Chords for Gypsy Jazz Quick Tips - Episode 3: violin improv on the I-chord & scales
Tempo:
99.4 bpm
Chords used:
G
C
E
F#
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D] [G] Welcome to Gypsy Jazz Quick Tips, the show in which I give you one tip and answer one question.
I'm your host Christian van Heemert and in today's episode I discuss three approaches
to improvising on the one chord in violin and answer a question about skills.
[C#]
[G] The three approaches to improvising on the one chord all involve outlining certain arpeggios.
The first approach is outlining the major 7 arpeggio.
This means that I take the four notes of the arpeggio as a basis and fill in the gaps with random notes.
These can be chromatic or diatonic.
The point is not to think about those notes but to let your ears guide you in nice or melodic choices.
So here's an example of me playing on a backing track in C.
[C]
[G] [C]
[G]
[C]
The [G] C major 7 arpeggio is of course the most logical choice to play over a C chord.
It just sounds good.
The next arpeggio is a little farther away from the chord.
It's a C minor 6 arpeggio and I'm going for a bluesy flavor.
To make this work I try to resolve the Eb of the minor 6 arpeggio to an E natural of
the C chord.
This is a trick that Grappelli used often.
[A]
[G] [Cm]
[Bm] [C]
[G] [C]
[Dm] [N] The third approach is a personal favorite of mine.
It's a very interesting color because it features both the flat 3rd and the flat 5th and that
is the C diminished arpeggio.
And again to make this work I try to resolve the notes from the C diminished arpeggio to
notes from the C major triad.
So the F sharp to the G and the Eb to an E natural.
Now there will be many other notes I play because I still try to choose random notes
to fill in the gaps but I keep the focus on that C diminished arpeggio.
[D] [Cm]
[A] [G] [C]
[G] [Cm]
[C] The way to practice this is to ask the guitar player in your band to record you a backing
track in C and of course in all 12 keys.
And then just play on those backing tracks for 15 minutes at a time trying all kinds
of phrases while trying to outline one of those arpeggios.
And then after a while you can make combinations of two or even all three arpeggios which I
will do in the next [G] example.
[C]
[G] [B] [C]
[G] [C]
[G] [C]
[G] [Cm] Can [Bm] you please tell me which [Fm] skills you are using while [D] improvising?
I hear many people that teach improvisation [G] talk a lot about skills which is of course
a sound approach because there are many great [C] improvisers [Bm] that use skills very [E] effectively.
I however have [C] chosen a very different [F#] approach which is more [E] about tonal colors.
I'm always [F#] searching for an [E] interesting [B] color to play against [E] one chord or even a chord [C#m] progression.
For example when I'm practicing a [C] lick which I picked up from a [Em] recording or a video [Bm] I'm
not practicing that lick [E] verbatim.
Instead I'm analyzing the notes for the hidden arpeggio and practice that arpeggio instead.
[Gm] And of course I'm adding the random notes like I [G] did in the earlier examples.
So my advice to you would be not to disregard the skills if you're already [F#] practicing the
skills but maybe to add this approach of tonal colors.
[Cm]
If you get proficient [B] at it you will feel a lot of freedom and feeling free while [F#] improvising
will [Gm] lead to more creativity [C#] and more creativity will lead to much more personal [B] and interesting
[Em] improvisations.
Thanks for tuning in to this episode [Bm] of Gypsy Jazz Quick Tips.
As always if you enjoyed this [F#] video and want to see more subscribe [C#] to my YouTube channel
[C] and if you have a question don't hesitate [Em] to connect with me on Facebook, YouTube, [E] Twitter
or [D#] you know you can come to my house.
See you next [D] time.
[F#] [D] [N]
I'm your host Christian van Heemert and in today's episode I discuss three approaches
to improvising on the one chord in violin and answer a question about skills.
[C#]
[G] The three approaches to improvising on the one chord all involve outlining certain arpeggios.
The first approach is outlining the major 7 arpeggio.
This means that I take the four notes of the arpeggio as a basis and fill in the gaps with random notes.
These can be chromatic or diatonic.
The point is not to think about those notes but to let your ears guide you in nice or melodic choices.
So here's an example of me playing on a backing track in C.
[C]
[G] [C]
[G]
[C]
The [G] C major 7 arpeggio is of course the most logical choice to play over a C chord.
It just sounds good.
The next arpeggio is a little farther away from the chord.
It's a C minor 6 arpeggio and I'm going for a bluesy flavor.
To make this work I try to resolve the Eb of the minor 6 arpeggio to an E natural of
the C chord.
This is a trick that Grappelli used often.
[A]
[G] [Cm]
[Bm] [C]
[G] [C]
[Dm] [N] The third approach is a personal favorite of mine.
It's a very interesting color because it features both the flat 3rd and the flat 5th and that
is the C diminished arpeggio.
And again to make this work I try to resolve the notes from the C diminished arpeggio to
notes from the C major triad.
So the F sharp to the G and the Eb to an E natural.
Now there will be many other notes I play because I still try to choose random notes
to fill in the gaps but I keep the focus on that C diminished arpeggio.
