00:00a while back I created a lesson on the
00:02major 7th arpeggio and just how
00:04versatile it is in summary if we
00:07position a major 7th pattern on the
00:09major tonic of the key for example on C
00:12in the key of C major that same major
00:157th pattern will naturally color all of
00:18the dionic chords in that key this means
00:21it'll also cover the relative minor key
00:24a minor in this case we can also play a
00:27major 7th arpeggio starting on the minor
00:29third third of any minor chord to give
00:43color so similar to how a scale pattern
00:46can cover related chords in a key so too
00:48can certain arpeggio patterns as a
00:50fragment of the Fuller scale and a way
00:53of creating new phrasing Pathways in
00:56this lesson we're going to look at
00:57similar arpeggio based patterns that
00:59like major 7th can be played in related
01:02positions to the backing chord or even
01:04over entire keys in other words these
01:07lead patterns are compatible with
01:09multiple potential chords without us
01:11having to change the form of the pattern
01:14itself so we'll have that perfect
01:16combination of convenience memorability
01:19and musicality that can be freely
01:21adapted to our licks and phrasing
01:24sequences as a starting point each of
01:27these patterns can be considered a major
01:29or minor arpeggio with one added tone so
01:32they have the form of regular arpeggios
01:35but with the addition of a small
01:36fragment from the related scale kind of
01:39like a ready- made vertical and
01:41horizontal phrase first we're going to
01:44take just two of these patternn for
01:46these examples will be in the relative
01:48keys of C major and a minor starting on
01:52the major tonic of C we could build a
01:54major arpeggio as follows now we're
01:57going to add in the fourth from the
01:59scale one half step up from the major
02:01third the fourth gives the major argio
02:04an additional leading momentum like a
02:07passing melodic Bridge within the
02:09arpegio sequence whether ascending or
02:11descending here we're visualizing a
02:14repeating pattern over three octaves
02:16start by getting to know it over that
02:26chord keep in mind with all these
02:28patterns we don't have to play through
02:30the entire six string sequence we can
02:33also see it as divided up into octaves
02:35and string pairings starting and ending
02:38on any of the arpeggio tones not just
02:40the root now if we change the reference
02:43chord to D minor or the two cord of the
02:46c major key the same C added forth
02:49pattern takes on a D Minor 11 quality
02:52this is because the intervals have
02:54changed their relationship to the
02:56reference chord underneath you can hear
02:58how this same em embellished C major
03:00uper Jo now sounds like an extension of
03:03D Minor here I end the sequence on the D
03:06root as one way of resolving the
03:14phrase the pattern gives us a similar
03:16effect on other chord degrees of the
03:18dionic scale for example the four chord
03:21F major in this case over which the
03:23original pattern gives us a major ninth
03:32with the five chord we can see that
03:34we're touching on the fourth in relation
03:36to the degrees roote which would work
03:38especially well over a suspended fourth
03:47variant the five chord is often
03:49suspended for added tension something
03:52worth exploring and becoming familiar
03:54with we can also hear how the same
03:57pattern would color the relative minor
04:04I so one pattern seven potential
04:08applications without us having to move
04:10it from that tonic C position
04:12conveniently reusable colorful and
04:15melodic of course the idea is not to use
04:18it repeatedly over every single chord
04:20change in a dionic key but it's there as
04:23a reliable sequence or as part of a
04:25larger phrase that we can flow into and
04:28out of over any cord in the relative
04:30major or minor Keys what makes this
04:33pattern especially versatile is that it
04:35will also work over some non-diatonic
04:37chords on the same tonic position for
04:41example a flat 7th degree chord also
04:43known as the subtonic which would be B
04:46flat major in the key of C major our
04:49pattern will work over both major 7th
04:51and dominant 7th on this degree giving
04:54us an augmented 11th lydian flavor
05:04how about a minor four chord over that
05:07chord the tonic major added fourth
05:09pattern gives us a fitting minor major
05:19quality or a minor five chord giving us
05:23a minor 13th quality
05:32so we can think of this kind of
05:33embellished arpeggio as reusable in many
05:37different chord contexts now we're going
05:39to move that same major added fourth
05:41pattern to the fifth degree of the major
05:43key or G in this case not only will this
05:47work well over the five chord
05:55itself but just like when we played it
05:58on the tonic position it'll also cover
06:00the other six chords of the relative
06:02major and minor Keys as a fragment of
06:15scale let's look at another pattern
06:17built on the major tonic this time we're
06:20adding the second from the scale one
06:22whole step up from the one over the
06:25tonic it gives us a major added ninth
06:32again adding this tone to the tonic
06:33arpeggio creates a kind of arpeggio
06:36scale hybrid sequence that gives us a
06:38phrasing pathway through all the dionic
06:41chords of the relative
06:53Keys again it's just a fragment of the
06:56scale that moves Us in certain
06:58directions as a way of shaping
07:00meaningful phrases you'll notice from
07:02the examples that we don't have to play
07:04the pattern in a straight sequence we
07:06can skip tones and create larger
