After 900k views/40k likes on instagram, and over 30k views here on TH-cam. I made a FULL COURSE on how to get these arpeggios under your fingers and INTO your music as quickly as possible. Exercises, interactive tabs, backing tracks...everything you need. 50% OFF LAUNCH SPECIAL! Click here to check it out!! www.danielseriff.com/MasteringDiagonalArpeggios
All this principle have been described by Mick Goodrick in 1987 in The Advancing Guitarist as " movable mini positions " in the chapter " Play on 2 strings : movable mini positions ".
I play Death Metal I’ve been stitching Aeolian, Phrygian, Diminished and Phrygian Dominant scales together for years with that diminished arpeggio, learned it from Yngwie Malmsteen songs, this arpeggio approach is also in the book Linear Expressions by Pat Martino. Great lesson thank you Daniel.
Todd!! So cool. So many great players using it. Thankfully it seems like a lot of folks don’t know about these and it’s resonating in a positive way with people. Have a great day!!
I've been using and teaching this system for the last 30 years odd so it's nice to see that Kurt uses it. It's simplicity itself particularly in P4 tuning. Once you start getting in to layering/relatively, in/out concepts you realise its huge creative potential. It's great for navigating ii V I's with the inversion symmetry too. After a couple decades using it I still regularly find new ways to apply it.
Thanks Graham! It really is a great way to look at the neck. Like you, I’ve turned it into all kinds of permutations and superimpositions. It’s super cool and incredibly fluid.
How do you connect these arpeggios in a II-V-I though ? If you just use the arpeggio fingerings from this exercise, wouldn't that mean jumping up and down the neck a lot ?
@Vargsang666 by using voice leading and inversions. I have a lot of material on this. If you really want to get into it hit me up for a lesson or two on the subject.
,,,,,.... hello from land o' lakes,wi......New student here!...tnx,for these lessons,,,,,I'm teaching my kids to playing,,,,,and this is school to me.......very good,tnx...pat,& family......🎸
A Paul Gilbert video taught me this as an alternative to sweep picking for shredders. As a jazz player I saw the possibilities right away. Also works for any series of notes, not just four note arps. If you can play it on two strings (1/2, 3/4, or 5/6), you can get a three octave diagonal pattern. This concept is incredibly fruitful
@@DanielSeriffMusic I think my favourite four note example is maj7b5, and I’ve certainly extended it to the pattern you mentioned many times. Try adding the #5 as well for altered/melodic minor fun 😁 A-Bb-D-E-F#!! Over C7, D7, F#7, Gm6, etc
That would be very cool. Have you checked out the masterclass I have on my channel? He talks about some incredible stuff, not specifically dealing with non-diatonic chord progressions, but there are tons of gold nuggets in it.
I learned these positions from an old teacher and mentor Fred Torak many years ago. Another 2 note per string 7th arpeggio could start on the 5th.... 5 7, 1 3 etc. It will also cover a 3 octave range.
@@DanielSeriffMusic Yeah a little bit of a stretch, but not too bad. I find it's good to mix the two positions to play over changes without jumping around the fingerboard. A ii V or ii V I is a good place to start mixing them up, I also use use other string pairs such as strings 5&4 when practising this. Thanks again for a great video. Nice to know Kurt R. uses the approach you've given.
oh wow this blew my mind open. thank you. I can sing the notes on pitch and call out the note names and get this into muscle memory and train my ears all at once...very very well explained and illustrated .. THANK YOU SIR..
I always just keep in mind that major 7 arpeggio sounds cool starting from the major 7th note instead of the root note. It's a good starting point for a solo over a progression that starts with any major 7 chord I find.
@@DanielSeriffMusic I love how you've broken this down so us Ear players can cotton on quicker. Hows about Barry Harris's Minor/Major Diminished 6 scale and some nice arps spinning off from that. Including your cool box diagrams??Do you use the french/gypsy style box charts?
ive always struggled to play over half diminished chords, and have been shedding these big complicated arpeggios and scales that always seem to escape me, but this perspective makes it feel like im playing a pentatonic scale. So much easier thank you!! Just saw Kurt play with James Francies a few days ago 🤯
Dude!!! So awesome. Glad it was helpful. I agree. These things helped me so much. Half dim is so annoying! Check out adding the 4 in there. It’s like a minor blues scale with no natural 5. Glad you dig it. Was a game changer for me. Kurt is the man.
I unlocked this system a few years ago as well, watching a Guthrie Govan thing where he compares this approach to playing 3+ octaves on a piano. You simply move the same basic grips up an octave, like a pianist would! This system works well in conjunction with some of the Cracking The Code stuff too... where your goal might be to always play two notes per string in order to maintain right hand symmetry. The only thing I would add for those curious about this concept, would be to also explore the following concepts and shapes: Maj7#5 MinMaj7 Maj7#11 (omit 5, lydian vibe) Add9/Add11 Dominant 7#5 Dominant 7#11 (omit 5, lydian-dominant vibe) etc... The possibilities are pretty cool once you start thinking of altering, replacing, or ommiting the 5. I practice the triads as well as the 7th chords diatonically (key of G let's you nab the whole range of the guitar). The last thing with this system, that I'm still trying to get a handle on, is inversions. The ergonomics of these are great with all of these being 3rd inversion (except diminished 7), but I find it a little insular musically. There are other ways to get symmetrical 7th chords, like a C7 chord played in 2nd inversion, G Bb C E, G, Bb on the low E, C and E on the A string. Same concept... visualize the octave and move the grip. This system also helps me really hear and see the intervals occurring in all of these sounds. Like that C7 chord in 2nd inversion is a m3 on one string, then a M3 on the next string. So many possibilities... good luck out there!
