The Super Arpeggio: How to Make One Chord into Limitless Possibilities
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- เผยแพร่เมื่อ 29 ก.ย. 2024
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Learn how to substitute chords for each other to create unlimited ideas for soloing or comping.
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Thanks for watching! Make sure to download the FREE Super Arpeggio PDF: bit.ly/TheSuperArpeggio
I am so glad I found this channel. I’ve only watched a couple videos so far and am totally blown away. Thank you so much for doing these lessons Steve.
Thank you Steve, fantastically generous lesson.
Glad you're part of our guitar family! - Steve
Wow this lesson needs more like ! Just brilliant , thank you
Very enlightening, thanks!
Wonderful. Learn all you can!
Dudeeeeeeee I finally got it !!! I love bro!!!!
This is great, I would add that ending phrases on a chord tone helps keep things sounding tight.
25 years of playing and 20 years of performing live and I'm finally getting the learn the things I should have done 26 years ago. this video is amazing
Thanks Benny! Take it and make the most music you can from it. - Steve
Great lesson - love this!!
Fantastic tutorial 💯 thanks for sharing.
It also works on 7th chord harmony AND modes. Also chromaticised modes. You can also insert h-W 8 tone diminished scales. It's called playing in a tonal center.
This was a really great lesson. Thank you for sharing this.
This was good.... thanks
Just stumbled across this, and I'm not into jazz theory but I have enough basic structure to follow what you're doing. Well, at least up until the extended chords 😂 Nicely explained on a really practical way of applying it as you go. Forget the theory, just move up to the third and flip , use the patterns you already know. So cool, thanks! Off to try it in a blues setting...
Oh my! Thank you
Brilliant.
Brilliant
JAMES SCOTT NICHOLSON,ONTARIO, CANADA 🇨🇦 WOW I AM GETTING ALL THE BACKGROUND INFO FROM YOU. AS YOU EXPLAINED,MAJOR & MINOR INTERVALS, I KNEW ALL THAT FROM THEORY,BUT NEVER BEEN TOLD WHY IT IS CALLED A
PERFECT 5TH. OBVIOUSLY A LIGHT WENT OFF IN MY HEAD,BUT I WILL LET YOU TEACH IT...TOP LEFT BRO,GOES TO SHOW
THROUGH EVEN THE BASSIC STUFF,YOU CAN STILL FIND SOMETHING IN IT.
a LARRY CARLTON CONCEPT... stacking those triads builds that larry carlton SUPER ARPEGGIO
Never heard this one before! I'll have to try it out. So each 3rd (min/maj) degree you go up the triads of the chord or the pentatonic will work but nothing beyond that?
Mixolydian, locrian, Dorian, Lydian, Aoliean, Ionian, Phrygian, right?
The order of the modes is.... Ionian (Starts on 1 - the normal Major Scale), Dorian (Starts on 2), Phrygian (Starts on 3), Lydian (Starts on 4), Mixolydian (Starts on 5), Aoliean (Starts on 6), Lorraine (Starts on 7). Learn all you can! - Steve
@@GuitarGathering yes that is the order but on your arpeggio demonstration they go in the order I stated
This has to be one of the best lessons I have ever learned! This is how all the greats are improvising and thinking !
Yeah me too, great job on this lesson.
I agree. Now you can improv with Steely Dan sophistication. Corey Congilio just did a good video recently on this stacked triad technique from Larry Carlton.
Thanks Satchrules! Learn all you can. - Steve
This is an extremely useful tool for intermediate guitarists Steve, that perfectly juxtaposes essential but simple theory with really practical uses.
This will give discerning viewers the chance to explore melodic possibilities as well as break out of self imposed pentatonic boxes.
Very well done Steve and thank you again for cheerfully pointing us towards an incredibly useful improvisational tool
Thanks Trevor. I hope you guys are well and safe. - Steve
Awesome lesson, Steve!! Thank you! BTW, received my Real Book w/backing tracks today! BOOM!
Eventually you’ve added all of the notes of the C scale. Soooo, you have to outline the chords which brings you back to arpeggios.
WOW... I have been looking for something like this for years, but I did not know what I asking for specifically. Thank you compadre.
One of the best lessons I've ever taken! Congrats, man. There must be more teachers like you in this world. Thank you for your kindness!
Thank you Hector! Learn all you can. - Steve
Another Aa Ha moment for me in my musical journey.
Yes, this super arpeggio concept was a big one for me. Learn all you can. - Steve
53 years of playing and this theory never struck me. Outstanding!
Holy freaking crap dude!!!
This is AMAZING. I'm applying this immediately in my playing, thank you so much for this video 😭
Ha! Great. Learn all you can! - Steve
@@GuitarGathering im tryin lol
We'll see if I get those John Mayer style licks going here soon
OK, wonderful. You have really cleared this up for me. Larry Carlton calls it the Tri-Tone Substitution. I never could make that work. But your explanation made it understandable for me. Thanks. Hey, V-PICKS is in Nashville as well. We should do lunch sometime.