07:09ascending and descending jumps through
07:11the pattern just like we can with
07:13regular arpeggios or scales let's now
07:16build the same major added 2 pattern on
07:18the fifth degree position once again as
07:21a fragment of the Fuller scale it's
07:23compatible with all the chords inside
07:25the relative dionic Keys touching on
07:30together these two patterns whether
07:32rooted on the tonic or fifth degree
07:34represent different pathways through the
07:36dionic major or minor scales as a way of
07:39connecting vertical and horizontal
07:42movements over common chord
07:44changes as well as entire Keys we can
07:47connect these embellished arpeggio
07:49patterns to single chords matching the
07:51root position and quality of the pattern
07:54with the chord being played here we're
07:56going to introduce six additional
07:58patterns again each one representing a
08:01major or minor arpeggio with one added
08:03tone let's say we were moving between C
08:06major and a flat major over each of
08:10these chords we'd in theory have the
08:12choice of playing any of the major based
08:14patterns for example over C we might
08:17play the c major added 2 pattern moving
08:19to a flat major with an added sharp 4 we
08:23might then resolve back to C using an
08:43many find it useful to visualize
08:45arpeggio and scale patterns around cord
08:48shaped positions for example using the
08:51Caged method the cord tones become the
08:53skeleton that we flesh out with
08:56additional tones playing between two
08:58chords like this is a good initial way
09:00to practice moving positions with your
09:02patterns we're just trying to keep our
09:05phrases simple and accessible at this
09:07stage another example here we're moving
09:10between a minor and D major which could
09:12be thought of as a 25 Movement we might
09:16for example start with an A Minor added
09:182 pattern moving to D major added 4
09:22before resolving back to a minor added
09:46try out different chord pairings
09:48connecting them to related patterns
09:50we're by no means limited to these
09:52patterns we can effectively add any tone
09:55to the basic major or minor arpeggio to
09:57create new phrasing pathways through
09:59core changes and related scales of
10:02course the flat 7 and seven will make up
10:05the seventh arpeggios we might already
10:07be familiar with more on Seventh
10:10arpeggios further along these patterns
10:13also work in related positions to the
10:15chords we're accompanying for example
10:18over a minor chord we could use a major
10:20based pattern in what would be the
10:22theoretical relative major position
10:25that's the equivalent of playing from
10:27the minor third of the reference chord
10:30for example F major over D Minor when
10:33positioned in this way the major added
10:35two pattern gives us a minor 11th
10:42quality the major ad sharp four in the
10:46relative major position gives us a minor
10:55quality or we could use major patterns
10:58on the fifth of a minor chord both the
11:01major added 2 and major added four
11:03patterns give us a dark minor major 7th
11:06quality which pairs up especially well
11:08with the melodic minor
11:19scale on the flat sth of the minor chord
11:22which can be seen as a whole step down
11:24from the chords route we can again
11:27position both the major added two and
11:29major added four patterns to outline a
11:41phrase another example here we're
11:44playing a minor added six pattern on the
11:46fifth of a major or dominant seventh
11:49chord or a major added sharp four
11:51pattern on the flat seven of the same
11:54chord both giving us their own dominant
12:09I'll be covering more of this type of
12:11related positioning on my patreon but
12:14the general concept here is that we can
12:16essentially repurpose and reposition
12:19familiar patterns outside of the chords
12:21root position to again create new
12:23phrasing pathways through different
12:25chord qualities up until now we've been
12:28creating patterns containing just four
12:30tones a major or minor Triad plus an
12:33added color tone we also have the option
12:36of starting with a four tone 7eventh
12:38arpeggio and adding a fifth tone
12:41creating a kind of alternate pentatonic
12:43scale that connects to specific chord
12:45types and larger scales the concept is
12:48the same as before to create a phrasing
12:51hybrid between horizontal I.E stepwise
12:54and vertical movement for example here
12:58we're adding this second to the major
13:007th arpeggio on the a major key
13:10tonic adding the fourth to the dominant
13:13seventh arpeggio here built on
13:19E adding the second to the minor 7th
13:22arpedio here built on fshp
13:33another way we could approach this is to
13:35add two color tones to the Triad
13:38arpeggios for example here we're adding
13:40the second and sixth to the minor
13:50B this kind of added tone arpeggio
13:53pattern can be seen as a fragment from a
13:55related scale some common examples of
13:58which are shown here
14:00these fragments are another way of
14:01giving our scale phrases more shape
14:04because of the larger nonlinear interval
14:06jumps involved start by adding these
14:09hybrid patterns to your regular major or
14:11minor pentatonic phrases as a way of
14:14introducing additional color tones over
14:16chord changes we'll be sure to look more
14:19at scale integration and chord
14:21Connection in future lessons for more
14:24help with this concept including
14:26exclusive supplemental content voting on
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14:31personalized help please consider
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