there really is a lot of info in that one comment.
I will expand upon this further

there is really so much info here i am going to have to make audio examples of it and that will take some time, but it will be worth it.

thanks for your questions fine sir i will work on it and get it up asap.

 

Last edited: Jun 15, 2018

long one packed with great info!

here is entertainment "swing" documentary

 

Last edited: Jun 15, 2018

I've deleted all off topic comments.

Please all of you, calm down your egos.

If you see anything incorrect, just report, no need to quote and get into an off topic discussion.

 

HOW TO PLAY LINES
BREAKDOWN OF THE ABOVE VIDEOS
----------------------------------------------

We will begin in our KEY of C major. we will take the Dominant chord G7 GBDF ( with the mixolydian mode in mind also GABCDEFG

We create 7th chord for each of the tones of G7
(this is because out of our 7 chord sin the KEY,
these FOUR are the chords consonant with the dom7 )

GBDF
BDFA
DFAC
FACE

Next , our first part of our line is the arpreggio of G7

GBDF (bold is on the beat

we continue on by outlining the Dmin7 chord DFAC on the 5th of the G7
so far this is what we have now

GBDFAC

finally we play the G7 descending bebop scale (GF#FEDCBAG
except ,we play it descending from our B note or the 3rd (BAGF#FEDCBA

Now lets see what we have when we assemble the entire line

GBDFACBAGF#FEDCBA

we play all the way to the A ,so that we can loop the entire line .

-----------------------------------------------------------------

Next lets continue this process by making the same line ,but for ii V I

we did the G7 , so now we start with the Dmin7 and dorian mode DEFGABCD


we start with our arpeggio of Dmin7

DFAC
next we add to include the 7th chord on the 5th of Dmin7
Amin7 ACEG

DFACEG

next we descend the Dmin7 bebop scale (DC#CBAGFE
except, we play it descending from our 3rd F so

(FEDC#CBAGF

Now lets see what we have when we assemble the whole line.

DFACEGFEDC#CBAGFED
------------------------------------------------------------------

Next we continue to include the Imaj7 Cmaj7 CEGB and ionian mode CDEFGABC

CEGB

now the 7th chord on the 5th G

CEGBDF

we descend to the E,

Next we descend the Cmaj7 bebop scale (CBAG#GFEDC
except we descend starting from the 3rd or E.
(EDCBAG#GFE

now we assemble our whole line

CEGBDFEDCBAG#GFEDC
----------------------------------


We have covered our 3 unique bebop scales the maj bebop ( has #5th included) the min bebop (has #7th included) the dom bebop has the #7th included)

 

Last edited: Jun 16, 2018

Now that we have covered these shapes based around the root of the iimin7,V7, and Imaj7

lets do the same exact line structure, but starting from the 3rd of our chord.

our original line for the G7 was this.

we follow the same method and thought process but with the 3rd at the start,( next descend the G7 bebop from the 5th or D {remember the F# is added to the dom bebop scale}

BDFACEDCBAGF#FEDC

----------------------------------

Lets do the same thing for our iimin7 chord now (Dmin7 DEFGABCD plus added C# for {min bebop scale}

our original line was

now follow the same process, from the 3rd and then descending form the 5th of the dorian min bebop

FACEGBAGFEDC#CBAG

----------------------------

Finally the same for the Cmaj7

this what we began with before on the root

this time same thing, except from the 3rd of Cmaj7 and descending the maj bebop (with added G#) BUT from the 5th of Cmaj7 or G


EGBDFAGFEDCBAG#GF
----------------
Finally we have the Imaj7 Cmaj7 (Cmaj6 or Cmaj7 add 13

EXCEPT starting from the Amin7

ACEGBDEDCBAG#GFEDCB




We have now explored this line through all 7 modes. and how they each relate to our iimin7 V7 Imaj7

we have every option now as we traverse through chord progressions with arpeggio ascending, bebop descending lines.