Allow me to attempt to explain why is this works, and why the A minor doesn't!
If you try the same thing, but whamp a Bb major chord groove, .... propably we could hear the modes more clearly.
Only because of a sequences created by alternating only the minor and major triads, thats why there is no diminished chord appears in the row that would bring us back to the key: Bb.
So alternating the majro and minor triads forces the sequel to change key, at the next major chord, in this example at the F chord, wich would sound a bit more mixolydian over Bb groove, especially in a form of a dominant 7th chord. But that would be only possible if the sequence would allow two minor triads to follow each other. But its not so we are forced to change the key, ...
... and that is why the A minor would not quite fit with the Gminor whamp groove, only up untill the F chord.
Im not an expert, I only wrote it down because I was wonder if Im right with this one?!
Great lesson by the way! Thank you!
Hands-down one of the best lessons I've seen on TH-cam! Thank you! I've subbed your channel and am going to really work on this! Cheers - Luther
Steve, as a long time fan of yours I really enjoyed the content you shared in this video. I didn't catch the live stream so I watched the replay. I have to tell you that it was hard to watch. Not because of anything you did, but because of the constant interruption by commercials. I fully understand the need to make a buck but a commercial every few minutes is overkill. They are intrusive, disruptive and counterproductive. They certainly didn't motivate me to visit any of their sites - if anything I'll avoid them. Please limit them in the future, otherwise if I can't watch the live stream I'll have to skip the replays. Please accept this as friendly, constructive advice. All the best!
Rob, thanks for your thoughts. I agree. I've since stopped all of the ads that occur during the broadcasts. I, like you, hate being interrupted by ads. Thanks for being a part of our guitar family. - Steve
Gold lesson ! No one ever explained it this good!
What an eye-opening and ear-opening lesson Steve! Thank you for sharing this enlightening guitar roadmap.
One question: How would this apply to (for example), a G Maj7b5 chord? Would you just treat that as a Maj7th chord?
LooMinn, yes, but you need to be very careful to avoid the natural 5th and always play the b5th in a major 7th arpeggio if you wanted it to work over a Maj7 (b5) chord. Hope this helps. - Steve
Thank you for these many window openings. An awesome concept so simply and plainly explained and demonstrated.I am blessed.Thank you again.
thank you sir you just showed us how to escape the pentatonic trap and goto further possibilities. Very useful for intermediate guitarists.
Wonderful! Learn all you can! - Steve
This is a fantastic lesson. Brilliant guitar player and teacher. Thank you very much, Terry.
Another wonderful lesson Steve. Thanks for all You do!!
Thanks Mike! Learn all you can!
Well done, well explained and elaborated. I've seen others try to explain this and make it too complicated, or not get to the point. Why isn't this guy getting more views?
That was a fascinating tutorial. I understood the music theory concepts from another source, but seeing it demonstrated as a practical application really tied the whole idea together.
Tomorrow, when my music group meets I'm going to try this over a blues progression and see how it works. I'm thinking over A-D-E (chords), I would use something like C,F,G (minor chords)?
Anybody got any last-minute tips or suggestions?
Edit: OR...now that I'm noodling around with it, would it be C#, F#, G#? 🤔
I seen a very old video of Larry explaining his concept and I thought my head would explode. Excellent job Clear as a bell!
Steve, love this lesson! While studying page two, I see that, starting with the G minor triad, you are adding 3rd intervals, from the G minor scale to create the minor 7,9,11, etc., and that the last three notes will form these alternating major and minor triads. But when you reach the "E", and create the Am triad, shouldn't that actually be an Eb? (The sixth degree of G minor), creating an A "diminished" triad? This is where I am getting lost and need help. Subbed and liked! Thanks!!
It helps if you understand there are two "diatonic" semitones. That is, two semitone intervals that are natural (not created by flats or sharps). E - F is one, and B - C is the other. This explains why C - E is a major interval (4 semitones), while E - G is a minor interval (3 semitones). All other semitone intervals are created by using flats or sharps (F sharp to G natural, or C to D flat). I know this sounds a bit confusing...I explained it the best I could. If you don't get it, it's most likely my poor explanation.
I'm confused about the Bm7(b5). All the other chords on page 3 are composed of alternating 3rd's and flat 3rd's, but Bm7 (b5) has 2 flat 3rd's in a row. I understand that the F natural sounds better, but why does this one chord seem to break the rule? Is it because the base chord is dominant? If so, does this rule extend to all keys - in other words, if the base chord is dominant, then the chord built on the 3rd will have a flat 5 while if the base chord is a maj 7, the chord built on the 3rd will not have a flat 5?
Wow, that's killer! That Em Penta over the C chord is the easiest magic I've ever heard.
Love this whole concept and I think I finally am getting a grasp of it!! One question....does this only with a static chord going on underneath?? Thanks for the awesome vid!!
