Watch the C7 F9 F#dim7 C7 A7 Dm7 G9 online guitar lesson by Robbie Calvo from Sweet Notes
In this lessons we are going to apply arpeggios in position at the 8th fret over the whole jazz blues progression. This is going to push you to really get familiar with the arpeggio shapes. The first four bars of the progression the chords change every bar. In the second half of our progression the chords change every two beats or half a bar. You'll need to stay focused but it will be worth it!
I have written out an example solo for you to learn but we'll deal with that at the end of our lesson plans.
O.K. You know the story, play the first chord C/C7 as a bar chord at the 8th fret and name the notes in the voicing C - G - Bb - E - G - C. Now let's play through a C7 (we'll add the 9th) arpeggio and name the notes C - E - G - Bb (D if we add the 9th). You should be familiar with this arpeggio shape as we have played it in previous lesson plans. Its lick time so let's learn these and then go ahead and create some of your own. Please note neither of these licks incorporates D, the 9th but you can use it as a color tone.
Lick 1 - This lick starts with a C major triad triplet figure then a semi-tone bend from A up to the b7 (Bb). The lick resolves in bar 1 to G (5th). Bar 2 is also a C major triad triplet figure an octave lower and resolves to Bb (b7). Lick 2 - A really smooth triplet lick. Watch the second triplet figure as it will require you to use your little finger to make the stretch from C up to E on the top string. The lick resolves nicely with a whole-tone bend up to C.
The second chord in our progression is an F9 chord. Play the chord at the 8th fret and name the notes in the voicing F - A - Eb - G - C. The arpeggio shape we'll play here we have also played before as a C9 arpeggio at the 3rd fret. Let's move that shape up to the 8th fret and play it through naming the notes as we do so. Great, we are ready to learn some new licks from our F9 arpeggio shape.
Lick 1 - This lick only uses notes from the F7 arpeggio so I guess is technically an F7 arpeggio lick. Hey! I thought I'd say it before someone writes in to TrueFire! Watch that you can articulate the descending octave leap. The best way of approaching this is to use your 3rd finger for the high F and your 2nd finger for the lower octave F. Use your 1st finger to resolve to the A (3rd). Lick 2 - When you've played this lick through as written go ahead and play it again but this time resolve to the G (9th) on the 2nd string 8th fret. Two licks for the price of one. Nice! Lick 3 - A real R&B flavored double-stop lick. The first double-stop in bar 1 is a major 6th interval that gives us the C (5th) and A, (3rd) of the F9 chord. In bar 2 we start with another major 6th double-stop F and D which we slide down to resolve to a minor 6th double-stop. The two notes in this double-stop resolve nicely over our F9 chord because the lowest note is Eb (the b7) and the highest note is C, the 5th of our chord.
In this lesson plan we are going to learn a brand new arpeggio shape to correspond with the chord that occupies bar 4 of our Jazz/Blues progression, the #IV, F#dim7. For those of you who are not familiar with some of the abbreviations and symbols we use 'dim' is an abbreviation of diminished and is represented in symbol form as a small zero. Please look at the chord chart to see what I am talking about. Let's play the chord shape with its root note on the 9th fret and name the notes in the voicing we are going to use. F# - C - Eb - A. F# is the root, A is the minor 3rd, C is the diminished or b5 and Eb is the diminished or bb7. Is your head spinning? To validate learning this arpeggio I want you to know that it is knowledge and uses of arpeggios like this that separates the men from the boys so to speak. You can play the C minor pentatonic scale all day long over this progression but if you outline your changes with exotic arpeggios you'll start to turn heads in a good way!
Now, let's learn the F#dim7 arpeggio shape so that we can outline our chord with the "Sweet Notes". Play the arpeggio shape naming the notes as you do so.
Lick 1 - Play this lick as written and then play it again resolving the phrase to the F#, 2nd string 7th fret. Lick 2 - A descending lick resolving to the root, F#. Lick 3 - This lick resolves to the diminished 5th (C). Play this lick again and resolve back to the A note instead of the C for an additional lick.
In bar 5 of our progression we return to the I (One) chord, C7 for two beats then we change to the VI7 chord A7 for two beats. Play an A7 chord at the 7th fret and name the notes in the voicing. (I have provided a diagram of the A7 chord at the 7th fret). The notes in this voicing from Low to High are A - E - G - C#. We have already learned the shape we are going to use for our A7 chord in a previous lesson plan. Remember the E7 shape we used at the 2nd fret for our country progression? Move that shape up to the 9th fret which will give us a C# note in the bass. Let's play the arpeggio shape and name the notes. You can add all the chromatics we've used before as the information from key to key is all relative.