[D] [Cm]
[A] [G] [C]
[G] [Cm]
[C] The way to practice this is to ask the guitar player in your band to record you a backing
track in C and of course in all 12 keys.
And then just play on those backing tracks for 15 minutes at a time trying all kinds
of phrases while trying to outline one of those arpeggios.
And then after a while you can make combinations of two or even all three arpeggios which I
will do in the next [G] example.
[C]
[G] [B] [C]
[G] [C]
[G] [C]
[G] [Cm] Can [Bm] you please tell me which [Fm] skills you are using while [D] improvising?
I hear many people that teach improvisation [G] talk a lot about skills which is of course
a sound approach because there are many great [C] improvisers [Bm] that use skills very [E] effectively.
I however have [C] chosen a very different [F#] approach which is more [E] about tonal colors.
I'm always [F#] searching for an [E] interesting [B] color to play against [E] one chord or even a chord [C#m] progression.
For example when I'm practicing a [C] lick which I picked up from a [Em] recording or a video [Bm] I'm
not practicing that lick [E] verbatim.
Instead I'm analyzing the notes for the hidden arpeggio and practice that arpeggio instead.
[Gm] And of course I'm adding the random notes like I [G] did in the earlier examples.
So my advice to you would be not to disregard the skills if you're already [F#] practicing the
skills but maybe to add this approach of tonal colors.
[Cm]
If you get proficient [B] at it you will feel a lot of freedom and feeling free while [F#] improvising
will [Gm] lead to more creativity [C#] and more creativity will lead to much more personal [B] and interesting
[Em] improvisations.
Thanks for tuning in to this episode [Bm] of Gypsy Jazz Quick Tips.
As always if you enjoyed this [F#] video and want to see more subscribe [C#] to my YouTube channel
[C] and if you have a question don't hesitate [Em] to connect with me on Facebook, YouTube, [E] Twitter
or [D#] you know you can come to my house.
See you next [D] time.
[F#] [D] [N]
Key:
G
C
E
F#
D
G
C
E
_ _ [D] _ _ [G] _ Welcome to Gypsy Jazz Quick Tips, the show in which I give you one tip and answer one question.
I'm your host Christian van Heemert and in today's episode I discuss three approaches
to improvising on the one chord in violin and answer a question about skills.
[C#] _ _
_ [G] The three approaches to improvising on the one chord all involve outlining certain arpeggios.
The first approach is outlining the major 7 arpeggio.
This means that I take the four notes of the arpeggio as a basis and fill in the gaps with random notes.
These can be chromatic or diatonic.
The point is not to think about those notes but to let your ears guide you in nice or melodic choices.
So here's an example of me playing on a backing track in C.
[C] _ _ _ _ _
_ [G] _ _ _ _ [C] _ _ _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
[C] _ _ _ _ _ _ _ _
_ _ _ _ The [G] C major 7 arpeggio is of course the most logical choice to play over a C chord.
It just sounds good.
The next arpeggio is a little farther away from the chord.
It's a C minor 6 arpeggio and I'm going for a bluesy flavor.
To make this work I try to resolve the Eb of the minor 6 arpeggio to an E natural of
the C chord.
This is a trick that Grappelli used often.
_ [A] _ _ _ _ _ _ _
_ [G] _ _ _ [Cm] _ _ _ _
_ _ _ [Bm] _ _ [C] _ _ _
_ _ [G] _ _ _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ [Dm] _ [N] The third approach is a personal favorite of mine.
It's a very interesting color because it features both the flat 3rd and the flat 5th and that
is the C diminished arpeggio.
And again to make this work I try to resolve the notes from the C diminished arpeggio to
notes from the C major triad.
So the F sharp to the G and the Eb to an E natural.
Now there will be many other notes I play because I still try to choose random notes
to fill in the gaps but I keep the focus on that C diminished arpeggio.
_ [D] _ _ _ _ [Cm] _ _
[A] _ [G] _ [C] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [G] _ _ _ [Cm] _ _
_ _ _ _ _ _ _ _
_ [C] The way to practice this is to ask the guitar player in your band to record you a backing
track in C and of course in all 12 keys.
And then just play on those backing tracks for 15 minutes at a time trying all kinds
of phrases while trying to outline one of those arpeggios.
And then after a while you can make combinations of two or even all three arpeggios which I
will do in the next [G] example.
_ [C] _ _ _ _
_ [G] _ [B] _ [C] _ _ _ _ _
[G] _ _ _ [C] _ _ _ _ _
_ [G] _ _ _ _ [C] _ _ _
_ _ [G] _ _ _ [Cm] _ Can [Bm] you please tell me which [Fm] skills you are using while [D] improvising?
I hear many people that teach improvisation [G] talk a lot about skills which is of course
a sound approach because there are many great [C] improvisers [Bm] that use skills very [E] effectively.
I however have [C] chosen a very different [F#] approach which is more [E] about tonal colors.
I'm always [F#] searching for an [E] interesting [B] color to play against [E] one chord or even a chord [C#m] progression.