 

Last edited: Jun 16, 2018

The three Bebop scales
-----------------------

We have a bebop scale for our iimin7 (in this case Dmin7 Dorian with added C#
We have a bebop scale for our V7 (in this case G7 mixolydian with added F#
We have a bebop scale for our Imaj7 (in this case Cmaj7 Ionian with added G#

We use the bebop scales descending

Lets take a look at them now

Dmin (dorian bebop DC#CBAGFEDC our strong tones outline Dmin7 DFAC
G7 (dom bebop GF#FEDCBAG our strong tones outline G7 GBDF
Cmaj7 (maj bebop CBAG#GFEDC our strong tones outline Cmaj6 or Amin7

Next each of our 7 chords belongs to 1 of the three bebop scales

CEGB belongs to C maj bebop
DFAC belongs to Dmin dorian bebop
EGBD belongs to Cmaj bebop
FACE belongs to D dorian bebop
GBDF belongs to G7 bebop
ACEG belongs to Cmaj bebop
BDFA belongs to G7 bebop

this is because of our chord equivalents

vi min7=Imaj7=iiimin7
iimin7=IVmaj7
V7=vii%min7flat5

and {iimin7=IVmaj7}={V7=vii%min7flat5}

finally {vi min7=Imaj7=iiimin7}={{iimin7=IVmaj7}={V7=vii%min7flat5}}

our whole KEY itself is a representation of iimin7 V7 Imaj7
or V7 to Imaj7
or Imaj7

this is the "fractal" nature of jazz

unlimited detail can be expressed or you can simplify and be as minimalist as you want.

for example, if you see a chord chart with
Cmaj7 written for 4 bars like
Cmaj7 Cmaj7 Cmaj7 Cmaj7

you can transform that into Cmaj7 G7 Cmaj7 G7

you could also transform it to be Dmin7 G7 Cmaj7 Cmaj7
also Dmin7 G7 Cmaj7 Amin7 or Amin7 DMin7 G7 Cmaj7

all these represent the same thing.
-------------------------------
You can play these as chords or as melodies

for example lets look at lines that represent Cmaj7 Cmaj7 Cmaj7 Cmaj7

lets transform it into Dmin7 G7 Cmaj7 Amin7
and lets make a melody expressing that

we can start by arpeggio from the 3rd of DMin9

F A C E

next slide down to D as a beginning of outlining another DMin7 so

F A C E D F A C

Now, this will be our bar of DMin7 structure, so what we add next will be to begin to outine the G7

We can slide down to B descending a G7 with
B G F D

here is the whole thing


F A C E D F A C B G F D


then go Down to B which ascends upward through Bmin7flat5

BDFA

here is the whole thing

F A C E D F A C B G F D B D F A

so far we have outlined our DMin7 and out G7 we are halfway done with our line now to Cmaj9

we slide down from our last note in the line A down to G

G B D B C

down to A descending G E C

G B D B C A G E C

this covers our Cmaj7 and Amin7 portion

here is the entire line

F A C E D F A C B G F D B D F A G B D B C A G E C

 

Last edited: Jun 17, 2018

Connecting Arpeggios PART I (for dummies! ;D
--------------------------

We are going to look at connecting arpeggios alone alternating between descending and ascending
--------------------------------
in the KEY of Cmajor
--------------------------------
CEGB - function Imaj7
DFAC - function iimin7
EGBD - function Imaj7
FACE - function iimin7
GBDF - function V7
ACEG - function Imaj7
BDFA - function V7
--------------------------------

Lets begin with descending Fmaj7 and its inversions

ECAF CAFE AFEC FECA

We are going to create a pattern which uses this inversion (play this first)

AFEC

Next we are going to slide up to the D note which outlines an ascending Dmin7 DFAC

A F E C D F A C

---------------------
this is our first section which outlines Dmin9 DFACE
--------------

------------------------------------
Next section we are going to look at the descending G7 arpeggio and its inversions

FDBG DBGF BGFD GFDB


We are going to create a pattern which uses this inversion (play this first)

BGFD


Next we are going to slide up to the E note which outlines an ascending Emin7 EGBD

B G F D E G B D

this pattern outlines a V7 to Imaj9

now we can connect the 2 patterns and get a string of arpeggios which outlines a ii V I


A F E C D F A C B G F D E G B D


----------------------------


Finally we can look at the pattern as it travels all the way through each chord of the key


A F E C D F A C outlines Fmaj7 to Dmin7 or Dmin9
B G F D E G B D outlines G7 to Cmaj9 or Emin9
C A G E F A C E outlines Amin7 to Fmaj7 or Fmaj9
D B A F G B D F outlines Bmin7flat5 to G7 or G9
E C B G A C E G outlines Cmaj7 to Amin7 or Cmaj7add 13 or Amin9
F D C A B D F A outlines Dmin7 to Bmin7flat5 or Dmin7 add 13
G E D B C E G B outlines Emin7 to Cmaj7 or Cmaj9


we can connect them together in many ways
they can represent either a 9 chord or represent a chord change within themselves