Nice post and great ideas. I think you mean dom7#11 for Lydian dominant. Love that sound. I have done a ton with dom7#5 in this way but sounds fun and would work beautiful for Phrygian dom and altered.
What I find fascinating I learned the octaves method years back. IT IS THE ONLY METHOD combined with Triads. U become a musician. How guitarists don't know this is amazing. 1 formula 2 flat 3 or 7.
I love playing arpeggios this way! All though, I’ve been experimenting with playing one note on the g-string. As a classical guitarist, I’ll use the index and middle fingers or my right hand and the thumb when transitioning to the g-string.
for the first example i generally prefer playing the third on the e string (hitting fret 9 with my pinky), so i slide from 4 to 5, in case anyone wants to try that
@@DanielSeriffMusic btw great video! i remember when i first started playing guitar i saw jason becker play these kinds of arpeggios at some clinic and i was like yes that is for me! i think of a lot of these as the final fantasy arpeggios haha
Yep same as pentatonic trees Richard Lloyd. I preach. Memorize Major whole neck. Modes WHATEVER. Repeat ever set of strings at octave. Any formula and learn TRIADS
I sort of indirectly learned this same principle from Kurt. When "The Remedy" first came out, I immediately was struck by that lick Kurt plays in his solo on "Chords" at 4:07. It does the same thing but with a b7-R-3-4 lick (I like to call it the "Gary Numan lick" - i.e. 4-3-b7-1) across three octaves starting on F on the 13th fret of the low E.
Hahah. Love that, man. It’s pretty wild how many ways you take these and make killer permutations. He’s all over tons of variations on that record. It’s mind blowing.
I got to jam with Kurt a few times when he was at Berklee around 1990ish. He was already a monster. If I recall we were just playing free jazz at the time. It was wild. Great video.
I do them but haven’t written them out. If it all makes sense to you I’d try it for yourself. There are several variations. Like…how many notes per string. Could be 4 and 3 or 3 and 4. Gonna add up the same but depends fingering preference.
@@DanielSeriffMusic Sweet. I've been trying to come up with my own patterns using the framework of the major 7th arpeggios. These shapes are incredibly useful 🙏
One critique - you missed one of the “basic 7th arpeggios.” There are 6. Maj7, Min7, Dom7, half dim, full dim, AND Augmented 7. That’s if we stack thirds.
Hmm. I hear ya. Maybe I should have just done diatonic arpeggios in this one and left of the fully dim7. I think the augmented open up a whole can of worms. Especially because you get Maj7#5 as well as Dom7#5. Hmm.
I think it's better to think the way David Becker does. Break them up into two triads. A major 7 is Amaj + C#m, A7 is Amaj + C# dim, Am7 is Am + C maj, Am7(b5) is Adim + Cm, Adim7 is Adim + Cdim which is just a Dom b9!
I think that’s cool but that’s not a great way for folks who don’t understand 7th chords already. People need a foundation in triads and basic 7th chords, at least.
Also, triads are super annoying on guitar unless you double notes a la Coltrane or somebody like Metheny. My amazing sax teacher in college hipped me to doubling notes in triads to make them fit the music better. Anyway. I think this lesson is geared at people who aren’t stacking triads yet. Just essential 7th chords but appreciate your thoughts.
At 2:20 why did you decide to go index-middle for that full step reach when the previous example you used index-ring? Just curious. Also subbed because you are one of the only guitarists that specify the finger to be used in your examples.
Great stuff! Regarding the beginning of the video, it would be nice if the diagram image remained the same size throughout each change, that way it’s easier to see exactly what’s changing and what’s not. A few of them are the same, and it looks golden at those moments.
Hey man! Thanks for sharing that. Could you put the time stamp of exactly where you are talking about? Sometimes the neck diagram program does some whacky stuff.
@@DanielSeriffMusic Just at the very beginning of the video. Some of the diagrams are the same size as the previous one, but some are different. Also, its not necessary by any means, just an idea!
I practiced a lot of other arpeggio shapes that spanned 3 strings. There are so many fingering options in regards to arps on the guitar. I just found that these were incredible copy/pastable and they also got me out of more “boxy” positions.
@@dnee18 Yes, IT works great descending as well. I think I'm going to make a mini course on how to practice these today. In the video at the beginning, I'm just playing them all ascending, but you want to be able to break them up etc.
I am a jazz guitar player as well, and I also have the same exact last name, kind of weird, it's a very rare name, and we both share a passion for the same thing,jazz guitar is a very niche thing to be into, to say the least. Do you think we could be related?
