Here’s a great BeBop concept: 3-9 Arpeggios. Don’t worry though we don’t have more arpeggios to learn, all we have to do is find new uses for the 7th arpeggios we already know! My example is a ii – V – I in the key of C: Dm7 – G7 – Cmaj7.
Here’s the breakdown:
For any ii chord start on the 3rd and play a major 7 arpeggio
Ex: Dm7 – play Fmaj7 arpeggio
For any V chord start on the 3rd and play a m7b5 arpeggio
Ex: G7 – play Bm7b5 arpeggio
For any I chord start on the 3rd and play a m7 arpeggio
Ex: Cmaj7 – play Em7 arpeggio
Pretty cool, huh? Here’s the theoretical breakdown now.
Dm7 is build with the notes D – F – A – C (1 – 3 – 5 – 7). If we continue our extensions the 9 would be an E.
Fmaj7 is built of F – A – C – E. So when we play a Fmaj7 arpeggio, we’re just playing the 3rd through 9th of a Dm chord! Same theory applies to the V and I.
-Related Lessons-
0:28 – Transposing (Chords as Numbers)?! | UGT 5/8
0:38 – Extended (7 9 11 13) Chords?! | UGT 3/8
1:00 – Major 7 Arpeggios
1:33 – m7b5 Arpeggios (Minor 7 Flat 5)
1:59 – Minor 7 Arpeggios
PDF’s
Arpeggios, Theory & Extended Chords
