Major 7th Phrasing
Part 2
Check out part 1 if you have any questions about the theory and basic approach to these exercises.
Check our our video showing all of the exercises from part one and part two here:
When practicing these on your own, the easy way to think about applying them is “up a minor third”. Whatever the minor chord is just think “up a minor third”, and play the licks you’re working out.
Examples:
A minor = C
D minor = F
G minor = Bb
F# minor = A
Example 6 uses both forms of the arpeggios from previous examples, smashed into one another. The result is a flowing, less predictable sounding pattern.
Example 7 only uses half the arpeggio, it does not return back to it’s starting point after ascending to it’s highest note. These types of examples can be turned into endless variations.
We’ll call exercise 8, “the crazy one”. This one has the ascending pattern like ex 7, but adds a long line of sextuplets on a the B string before descending back to the first note. Check out the video if you have a hard time getting this one down, it’s awesome!
Exercise 9 is a little outside, hardly even sounding like a basic arpeggio shape. The rhythm helps with that, but most of it comes from the half step bend from Bb to B on the last beat.
Exercise 10 has a little bit of everything we’ve shown so far. Chromatic notes, hammer ons and pull offs, ascending and descending back. Another cool lick that can be used in many applications.
We hope you’ve gotten some great ideas playing with our examples. “up a third” will always be your guide. Remember to practice in every key, and try your own free improvisations with these. They are pretty easy to get up to a quick clip!
