Fun with Two Bright-Sounding, Uniquely Flavored Scales Built from the Same Six Notes By Jimmy Brown published 19 April 18
The Oddly Fascinating Pairing of Two Completely Unrelated Triads By Jimmy Brown published 29 March 18
The “b7 Minor-Drop” Progression, As Used by Led Zeppelin, the Beatles, Black Sabbath and More By Jimmy Brown published 9 March 18
How to Play the Theme from 'The Walking Dead' By Jimmy Brown published 5 March 18 In our previous lesson (March 2017), I offered an original jazz solo, a significant part of which features the use of what’s called a minor add2 (or minor add9) arpeggio.
Bluesy SRV, Betts and Page-Style Soloing Over a Mid-Sixties Jazz Classic By Jimmy Brown published 22 February 18
Another Useful, Lower Repurposing of the Sus4b9 Arpeggio, Plus an Exotic Wide-Interval Variation By Jimmy Brown published 9 November 17
Maj7, Maj7b5 and Their Relative Minors By Jimmy Brown published 5 October 17 The Asus4b2 arpeggio we looked at last month (November 2017 issue) may be repurposed in a variety of cool, interesting ways, which I think is a worthwhile topic to explore.
Eerie Arpeggios, Part 4: The Spooky Sus4b2 Sound By Jimmy Brown published 8 September 17 As a chord reference,FIGURE 1illustrates some finger-friendly Asus4b2 grips on the top four stings, with the open A string included and the first shape additionally shown 12 frets higher.
Eerie Arpeggios, Part 3: Describing the Haunting 7#9 Sound Melodically By Jimmy Brown published 9 August 17
Using Double-Stops and Add-2 Arpeggios to Create “French Horn Fifths” By Jimmy Brown published 5 June 17 The term “French horn fifths” is a partial misnomer, as intervals other than fifths are also used, namely thirds, fourths and sixths.
MADD Men: The Minor Add-2 Arpeggio By Jimmy Brown published 16 March 17 Last month, I offered a guitar adaptation of the theme from The Walking Dead, which is based on a repeating melody built from a minor add-9, or minor add-2, arpeggio.
How to Solo Over “Busy” Chord Changes By Jimmy Brown published 10 February 17 Before we move on from the minor jazz-blues progression, which we focused on in the last three columns (see them under RELATED ARTICLES), I’d like to offer one more lesson on the topic.