¿and where are the super arpeggio? this is ridiculus
What I'm referring to as "The Super Arpeggio" is a concept, not a specific arpeggio. The free download PDF should help clarify things. Learn all you can! - Steve
Thank you for explaining this. I had recently noted that when I was soloing and trying to "calculate" (on the fly) the added color notes, it made it feel clumsy. This idea circumnavigates that...
Thank You a Lot!!! You have shown us how things work in pratical terms..... Well this is a Lot of usefull information...thank You once again!!!
The E minor scale over the C major chord is kind of like playing in mixolydian mode, G mixolydian.
All I can say is wow thank you I now have a whole new world of things to work on!
very interesting and helpful, adding new phrases to your vocabulary!
Ok so but isn't the 4th triad in major going to have a b5 as it would then be locrian? and yes that's definitely going to sound off.
Great lesson! Lunch on me!
Holy smokes! This ties everything together so neatly. I love it. Thank you!!!
Fantastic. You explained it beautifully (and thank you for the pdf)
Nice One. I'll take this concept into midwest emo and slay. THX!
What I learned from this is that I will never be a professional guitarist in Nashville. 😂
Great seeds, instantly I sound jazzy playing the same tired pentatonics.
Can you play a G Major Scale over that C major Chord? It has that F# in there....
VERY helpful. Opening more ways to play.
Wow!
That's awesome! And fun to watch I was watching an old Larry Carlton star licks video that someone post and I saw this. I think you've actually triggered more understanding! Some awesome points! Thank you so much for this video. I'm off to have some fun! 😅👍 Love the tone of your setup by the way!
When you hit that distortion suddenly I was hearing shades of Carlos Santana.
Thank you so much! 😀 My re-inspiration for the day!
Great concept Mr Steve 🤘🤘✌️🖖
Gonna help me tons....
This is why I’ve been searching for. Incredible
Thank you. Good for creative guitar playing.
Can this be applied to bass? Seems like a great way to create some melodic bass lines
B minor sounds weird because the b should be a diminishedtriad with a flat 5
Wow a great lesson from a great teacher. Thankyou steve.
Had that doors. La woman album vibe
30 min video and he talks for 20 ....👎👎
The E minor scale over the C major chord is kind of like playing in mixolydian mode, G mixolydian.
All I can say is wow thank you I now have a whole new world of things to work on!
Wonderful! Learn all you can. - Steve
Incredible, thanks Steve!
Explained very well Terry. Sorry Larry. LOL
Single most helpful, instructional, freeing, lightbulb-turning-on, guitar video I've ever watched on YT. Thank you sir 🙏 ☺️ 🙌
I love this so damn much thank you 1 million
unlimited talk? more talk less actual tutorial.
Most amazing lesson thank you sir !
... well I've got my work cut out for me
Penny drop, thank you sir.
Wow I got it 😲💓 you now how lay things out
awesome dude !! huge help here buddy,,,more possibilities and opening up the JazzVenue......greatly appreciated...thank YOU. SO much.....
You def need to know your 135 notes in the maj triads and a flat 3rd and 5 is minor triad? .Is a min triad just a flat 3rd? 1-3b 5?. Maj A is ACE.but Min A triad is A Bmin E? Im very slow sorry
A maj is A C# E minor Is A C E
Any 1 3 5 Major triad can be turned into a minor triad by flattening the 3rd or moving the 3rd down a half step...hope that makes sense.
Great insights of melodic ideas. Thanks 🙏😀
THanks Mike. Learn all you can. - Steve
The man IS a genius and is very generous sharing his knowledge. Thank you Steve! I know so little about theory, as I just started playing at age 69, but I love this channel.
Glad you're part of our guitar family. - Steve
Wow! Why didn't I see this three years ago? Most creative lesson on improvisation! Life changer for sure!
Finally, something I can understand.
Explained simply, directly and precisely.
Thank you, now a subscriber.
Excellent lesson 🎶☮️
Thank You so Much
Great lesson. First few minutes I was wandering where this was going, but I'm really glad I stuck around. Thanks man!
Thanks.!❤️✌🏼
simly brilliant!
Really amazing
Congratulations for the way you described the whole thing and the simplicity of your playing using only triads notes every time
Thank you
So it switches from major to minor or vice versa which ever key starts to. Sorry I missed the part on dominant 7 chords. So would dominant chords work like major chords eg. How do I add dominant scales arpegios in to it? Thank you this is a fresh insight for me
John Paul, the intervals are alternating major 3rd to minor 3rd back to major 3rd. When you do this it derives alternating major and minor triads. Dominant 7th chords work a bit differently since they are a four note chord. Watch the Super Arpeggio lesson and it should answer a few questions for you. Here is the link... th-cam.com/video/0SeLp0n21R8/w-d-xo.html
@@GuitarGathering Ok I must have missed it. Thank you for that insight
Great lesson
You did more in 5 mins to explain arpeggios and how to use the...actually use them, than anyone. Thanks
Thanks very much. This lesson is among the best I've ever learned here on TH-cam.