@@DanielSeriffMusic I don't have a website, it's just a hobby, but it is a passion for me. I lived in New York for many years and I have seen anybody you can think of. Bernstein, Rosenwinkel,Lund, Felder, Rogers, Moreno,Kriesberg, and of course Pasquale Grasso many times. I also love Jim Hall, Wes , Pat Martino, Robben Ford and Scott Henderson. The only living player I have never had a chance to see is Jesse van Ruller, he is one of my favorites, but he lives in Amsterdam. Do you have any relatives in Texas? Where did your grand or great grandparents come from? Maybe loving jazz is LITERALLY in the blood.
Yes! Definitely feels the smoothest to me. I would say as you add it to your playing and make music with it, you will want to vary the fingering depending on slides or hammers or other additions. But, this is a fantastic base to start with.
Great question. The other versions are excellent as well but quite stretchy. This one flows easily across the fretboard. Highly recommend digging into the others
Absolutely! All keys. Plus the inversions would be amazing. Start on 7th here but be able to start on root, 3rd, or 5th! Sounds like you’re on the right track.
Hey Richard. The link is in the description. Here is a direct link for you so you don’t have to find it. Have a good day! www.danielseriff.com/KurtArpeggios
Haha! Well, the biggest reason it helped me was because the previous arpeggios I had been working on were very small, boxy, and hard to play musically. The across the fretboard nature, and copy/pastable nature of these really helped me find arpeggios a bit more musical.
Very interesting comment. I use a particular lut that I’ve been trying to work away from. This is an older batch but now also trying to raise the exposure on my camera. Thanks for the feedback.
@@DanielSeriffMusic Yeah, thanks for being open minded. Depending on your NLE, you can create a mask or use a color dropper to isolate your skin tone. Look on your color circle and, even after the LUT, I think it's supposed to be along the skin tone line. Believe me, I'm no video expert myself but I have looked into color and the two things that matter are skin tones and green trees. Look at your video next to another from a video youtuber like Curtis Judd to compare. He's got more of a conservative look but it's a standard, imo, that you can build your cinematic look from. Cheers.
@@DanielSeriffMusic You can also look into LeemingLUT and follow that workflow. People like Gerald Undone have done videos on it. I think it makes a positive difference. He has technical luts as well as creative ones but I think it's best to use the technical one and build your own grade based on references. Bro I haven't made a video in about a year so hopefully you can find a better teacher than me haha. You'll get it.
Hey guy. I actually don’t see people playing 2 note per string arpeggios all over the neck. Also, tons of people found this video helpful. Just because it’s not helpful for you doesn’t mean it’s not a good lesson or worth sharing. How did it help me? Once I got these under my fingers I realized I could use them to fit chords from tunes I didn’t know what to do with at the time. Example. Maj7#5. Dom7#11. Uses for superimposing them. Etc etc etc. They are an incredible foundation. Sorry you didn’t dig the lesson. Have a good one.
Hey guy. Not everyone knows this basic knowledge. This is called a guitar lesson. It's mean't to inform people who don't know *basic knowledge* and allow them to learn the knowledge. If you already know the concept, watch another video. Have a great day!
@@DanielSeriffMusic hey dude, didn’t want to understate the importance of this lesson, it’s well done and I’m sure that it will be useful to many beginning players. It’s just by far not the biggest thing that you can learn from the master like Kurt, I was probably expecting more interesting insight. Anyway, great job, have a nice day. ✌️
@@vitgit I gotcha man. Maybe some parentheses could have been better with (intermediate) or something but honestly it's hard enough to get people to click on TH-cam and this video has done well. I appreciate your kind response. If you haven't seen I have a 2 hour masterclass with him where he talks about some excellent stuff: th-cam.com/video/5K07ot7vnCQ/w-d-xo.html
Thanks for the video, but it would be better if you showed how to practice it in a way that’s useful musically. If you were to learn these arpeggios and just use them as-is in a jam, you’d sound terrible. As they say, (in a live setting) you play what you practice. If you only practice a soulless set of arpeggio pattern, you end up playing a soulless arpeggio pattern
Sure man, I'm all about. However, TH-cam is quite tricky. I'm just getting my feet wet. I've done quite a few lessons liek what you describe, practice concepts etc...they tend to fall on deaf ears. I am currently working on lots of concepts and really useful practice strategies are part of the game. I appreciate your feedback and hopefully there are other folks out there like yourself that will enjoy some practice specific content.
You are one of very few who have left a negative comment. This concept has been very helpful for my development. AND, I literally learned it from the masterclass that I posted on my channel from him. Not everyone is on YOUR level. Here’s your lesson for today. If you click on a video and already know a concept, then move along. Not every lesson is made for everyone. Have a good day!
Hey, guy. Gotta disagree entirely. Not everyone is on the same level as you. AND, there are a ton of different arpeggios all over the net. This was a helpful game changer for me. Plus, it must have resonated with people because this video has blown up online.