Lick 1 - A really smooth triplet lick with a chromatic phrase on beat 2. This lick resolves to A, the root. Play it through again and resolve to the G (b7) two frets lower. Lick 2 - This lick starts with a really sweet mi3rd bend from E up to G (b7). The lick resolves to E but play it again and resolve to the A on the 4th string 7th fret. Lick 3 - An R&B style double-stop lick in both bars of this lick. In bar 1 we utilize a major 6th double-stop, E to C#. These notes are the 5th and major 3rd of A7. In bar 2 we use a minor 6th double-stop, C# with A on top. This is the major 3rd and root notes of the A7 chord. Sweet!
We are now on bar 6 of our 8 bar Jazz/Blues progression. Bar 6 comprises of Dm 7 for two beats and G9 for two beats. We are going to focus on the Dm 7. So far in our lesson plans we have learned two minor pentatonic shapes to play over a mi7 type chord and two arpeggio shapes for a mi7 chord. Well guess what? We are going to learn a 3rd mi7 arpeggio shape with its root at the 10th fret. This pattern and shape will join up with both of our other shapes. (I have indicated this on a fretboard diagram). Let's play the Dm 7 voicing at the 10th fret and name the notes D - C - F - A. D is the root, F is the mi3rd, A is the 5th and C is the b7th.
O.K. Starting with your little finger at the 10th fret let's play through our new arpeggio shape for Dm 7 and name the notes.
Lick 1 - A cool bluesy triplet lick resolving to the root, D. Play the lick again and resolve it to the A note on the 4th string 7th fret. Another 2 for 1 deal! Lick 2 - A 16th note descending legato lick with an octave leap from D to D as the resolution. Lick 3 - You probably noticed that I borrowed the note G from a D minor pentatonic scale as a passing tone. This is cool, we just don't want to resolve there unless the Dm 7 is a Dm 11(G is the 11th). All that to say the lick resolves to C the b7 of Dm 7.
In this lesson we are going to talk about the chord that occupies beats 3 and 4 of bar 6 in our Jazz/Blues chord progression, the G9 chord. We have played this chord shape and its corresponding arpeggio shape several times during the course so I won't labor on it but I think we should review the tones the shapes produce as a G9. Play the chord and name the notes in the voicing we are using G - B - F - A - D. G is the root, B is the maj3rd, F is the b7th, A is our 9th and D is the 5th. Play the arpeggio shape that we have learned before only this time we start the notes from the G at the 10th fret.
Let's learn a lick in this position and then I want to discuss the last two bars of our progression.
Lick 1 - A cool triplet figure starting on G and ending with a bend up to the G octave. The bend is 'let down' to F the b7 and then descends back to the G at the end of bar 1. The second beat of bar 2 sports a chromatic triplet figure as we ascend up the arpeggio to a glissando from A up to B and back down again to resolve to A, the 9th. Nice!
O.K, let's wrap up the progression by looking at the remaining 2 bars. In bar 7 you can see that we have C7 and F9 for two beats each. We have covered these arpeggios for these chords so approach this bar as you would from earlier in the progression remembering you only have two beats to outline the chords. Remember it's not how many notes you can play it's about targeting the right ones and making melodies with your music.
In the 8th bar we have two beats of C7 and two2 beats of G9. No new information here either other than you really need to resolve nicely to a chord tone on the G9 to solidify the sound of the V chord and the ultimate resolution back to the I chord, C7.
Before I wrap up this lesson and the course with a sample solo I wanted to show you a lick over the Dm 7 and G9 chords. I have done this to give you a practice platform for a II/V progression. You will encounter the II/V a lot in jazz music as descending II/V changes through several keys at a time. Bar 6 of our Jazz/Blues is a II/ V. Dm 7 is II of C and G9 is V of C. Anyway here is a little jam track for you to practice over and a simple lick to get you started.
II/V Lick - The lick starts with a glissando into A, the 5th of Dm 7 and resolves at the end of the bar to the root, D. In bar 2 beat 3 sports a nice chromatic run on the top E string and resolves to D, the 5th of G9.
As I mentioned earlier I have prepared a sample solo section that I am going to play through for you. Read through it and learn to play the solo yourself. It may be a good idea to analyze each bar and lick and see where I derived my Ideas from. I haven't tried to be flash or extravagant with my playing, I've tried to create a simple melodic Idea that outlines our chord progression. I can't advocate enough the importance of the "Sweet Notes" concept and I hope that you have heard for yourselves the strength and validity of this approach. Regardless of your playing level and preferred genre of music this course will enhance your abilities tenfold if you adhere to its principles and will ultimately open up a new horizon of possibilities for you.