Hello everyone, I'm happy to meet you here for this reflection on the use of arpeggios and triads in improvisation.
How to use arpeggios and triads positions to improvise ?
That's the big question ... I think we all find ourselves learning our positions and trying to improvise ... and that's the drama ... It seems like nothing works, we do the same things all the time, we go round and round, we re-engage the distorsion and we play the same things because we have fun!
This is quite legitimate because the guitar is made to be for pleasure.
In this video I will try to give you some tracks to practice triads and arpeggios but especially to make music with.
This is, of course, only a tiny sample of what can be done. In addition, I invite you to create your own exercises.
The most important thing is to give you some tips for adding phrases to your music.
Hello friends, today I will try to give us some practice tracks on major chords 7.
I remind you briefly that a Major 7 agreement is composed of:
- Major third
- Just right
- Major seventh
As I show very partially in the video there are thousands of ways to treat a chord, whatever it is, on the guitar. There are hundreds of possible reversals more or less functional in game context. Unfortunately for me, the ones I prefer are the most complicated to do, especially because of the extensions ...
We must also take into account the contexts ... We do not use the same reversals according to the style of music that we play. If you play bebop or fusion or variety you will not use the same reversals.
Personally my goal is to arrive to be as effective as possible in any context and at the same time to find my own way. For example when I work "my own style" I try to make sure not to really use the common reversals but to rethink my agreement.
For example in the video we are on EΔ or E major7: the notes that make up the chord are Mi-Sol # -Si-D #, so we have 2 triads present in the basic chord: a triad of E major (Mid-Sol # -SI) and a triad of minor G # (Sol # -Si-D #).
We could use a triad of major B to also resort to the 9th or a triad of C # minor to bring the sixth ... And the possibilities are many
Hello everyone I'm happy to meet you here for this "thorny" subject that blocks many people on the guitar.
It is true that it is not so easy to learn the name of the notes on the guitar as on the piano.
Despite this small difficulty is by no means insurmountable, far from it.
In the video and the article below I will explain why I think it is essential to learn the name of the notes on the guitar, especially if you make improvised music.
I'm happy to see you in this article about improvisation.
It is not a pure improvisation course but rather some tracks to exploit to stimulate the creativity and the understanding of the musical modes.
Thanks to these few tracks of work I hope that you will begin to diferentiate musical thought and the straitjacket of ranges and arpeggios.
I'm not saying that you do not have to work with his scales and arpeggios, far from it, but I think that when you start from a melody to develop your improvisation, you really start to improvise. We are guided by the musical idea and no longer by plans.
Moreover thanks to all this material you will begin to better understand the articulation of modes.
I think the question came up very often in the comments of Guitar Vlog.
And it is true that there are finally few people who really know how to play modal and even fewer people who know how to explain it, even in some well-known music schools.
I spent a lot of time understanding how to improvise with the modes simply because there is nothing to understand but to hear!
Notes are like words, it is the way of arranging them that makes sentences make sense or not.
I see myself a teacher in a school in my area that has a very famous name that told us to play melodic Ab minor on an altered G chord (because Ab minor melodic and G superlocrian are composed of the same notes) it is SHIT to think like that !!! And that's why the students do not understand anything and they can not speak.