Hey guy, thanks for your comment. This video isn't made for you. Unfortunately, not everyone understands the guitar like you do. This is called a "guitar lesson." It's made for folks who don't already understand the concept. If you do, then you can move on along to another video once you realize you already understand the info. Sorry that you felt the need talk negatively about the concept, and the fact that it's not just inherent knowledge to "anyone that's played the guitar for more than 5 years." Hope you have a great day!
I went to check your channel. It seems to me that it isn't obvious to you either. Why would you come to someone's video and post a comment like that? You have 5 subscribers. Yet Dan is an educator who is well respected in the guitar world. You should be more respectful. And if you've been doing something for 35 years, at least try hard so that your videos show that... Regards.
I am a jazz guitar player as well, and I also have the same exact last name, kind of weird, it's a very rare name, and we both share a passion for the same thing,jazz guitar is a very niche thing to be into, to say the least. Do you think we could be related?
After 900k views/40k likes on instagram, and over 30k views here on TH-cam. I made a FULL COURSE on how to get these arpeggios under your fingers and INTO your music as quickly as possible. Exercises, interactive tabs, backing tracks...everything you need. 50% OFF LAUNCH SPECIAL! Click here to check it out!! www.danielseriff.com/MasteringDiagonalArpeggios
All this principle have been described by Mick Goodrick in 1987 in The Advancing Guitarist as " movable mini positions " in the chapter " Play on 2 strings : movable mini positions ".
Nice. I love Mick's single string approach and clearly builds into the 2, 3, 4 string options etc.
I play Death Metal I’ve been stitching Aeolian, Phrygian, Diminished and Phrygian Dominant scales together for years with that diminished arpeggio, learned it from Yngwie Malmsteen songs, this arpeggio approach is also in the book Linear Expressions by Pat Martino. Great lesson thank you Daniel.
Todd!! So cool. So many great players using it. Thankfully it seems like a lot of folks don’t know about these and it’s resonating in a positive way with people. Have a great day!!
I've been using and teaching this system for the last 30 years odd so it's nice to see that Kurt uses it. It's simplicity itself particularly in P4 tuning. Once you start getting in to layering/relatively, in/out concepts you realise its huge creative potential. It's great for navigating ii V I's with the inversion symmetry too. After a couple decades using it I still regularly find new ways to apply it.
Thanks Graham! It really is a great way to look at the neck. Like you, I’ve turned it into all kinds of permutations and superimpositions. It’s super cool and incredibly fluid.
How do you connect these arpeggios in a II-V-I though ? If you just use the arpeggio fingerings from this exercise, wouldn't that mean jumping up and down the neck a lot ?
@Vargsang666 by using voice leading and inversions. I have a lot of material on this. If you really want to get into it hit me up for a lesson or two on the subject.
I figured this out on my own with no training because all i do is look for new techniques. Im already bored of it
One of the most important videos on your channel, IMHO. Wonderful!
He is incredible.
I’ve been using and teaching this system for over 45 years.
Fantastic!
What a great way to look at these arpeggios. Thanks for keeping it simple and straight forward.
Hey Jed! Thanks so much. Really appreciate the positive feedback!
,,,,,.... hello from land o' lakes,wi......New student here!...tnx,for these lessons,,,,,I'm teaching my kids to playing,,,,,and this is school to me.......very good,tnx...pat,& family......🎸
Hey Pat!! Thanks so much for joining on. Glad it’s helpful. Have an awesome day!
Soy tu fans Danielito querido 🙌 saludos de ARG 🇦🇷 ..genio
Wonderful!! Thank you so much!
A Paul Gilbert video taught me this as an alternative to sweep picking for shredders. As a jazz player I saw the possibilities right away. Also works for any series of notes, not just four note arps. If you can play it on two strings (1/2, 3/4, or 5/6), you can get a three octave diagonal pattern. This concept is incredibly fruitful
Absolutely. I love altering these or adding/subtracting notes. One of my favorites is the Lydian sound with 7 1 3 #4 5.
@@DanielSeriffMusic I think my favourite four note example is maj7b5, and I’ve certainly extended it to the pattern you mentioned many times. Try adding the #5 as well for altered/melodic minor fun 😁 A-Bb-D-E-F#!! Over C7, D7, F#7, Gm6, etc
I’m a bass player and this approach really helped me out on the fretboard. Thanks Daniel!
Awesome Mark!
@@DanielSeriffMusic Idk who Kurt R. is. I need to look him up.
I'm a bass player, acoustic and electric (fretted and fretless) and I love Kurt’s playing. This was a cool lesson. Thank you!!!
Came for the theory, stayed for the guitar tone.
Hahaha. Heck yeah!
Hey Daniel,,,,,Learning stuff like this is great. - Thanks - RJ.
Hey RJ! Thanks for the comment and thanks for watching. Have a great one.
Just yesterday I had a class in college that taught the same thing and I was so happy
Haha! That is so awesome. Love these shapes.
Would love to see a lesson on Rosenwinkel's approach to soloing over non-diatonic chord progressions
That would be very cool. Have you checked out the masterclass I have on my channel? He talks about some incredible stuff, not specifically dealing with non-diatonic chord progressions, but there are tons of gold nuggets in it.
just received your free lesson download
thankyou Daniel for your generosity
Respect
Wonderful! Thank you.
