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Dom 7 Swing Lines, Week Two

This lesson is part of the course Weekly Guitar Workout with Scott Nygaard.
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This series of exercises will help guitarists learn the fingerboard and expand their knowledge of chord and scale theory, with handy tips on picking and fretting techniques that will improve their sound. Includes 100 workouts.
 
 
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FOUR-NOTE ARPEGGIOS 
 
This series of workouts consists of four-note arpeggios based on the harmonized major scale. You'll move through a series of arpeggios starting on each note of the major scale, in this case all in the key of G. So, for example, the first arpeggio starts on G, moves up a third to B, up another third to D, and up another third to F#, creating a Gmaj7 arpeggio in the process. The second arpeggio starts on A, moves up a third to C, up another third to E, and up another third to G, for an Am7 arpeggio. Notice that all the notes are in the key of G, so you'll get the four-note arpeggios that correspond to the harmonized major scale: Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, and F#m7b5. Once you get to the top string, you'll move downward in thirds once again, but this time the arpeggios start on the seventh of the chord formed by the arpeggio. So, for example, the arpeggio starting on G moves down a third to E, down another third to C, and down another third to A, giving you an Am7 arpeggio that begins on the seventh (G) and moves downward to the root (A).
 
 
 
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DOMINANT SEVEN SWING/JAZZ LINES   
 
DOMINANT SEVEN SWING/JAZZ LINES   
 
Dom 7 Swing Lines, Week Two
Dom 7 Swing Lines, Week Two
 
This week’s workouts are on F7 lines played at the second position of the Bb scale, with your index finger at the C at the eighth fret of the first string, and your middle finger at the tenth fret of the fourth string. This is a popular position for playing V7 lines in Bb, as it’s easy to outline the ii7 chord moving to the V7: the Cm7–F7 change in the key of Bb. Example starts on the third of the F7 chord with an F13 arpeggio and has a few chromatic passing tones. Example 2 starts on the seventh of F7 and is centered around Cm (the iim chord, remember). Example 3 starts on the root and outlines a simple F7 arpeggio before going into a Cm7 arpeggio. Example 4 is a Charlie Christian-esque F7 line with a few notes that pop out above the stream of eighth notes. Charlie would accent these top notes for a cool syncopated feel.  

  Dominant Seven Swing, Week Two (Available to subscribers)
 
 
 
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    ● Courses
    ● Live Workshops
    ● Instructors
    ● Sample Lessons
    ● Notation Guide
    ● For Beginners
 
 
    ● Vintage Vault
    ● New Gear
    ● Fine Lutherie
 
 
    ● Workshops
    ● Advice
    ● Repertoire
 
 
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    ● Breaking News
 
 
    ● In The Studio
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