For example when I'm practicing a [C] lick which I picked up from a [Em] recording or a video [Bm] I'm
not practicing that lick [E] verbatim.
Instead I'm analyzing the notes for the hidden arpeggio and practice that arpeggio instead.
[Gm] And of course I'm adding the random notes like I [G] did in the earlier examples.
So my advice to you would be not to disregard the skills if you're already [F#] practicing the
skills but maybe to add this approach of tonal colors.
[Cm] _
If you get proficient [B] at it you will feel a lot of freedom and feeling free while [F#] improvising
will [Gm] lead to more creativity [C#] and more creativity will lead to much more personal [B] and interesting
[Em] improvisations.
Thanks for tuning in to this episode [Bm] of Gypsy Jazz Quick Tips.
As always if you enjoyed this [F#] video and want to see more subscribe [C#] to my YouTube channel
[C] and if you have a question don't hesitate [Em] to connect with me on Facebook, YouTube, [E] Twitter
or [D#] you know you can come to my house.
See you next [D] time.
_ _ [F#] _ _ _ _ [D] _ _ _ _ _ [N] _ _
I'm your host Christian van Heemert and in today's episode I discuss three approaches
to improvising on the one chord in violin and answer a question about skills.
[C#] _ _
_ [G] The three approaches to improvising on the one chord all involve outlining certain arpeggios.
The first approach is outlining the major 7 arpeggio.
This means that I take the four notes of the arpeggio as a basis and fill in the gaps with random notes.
These can be chromatic or diatonic.
The point is not to think about those notes but to let your ears guide you in nice or melodic choices.
So here's an example of me playing on a backing track in C.
[C] _ _ _ _ _
_ [G] _ _ _ _ [C] _ _ _
_ _ _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
[C] _ _ _ _ _ _ _ _
_ _ _ _ The [G] C major 7 arpeggio is of course the most logical choice to play over a C chord.
It just sounds good.
The next arpeggio is a little farther away from the chord.
It's a C minor 6 arpeggio and I'm going for a bluesy flavor.
To make this work I try to resolve the Eb of the minor 6 arpeggio to an E natural of
the C chord.
This is a trick that Grappelli used often.
_ [A] _ _ _ _ _ _ _
_ [G] _ _ _ [Cm] _ _ _ _
_ _ _ [Bm] _ _ [C] _ _ _
_ _ [G] _ _ _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ [Dm] _ [N] The third approach is a personal favorite of mine.
It's a very interesting color because it features both the flat 3rd and the flat 5th and that
is the C diminished arpeggio.
And again to make this work I try to resolve the notes from the C diminished arpeggio to
notes from the C major triad.
So the F sharp to the G and the Eb to an E natural.
Now there will be many other notes I play because I still try to choose random notes
to fill in the gaps but I keep the focus on that C diminished arpeggio.
_ [D] _ _ _ _ [Cm] _ _
[A] _ [G] _ [C] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [G] _ _ _ [Cm] _ _
_ _ _ _ _ _ _ _
_ [C] The way to practice this is to ask the guitar player in your band to record you a backing
track in C and of course in all 12 keys.
And then just play on those backing tracks for 15 minutes at a time trying all kinds
of phrases while trying to outline one of those arpeggios.
And then after a while you can make combinations of two or even all three arpeggios which I
will do in the next [G] example.
_ [C] _ _ _ _
_ [G] _ [B] _ [C] _ _ _ _ _
[G] _ _ _ [C] _ _ _ _ _
_ [G] _ _ _ _ [C] _ _ _
_ _ [G] _ _ _ [Cm] _ Can [Bm] you please tell me which [Fm] skills you are using while [D] improvising?
I hear many people that teach improvisation [G] talk a lot about skills which is of course
a sound approach because there are many great [C] improvisers [Bm] that use skills very [E] effectively.
I however have [C] chosen a very different [F#] approach which is more [E] about tonal colors.
I'm always [F#] searching for an [E] interesting [B] color to play against [E] one chord or even a chord [C#m] progression.
For example when I'm practicing a [C] lick which I picked up from a [Em] recording or a video [Bm] I'm
not practicing that lick [E] verbatim.
Instead I'm analyzing the notes for the hidden arpeggio and practice that arpeggio instead.
[Gm] And of course I'm adding the random notes like I [G] did in the earlier examples.
So my advice to you would be not to disregard the skills if you're already [F#] practicing the
skills but maybe to add this approach of tonal colors.
[Cm] _
If you get proficient [B] at it you will feel a lot of freedom and feeling free while [F#] improvising
will [Gm] lead to more creativity [C#] and more creativity will lead to much more personal [B] and interesting
[Em] improvisations.
Thanks for tuning in to this episode [Bm] of Gypsy Jazz Quick Tips.
As always if you enjoyed this [F#] video and want to see more subscribe [C#] to my YouTube channel
[C] and if you have a question don't hesitate [Em] to connect with me on Facebook, YouTube, [E] Twitter
or [D#] you know you can come to my house.
See you next [D] time.
_ _ [F#] _ _ _ _ [D] _ _ _ _ _ [N] _ _