I learned these positions from an old teacher and mentor Fred Torak many years ago. Another 2 note per string 7th arpeggio could start on the 5th.... 5 7, 1 3 etc. It will also cover a 3 octave range.
Love that one as well. A little stretchier but really nice.
@@DanielSeriffMusic
Yeah a little bit of a stretch, but not too bad. I find it's good to mix the two positions to play over changes without jumping around the fingerboard. A ii V or ii V I is a good place to start mixing them up, I also use use other string pairs such as strings 5&4 when practising this. Thanks again for a great video. Nice to know Kurt R. uses the approach you've given.
TOP NOTCH TOP NOTCH! Thank You!
Thanks for watching!
oh wow this blew my mind open.
thank you.
I can sing the notes on pitch and call out the note names and get this into muscle memory and train my ears all at once...very very well explained and illustrated .. THANK YOU SIR..
Ron! So glad it was helpful. Have an awesome day!
I only knew the last one. Thanks for the lesson
Thanks for watching! Hope they were helpful.
I always just keep in mind that major 7 arpeggio sounds cool starting from the major 7th note instead of the root note.
It's a good starting point for a solo over a progression that starts with any major 7 chord I find.
Nice. Thanks for the comment.
That intro is 🔥 🔥
Thanks so much!!
Best YT video on this topic hands down
Donald!! Thank you so much. Really appreciate that.
What an awesome lesson! mind blown!
Hey Mike!! Thanks so much for watching!
That diminished arp is straight outta the Django playbook.
All day. Love it
@@DanielSeriffMusic I love how you've broken this down so us Ear players can cotton on quicker. Hows about Barry Harris's Minor/Major Diminished 6 scale and some nice arps spinning off from that. Including your cool box diagrams??Do you use the french/gypsy style box charts?
This came just at the right time for me. Thanks so much, I've just subscribed.
Hey Andrew! Welcome to the channel. Appreciate you being here.
ive always struggled to play over half diminished chords, and have been shedding these big complicated arpeggios and scales that always seem to escape me, but this perspective makes it feel like im playing a pentatonic scale. So much easier thank you!!
Just saw Kurt play with James Francies a few days ago 🤯
Dude!!! So awesome. Glad it was helpful. I agree. These things helped me so much. Half dim is so annoying! Check out adding the 4 in there. It’s like a minor blues scale with no natural 5. Glad you dig it. Was a game changer for me.
Kurt is the man.
oh hell yea .. so helpful.
Thanks !!
So glad you enjoyed it! Have an awesome day.
Very helpful, thanks!
Awesome! Thanks for watching!
I unlocked this system a few years ago as well, watching a Guthrie Govan thing where he compares this approach to playing 3+ octaves on a piano. You simply move the same basic grips up an octave, like a pianist would!
This system works well in conjunction with some of the Cracking The Code stuff too... where your goal might be to always play two notes per string in order to maintain right hand symmetry.
The only thing I would add for those curious about this concept, would be to also explore the following concepts and shapes:
Maj7#5
MinMaj7
Maj7#11 (omit 5, lydian vibe)
Add9/Add11
Dominant 7#5
Dominant 7#11 (omit 5, lydian-dominant vibe)
etc...
The possibilities are pretty cool once you start thinking of altering, replacing, or ommiting the 5. I practice the triads as well as the 7th chords diatonically (key of G let's you nab the whole range of the guitar).
The last thing with this system, that I'm still trying to get a handle on, is inversions. The ergonomics of these are great with all of these being 3rd inversion (except diminished 7), but I find it a little insular musically. There are other ways to get symmetrical 7th chords, like a C7 chord played in 2nd inversion, G Bb C E, G, Bb on the low E, C and E on the A string. Same concept... visualize the octave and move the grip. This system also helps me really hear and see the intervals occurring in all of these sounds. Like that C7 chord in 2nd inversion is a m3 on one string, then a M3 on the next string.
So many possibilities... good luck out there!
Nice post and great ideas. I think you mean dom7#11 for Lydian dominant. Love that sound. I have done a ton with dom7#5 in this way but sounds fun and would work beautiful for Phrygian dom and altered.
*havent done a ton.
Whoops. Misread.
@@DanielSeriffMusic Nope, I fixed it 😄. Phone typing is a drag!
Cool stuff. And don’t forget to check out all the inversions of these!
Yes! Gotta love the inversions. Also the fun uses of superimposing the different arps.
Mastering Major7 Arpeggios: 3 Uses You Never Knew Existed
th-cam.com/video/dtyOV1NrLcE/w-d-xo.html
What I find fascinating I learned the octaves method years back. IT IS THE ONLY METHOD combined with Triads. U become a musician. How guitarists don't know this is amazing. 1 formula 2 flat 3 or 7.
Interesting. There are so many approaches for sure. Octaves are incredibly helpful.
