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- #The barry harris harmonic method for guitar audio examples pdf#
- #The barry harris harmonic method for guitar audio examples full#
- #The barry harris harmonic method for guitar audio examples free#
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#The barry harris harmonic method for guitar audio examples pdf#
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You can get the PDF and GuitarPro files on Patreon here: This way of combining the chords and the scale is really great for having a library of things to use and also for connecting the scale with the chords you solo over. One of the exercises that really helped me get better at making bebop lines and using arpeggios was to practice the arpeggios in the scale, so what you can call diatonic arpeggios. The Best Exercise For Combining Scales and Arpeggios In this position, you also have this complete octave:
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In the beginning, I would use a basic single octave as I did here, and then you can always expand on that. I think that it is a good idea to practice arpeggios in positions, it gives you an overview, and if you also can get used to seeing it in the scale around it then that is very useful.īesides doing that it is very important that you also spend time composing lines using just a few notes and mixing that up with the scale. Similar to the previous example this is adding scale notes between the arpeggio notes but still creating a strong melody. The scale notes are extra notes in between HIGHLIGHT Arpeggio Notes You can see how the scale notes are inserted between the arpeggio notes because you still won’t really nail the sound of the chord. Now you can start to add the scale notes around the arpeggio and this is really where you can use the material and start making music with it. Now it is easier to make some melodies, and you can start to hear melodies, simple but strong things like this and add a little phrasing and dynamics:
#The barry harris harmonic method for guitar audio examples full#
So let’s go from a full position to this simple 1-octave shape: In Jazz, you will actually find that this is also how we play arpeggios most of the time. To get started using the arpeggios and also to become a little freer with them then it makes sense to not use the whole position, but instead use a single octave, making it just 4 notes. Right now this is about understanding where the arpeggio comes from and how it is a part of that scale, but later in the video, you will see how it is useful for a lot of other things.
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So try to see how we have a Cmaj7 arpeggioĪnd around that, we have the rest of the C major scale: Another important part of using an arpeggio is that you use that arpeggio but you also want to get to the arpeggio of the next chord, and that is also in the scale. One really important part of making melodies with an arpeggio is to also use scale notes around it. In the first example, it is clear that you can play a Cmaj7 and know the diagram, but also that it isn’t really something that is a part of your playing. It is a lot easier than you might think.Īnd then later I am going to show you one exercise for arpeggios that really helped me open up my jazz playing and made everything a lot easier. Let’s fix this! so that you can practice arpeggios in a way that makes sense and really get them into your playing.