "reserve" I meant simply that I keep this information to use it later, it does not bother you?
@@JordanNicouleaud Ah like that :) No it doesn't bother me.
@@QJamTracks thank you and see you soon ☺️
excelente video Rob, ojalá hagas más video sobre la temática de la superposición de arpeggios. Otro tema interesante que puedes tocar es sobre cómo hacer voicings de acordes, y entender el concepto para poder omitir algunas notas y conservar la "esencia" del acorde y su función tonal. Un abrazo desde Chile.
I'm sorry Esteban. My Spanish is not that good :) Could you translate this in English for me please? Thanks! Regards
Great video, very helpfull!
Het Nederlandse accent is altijd zo herkenbaar hahaha
Dank je! Inderdaad, dat Nederlands krijg je er maar moeilijk uit hahaha.
@@QJamTracks Dat klopt, maar het is een deel van wie je bent, dus ik draag mijn accent met trots!
Hi, thanks for this. It follows on really nicely from your modal chord video. As a result of the two videos, I believe I now understand that a) functional harmony doesn't exist in modal chord progressions, b) repeated use of the tonic to retain the modal root, c) which chords in each modal scale emphasise that modality and more importantly, why they do and d) a really simple, powerful technique for applying arpeggios. This is really timely for me, as I just tried writing a Dorian chord progression whilst trying to use functional harmony (whooops!) combined with just trying to play the dorian scale over it. Now I feel much more able to revisit and increase the dorian factor. Thanks a lot man, great pair of lessons. You get a like and subscribe from me!
Actually, I am now a bit confused. For Dorian you say the I and IV, but the feature notes are the flat 3 and flat 7, so wouldn't that make the Dorian feel chords I, iii, VII as these chords contain the feature notes?
Taking the unique combination as the stand-out feature of that mode then, from your chart, for Dorian, you could have also used i-ii, i-IV and i-VI[diminished]? You could not use i-III because it overlaps with Phrygian and Aeolian, i-v overlaps with Aeolian and i-VII overalps with Aeolian.
Hi Jason. Nice to see these videos are of use to you. Thanks for comment and subscribtion !
@@JasonKing1970 The note that triggers the dorian sound is the raised 6th in a minor scale. So playing a chord which bares that note will aid to get a dorian sound, besides the things you will play over the sequence. The IV contains that riased 6th. Therefore the IV is a good option.
@@QJamTracks Thanks for taking time to reply. I see where I went wrong - in my analysis of the modes, I was comparing all the differences in each mode against the MAJOR scale. That's my mistake...I see now that modes that are major are referenced for differences against the major scale, and minor modes are compared against the minor scale. Since I was looking at all differences against major only, I was getting the wrong feature note. Now it all makes sense. Thanks.
Very helpful!! Do you have ways to play the other “inversions” of the triads across the fretboard? So they can be played in the same area of the fretboard.
Thanks for your great work!
Hello, thanks it's a good course but it will be amazing if you explain how do you use arpeggios in solo
I played some short examples in the video, but I understand you question Johan. I think you can use arpeggios as one of your improvisation tools in your improvisation arsenal. It's realy up to you when you use an arpeggio in you solo. The only thing to know is which chord is sounding at which time so you can choose the right arpeggio. I will do a video about that in the near future. Thanks for watching my video Johan.
Sir please make a video on sweep picking ... 🙏🙏🙏
I probably will do a video about that :)
Any ideas on how to move between modes in a progression - for example I want to compose a transitioning mood - one that moves from lydian to major and then to Dorian , Phrygian and resolves back ... practically this would feel like happiness transitioning to degrees of darkness and back to relief
In reference to your E Phrygian example since there’s neither a D note in either E minor or F major is it better to avoid the D note when playing the scale? Or must it just be used as a passing tone?
Let’s say you’re playing in the band, and the normal chord in the song is a G major can you play a G major 11 chord if the keyboardist is playing just a regular G major chord? I know you can certainly play a Four note since it’s part of the G major scale but I was wondering if you can just go ahead and play a whole G major 11 chord when somebody else is just playing a G major. Anybody know?
wow the closed captions youtube inserts over the video are incredibly bad, there's a wrong word in every sentence.
I like the fire extinguisher 🧯 in the studio. You are a prepared man !
Yes, I got myself some smoke detectors and some descent cans of beans too ;)