Tbf I was self taught 30 years and only learned theory for going into uni. This is a great lesson if only TH-cam was thirty years ago lol
Marvelous! Appreciate a thick, lean lesson!
Hey! Thanks so much for hanging and watching. Have an awesome day.
thank you, great vid
Thanks for watching and appreciate the comment!
Love this lesson! Concise and easy to follow!
Thanks so much, brother!
Kurt rules
Truly one of the best of all time.
This is fantastic
Thanks so much!!
This progression is one of the daily exercises for any flautist, Taffanel and Gaubert, in root position and broken.
Oh yes. I think most classical musicians dig into these types of etudes.
I love playing arpeggios this way! All though, I’ve been experimenting with playing one note on the g-string. As a classical guitarist, I’ll use the index and middle fingers or my right hand and the thumb when transitioning to the g-string.
Nice! Glad you’ve found something that works for you. The two note per string arps are so flexible.
Make sure to SUBSCRIBE for everything guitar! Click HERE: th-cam.com/channels/dndQZ_Yt3BifEaOqeyESQA.html
Wow this is cool
Thanks Buck! Glad you enjoyed it.
for the first example i generally prefer playing the third on the e string (hitting fret 9 with my pinky), so i slide from 4 to 5, in case anyone wants to try that
Nice. Definitely gottta make it your own
The other inversions are great for learning as well. I’d recommend working on starting from root, 3rd, and 5th as well.
@@DanielSeriffMusic btw great video! i remember when i first started playing guitar i saw jason becker play these kinds of arpeggios at some clinic and i was like yes that is for me! i think of a lot of these as the final fantasy arpeggios haha
Yep same as pentatonic trees Richard Lloyd. I preach. Memorize Major whole neck. Modes WHATEVER. Repeat ever set of strings at octave. Any formula and learn TRIADS
I dig that approach
Great lesson 👍🏼👍🏼
Thanks so much for watching!
this lesson is off the hook
go Daniel. obrigado
Thanks so much brother!
Awesome lesson! Thanks!!!
Hey Joe! Thanks so much man!
I sort of indirectly learned this same principle from Kurt. When "The Remedy" first came out, I immediately was struck by that lick Kurt plays in his solo on "Chords" at 4:07. It does the same thing but with a b7-R-3-4 lick (I like to call it the "Gary Numan lick" - i.e. 4-3-b7-1) across three octaves starting on F on the 13th fret of the low E.
Hahah. Love that, man. It’s pretty wild how many ways you take these and make killer permutations. He’s all over tons of variations on that record. It’s mind blowing.
Fantastic little lesson. Thank you! I use arpeggios as kind of a navigation system so this is great
Scott! Thanks man. Glad you enjoyed it and glad it’s helpful.
NGL, I do like it when I already play the lesson material regularly.
NICE! Glad to hear it. Was a game changer for me.
Love this! Thanks Dan!
Hey dude! Great to hear from you. Thanks for watching and have an awesome day.
Thats neat ! Tells alot, i like it
Very cool! Have a good day.
Really cool little lesson, haven't seen your channel before. Subscribed
Frank! Thanks man. Really appreciate that. Hope you’ll stick around.
I got to jam with Kurt a few times when he was at Berklee around 1990ish. He was already a monster. If I recall we were just playing free jazz at the time. It was wild. Great video.
Man!! That is too awesome. I had heard he was already Killin when he got there. Thanks for the comment!
@@DanielSeriffMusic yeah I got to actually graduate. No one plucked me out of school to play with legend musicians like Kurt 😂
These diagonal arpeggios are great.
Do you have anything for diagonal full major and minor scales?
I couldn't find anything on the free PDF
I do them but haven’t written them out.
If it all makes sense to you I’d try it for yourself. There are several variations. Like…how many notes per string. Could be 4 and 3 or 3 and 4. Gonna add up the same but depends fingering preference.
@@DanielSeriffMusic
Sweet.
I've been trying to come up with my own patterns using the framework of the major 7th arpeggios.
These shapes are incredibly useful 🙏
I imagine this is how Django would have shredded anything
No doubt about that!
One critique - you missed one of the “basic 7th arpeggios.” There are 6.
Maj7, Min7, Dom7, half dim, full dim, AND Augmented 7. That’s if we stack thirds.
Hmm. I hear ya. Maybe I should have just done diatonic arpeggios in this one and left of the fully dim7. I think the augmented open up a whole can of worms. Especially because you get Maj7#5 as well as Dom7#5. Hmm.
@@DanielSeriffMusic that’s what it’s for. To open up cans of harmony worms!
Augmentation. Sir you must be Reptilian lol😁
Must be a Guitar God named Augy somewhere 😆
Very concise! Thank you.
Awesome man! Thanks for watching.
using 3rd inversion, nice.
It really fits so nicely under the fingers. The other inversions are great but these are the best IMHO.
I think it's better to think the way David Becker does. Break them up into two triads. A major 7 is Amaj + C#m, A7 is Amaj + C# dim, Am7 is Am + C maj, Am7(b5) is Adim + Cm, Adim7 is Adim + Cdim which is just a Dom b9!
