Next, we'll start on the major third of each chord. It's like making a meal with just four ingredients. I try to vary the rhythm and phrasing as much as possible to keep things alive. It will be robotic and soulless, but it forces you to play something you otherwise might not have come up with that you might even Dicknext, I start on the flattened third going down this time, but via the major third with just four notes available. We are never going to play like this in real life. On F the flat third is a flat and on B flat that will be D flat. Now he starts on the flatten third and ascendguys, do you see what's happening on every chord? Now we start on the flattened third of the blues arpeggio and then improvise something to follow, so on C that is E flat. You'll see some of the lines are anticipated, which adds to the proceedings. In the next example, I start on a route going down. Also in the exercises that follow, I vary where I start and stop the phrases, so I used to keep the exercises fun and alive. After I buy the upper Joe, I improvised something but stick solely with the blues arpeggio notes. In his first example, I start playing the blues arpeggio from the root note on each successive chord. I think a terrifically comprehensive exercise is to play the blues arpeggio on the cycle starting on different degrees, but sticking to just the four notes of each successive of blues arpeggio. Okay, so now I'm going to noodle around on these notes and see what I can come up with. So on the sea we will play these noteson the F chord, these notes of that blues arpeggio and on the G chord play the G blues arpeggio. Let's now hear this blues arpeggio played on a blues, changing the arpeggio respectively with each chord. Another way to harmonize this blues arpeggio would be the one chord to the four seven chord, C to F seven let's see what that sounds like. A strident sound that from major to minor but not very bluesy. Firstly, just C tried to C minor, try it. See blues arpeggiated supported with some courts. Here is the blues arpeggio around the cycle of fifths or fourths if you prefer played rubato as a warmup and here is a wider version that is also agreeable as a warmup.Let's now hear this. The major and minor contrasted I would argue is perhaps one of the most fundamental elements or ingredients of the blues as well as the microtones between them. The juxtaposition of these two sound worlds if you like. The major third so it is not symmetrical here it is on the sacks in two octaves a bit faster. In that way perhaps it is easier to remember personally I like to practice it like this with a minor third descending proceeding. Here it is in C you can see it contains both the major and minor thirds so it can be thought of as the two arpeggios sum together major and minor as well. I humbly suggest another arpeggio could be practiced alongside the major minor from the very beginning which I called the blues arpeggio. I would argue that the two sound flavors of major and minor, even though essential to know are however just too limiting for people who are looking for the unusual and exotic sounds of jazz and blues. What about the newcomer to music? Who was interested in the exotic sounds of jazz and blues? Where will he or she just starting out find these alluring, evocative sounds heard in the classics? The inquisitive student will be frustrated if they look for these colorful jazzy musical sounds in the major or regular minor as they are not there. All you need to know sufficient to pass the exam, but wait a minute. The major arpeggio is happy sound and the minor, a sad one and that is it. Traditionally the music student is taught major or minor arpeggios as totally isolated concepts. Jazz duets believes also there is a missing link between the major and minor arpeggios in music and the video you are watching seeks to offer at least some kind of remedy for this. Most people have heard of the idea that there is a missing link between man and apes. The BLUES ARPEGGIO offers a solution to this massive hole in music education. There is no arpeggio that is taught academically that contains both Major + Minor, that is until now. For the student of improvisation the minor /major 3rd sound dichotomy is essential to know and love as it is arguably the most fundamental sound of Jazz and Blues.
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