I think that’s cool but that’s not a great way for folks who don’t understand 7th chords already. People need a foundation in triads and basic 7th chords, at least.
Also, triads are super annoying on guitar unless you double notes a la Coltrane or somebody like Metheny. My amazing sax teacher in college hipped me to doubling notes in triads to make them fit the music better.
Anyway. I think this lesson is geared at people who aren’t stacking triads yet. Just essential 7th chords but appreciate your thoughts.
th-cam.com/video/xiCGkU5ycxs/w-d-xo.html
Good Stuff!
Tony!! Thanks brother. Glad you dug it. Always great to hear you playing online.
what's your website ? thanks so much for your work !
Hey man! Check out www.DanielSeriff.com
At 2:20 why did you decide to go index-middle for that full step reach when the previous example you used index-ring? Just curious. Also subbed because you are one of the only guitarists that specify the finger to be used in your examples.
I think starting with a default fingering is helpful but clearly I broke the rules. Haha!
@@DanielSeriffMusic Ah ok! No it is fine.I have smaller hands it seems. So I break the rules all the time.
Is this the same thing as the chuckwayne arp method?
More like Chuck Norris!
Haha. Jk. This is more in that Mick Goodrick/Jon Damian school.
Great stuff! Regarding the beginning of the video, it would be nice if the diagram image remained the same size throughout each change, that way it’s easier to see exactly what’s changing and what’s not. A few of them are the same, and it looks golden at those moments.
Hey man! Thanks for sharing that. Could you put the time stamp of exactly where you are talking about? Sometimes the neck diagram program does some whacky stuff.
@@DanielSeriffMusic Just at the very beginning of the video. Some of the diagrams are the same size as the previous one, but some are different.
Also, its not necessary by any means, just an idea!
Can I ask what it is about the 2 note per string approach that changes your playing so much? Because it’s easier to build lines with multiples of 2?
I practiced a lot of other arpeggio shapes that spanned 3 strings. There are so many fingering options in regards to arps on the guitar. I just found that these were incredible copy/pastable and they also got me out of more “boxy” positions.
Interesting, thanks!
Also do you go back down the same way?
@@dnee18 Yes, IT works great descending as well. I think I'm going to make a mini course on how to practice these today. In the video at the beginning, I'm just playing them all ascending, but you want to be able to break them up etc.
Cause melodies are built quickly LaLaLaLA. 2 sets 😆
I am a jazz guitar player as well, and I also have the same exact last name, kind of weird, it's a very rare name, and we both share a passion for the same thing,jazz guitar is a very niche thing to be into, to say the least. Do you think we could be related?
Too cool. Website?
@@DanielSeriffMusic I don't have a website, it's just a hobby, but it is a passion for me. I lived in New York for many years and I have seen anybody you can think of.
Bernstein, Rosenwinkel,Lund, Felder, Rogers, Moreno,Kriesberg, and of course Pasquale Grasso many times. I also love Jim Hall, Wes , Pat Martino, Robben Ford and Scott Henderson. The only living player I have never had a chance to see is Jesse van Ruller, he is one of my favorites, but he lives in Amsterdam. Do you have any relatives in Texas? Where did your grand or great grandparents come from? Maybe loving jazz is LITERALLY in the blood.
Gostei!
Thanks so much!
Do you use the same fingering when descending back?
Yes! Definitely feels the smoothest to me. I would say as you add it to your playing and make music with it, you will want to vary the fingering depending on slides or hammers or other additions. But, this is a fantastic base to start with.
why starting on the 7th?
Great question. The other versions are excellent as well but quite stretchy. This one flows easily across the fretboard. Highly recommend digging into the others
This awesome! But you’ll want to be able to get ply the arpeggios all off the finger board ultimately.
Absolutely! All keys. Plus the inversions would be amazing. Start on 7th here but be able to start on root, 3rd, or 5th! Sounds like you’re on the right track.
Not seeing the link you mention to print out your fret diagrams. Can you please inform how to find that?
Hey Richard. The link is in the description. Here is a direct link for you so you don’t have to find it. Have a good day! www.danielseriff.com/KurtArpeggios
How do I download the PDF for this video ?
Hey bud. It’s in the description. Here is a direct link. www.Danielseriff.com/kurtarpeggios
Now do them on every position. EVERY.
All keys and in every position. Inversions! Plus diatonically through the keys.
how and why did it skyrocket or is this SEO clickbait? :)
Haha! Well, the biggest reason it helped me was because the previous arpeggios I had been working on were very small, boxy, and hard to play musically. The across the fretboard nature, and copy/pastable nature of these really helped me find arpeggios a bit more musical.
Very Marty Friedman
He’s awesome
Please consider changing your video’s tint away from green and toward magenta. It’ll look happier and healthier in the skin tones. Thanks
Very interesting comment. I use a particular lut that I’ve been trying to work away from. This is an older batch but now also trying to raise the exposure on my camera. Thanks for the feedback.
Still a total newbie on my camera but working on it.
@@DanielSeriffMusic Yeah, thanks for being open minded. Depending on your NLE, you can create a mask or use a color dropper to isolate your skin tone. Look on your color circle and, even after the LUT, I think it's supposed to be along the skin tone line. Believe me, I'm no video expert myself but I have looked into color and the two things that matter are skin tones and green trees. Look at your video next to another from a video youtuber like Curtis Judd to compare. He's got more of a conservative look but it's a standard, imo, that you can build your cinematic look from. Cheers.
@@DanielSeriffMusic If you're a noob then you're off to a great start.
@@DanielSeriffMusic You can also look into LeemingLUT and follow that workflow. People like Gerald Undone have done videos on it. I think it makes a positive difference. He has technical luts as well as creative ones but I think it's best to use the technical one and build your own grade based on references. Bro I haven't made a video in about a year so hopefully you can find a better teacher than me haha. You'll get it.
You're just reiterating some really basic information. How did your playing SKYROCKET thanks to this?
Hey guy. I actually don’t see people playing 2 note per string arpeggios all over the neck. Also, tons of people found this video helpful. Just because it’s not helpful for you doesn’t mean it’s not a good lesson or worth sharing.
How did it help me? Once I got these under my fingers I realized I could use them to fit chords from tunes I didn’t know what to do with at the time. Example. Maj7#5. Dom7#11. Uses for superimposing them. Etc etc etc. They are an incredible foundation.
Sorry you didn’t dig the lesson. Have a good one.
It’s just a Basic knowledge
Hey guy. Not everyone knows this basic knowledge. This is called a guitar lesson. It's mean't to inform people who don't know *basic knowledge* and allow them to learn the knowledge. If you already know the concept, watch another video. Have a great day!
@@DanielSeriffMusic hey dude, didn’t want to understate the importance of this lesson, it’s well done and I’m sure that it will be useful to many beginning players. It’s just by far not the biggest thing that you can learn from the master like Kurt, I was probably expecting more interesting insight. Anyway, great job, have a nice day. ✌️
@@vitgit I gotcha man. Maybe some parentheses could have been better with (intermediate) or something but honestly it's hard enough to get people to click on TH-cam and this video has done well. I appreciate your kind response. If you haven't seen I have a 2 hour masterclass with him where he talks about some excellent stuff: th-cam.com/video/5K07ot7vnCQ/w-d-xo.html
Super!!!!💥💥💥
So glad you enjoyed!
Thanks for the video, but it would be better if you showed how to practice it in a way that’s useful musically. If you were to learn these arpeggios and just use them as-is in a jam, you’d sound terrible. As they say, (in a live setting) you play what you practice. If you only practice a soulless set of arpeggio pattern, you end up playing a soulless arpeggio pattern
Sure man, I'm all about. However, TH-cam is quite tricky. I'm just getting my feet wet. I've done quite a few lessons liek what you describe, practice concepts etc...they tend to fall on deaf ears. I am currently working on lots of concepts and really useful practice strategies are part of the game. I appreciate your feedback and hopefully there are other folks out there like yourself that will enjoy some practice specific content.
@@DanielSeriffMusic awesome.. well hopefully things align for you :) looking forward to the meaty stuff to come !
@@zaqintosh Thanks so much!!
Hochinteressant.
Thanks for commenting!
Where lesson? Did you need to mention Kurt for such basic arpeggio shapes? Disappointing clickbait
You are one of very few who have left a negative comment. This concept has been very helpful for my development. AND, I literally learned it from the masterclass that I posted on my channel from him. Not everyone is on YOUR level. Here’s your lesson for today. If you click on a video and already know a concept, then move along. Not every lesson is made for everyone. Have a good day!
Guarantee nobody's playing skyrocketed from learning what notes make up a 7th chord, but I guess I understand the need for clickbait?
Hey, guy. Gotta disagree entirely. Not everyone is on the same level as you. AND, there are a ton of different arpeggios all over the net. This was a helpful game changer for me. Plus, it must have resonated with people because this video has blown up online.
What’s the big deal? I’ve been doing that shit for 35 years! It should be obvious to anybody. That’s play the guitar more than five years.
Hey guy, thanks for your comment. This video isn't made for you. Unfortunately, not everyone understands the guitar like you do. This is called a "guitar lesson." It's made for folks who don't already understand the concept. If you do, then you can move on along to another video once you realize you already understand the info. Sorry that you felt the need talk negatively about the concept, and the fact that it's not just inherent knowledge to "anyone that's played the guitar for more than 5 years." Hope you have a great day!
I went to check your channel. It seems to me that it isn't obvious to you either. Why would you come to someone's video and post a comment like that? You have 5 subscribers. Yet Dan is an educator who is well respected in the guitar world. You should be more respectful. And if you've been doing something for 35 years, at least try hard so that your videos show that...
Regards.
This makes music boring
You so silly. Move along. Have a good day, bud.
Nothing new
If you already know the content, then the lesson clearly isn't for you. Have a good day.
I am a jazz guitar player as well, and I also have the same exact last name, kind of weird, it's a very rare name, and we both share a passion for the same thing,jazz guitar is a very niche thing to be into, to say the least. Do you think we could be related?
Haha! That is wild!