 

Connecting Arpeggios PART II (for dummies! ;D
--------------------------

Lets begin with descending Fmaj7 arpeggios and its inversions

ECAF CAFE AFEC FECA

Previously we looked at the specific inversion AFEC and found it connected to DFAC
----------------------------------------------------

The next inversion we will look at is FECA

F E C A

next we slide up to B and outline a Bmin7flat5 ascending arpreggio BDFA

F E C A B D F A

this outlines a Dmin9 to G9 or a Fmaj7 to Bmin7flat5 or rootless G9 add 11

--------------------

Just like before we will take the last one in this case A and slide down to G and begin the pattern all over again.

here is all the patterns


F E C A B D F A outlines Fmaj7 to Bmin7flat5 or Fmaj7 add 11
G F D B C E G B outlines G7 to Cmaj7 or G13
A G E C D F A C outlines Amin7 to Dmin7 or Dmin11
B A F D E G B D outlines Bmin7flat5 to Emin7 or G9 to Cmaj9
C B G E F A C E outlines Cmaj7 to Fmaj7
D C A F G B D F outlines Dmin7 to G7

we can connect them together in many ways
they can represent either a 9 chord or represent a chord change within themselves

 

Connecting Arpeggios PART III (for dummies! ;D
--------------------------

Lets begin with descending Fmaj7 arpeggios and its inversions

ECAF CAFE AFEC FECA

Previously we looked at the specific inversion FECA and found it connected to BDFA
----------------------------------------------------

The next inversion we will look at is ECAF
play descending

E C A F

Now we go from that last F note up to A and outline ascending Amin7 ACEG

E C A F A C E G

This outlines a Fmaj7 to Amin7

From our last note we slide down to F ( which begins our pattern over on the next section)
------------------------------------------------------------------------------------------------------
Here are all of these sections

E C A F A C E G outlines Fma7 to Amin7 or Fmaj9
F D B G B D F A outlines G7 to Bmin7flat5 or G9
G E C A C E G B outlines Amin7 to Cmaj7 or Cmaj7 add 13
A F D B D F A C outlines Bmin7flat5 to Dmin7 or rootless G11
B G E C E G B D outlines Cmaj7 to Emin7 or Cmaj9
C A F D F A C E outlines Dmin7 to Fmaj7 or Dmin9
D B G E G B D F outlines Emin7 to G7 or Cmaj9 to G9 or G13


we can connect them together in many ways
they can represent either a 9 chord or represent a chord change within themselves

 

Connecting Arpeggios PART IV (for dummies! ;D
--------------------------

Lets begin with descending Fmaj7 arpeggios and its inversions

ECAF CAFE AFEC FECA

Previously we looked at the specific inversion ECAF and found it connected to ACE
----------------------------------------------------

The next inversion we will look at is CAFE
play descending

C A F E

Now we go from that last note E up to G and outline a G7 GBDF

C A F E G B D F

this outlines a Fmaj7 to G7 or a Dmin9 to G9 iimin7 to V7 variant

Now we go from our last note F down to the D note ( in order to start all over again on the next pattern)

here are all the patterns connected in order

C A F E G B D F outlines ii to V7 or G13
D B G F A C E G outlines G7 to Amin7 or V to I or G13
E C A G B D F A outlines Amin7 to Bmin7flat5 or I to V or G13
F D B A C E G B outlines Bmin7flat5 to Cmaj7 to V to I or G13
G E C B D F A C outlines Cmaj7 to Dmin7 or G13
A F D C E G B D outlines Dmin7 to Emin7 or G13
B G E C F A C E outlines Cmaj7 to Fmaj7


we can connect them together in many ways
they can represent either a 9 chord or represent a chord change within themselves


we have now covered all four parts of connecting arpeggios, i hope this is a revelation for you and that you see all the possibilities when adding up using as one all the material we have covered! Let the joy flow through you and create some music!

 

I would like to share a special song and performance for fun!

 

Here is a brand spanking new video, from rick beato on the very topic we have been discussing here.
some excellent melody involved enjoy!

 

Last edited: Jun 23, 2018

here is more to go with it

 

listen to this!

 

let in the beauty of this sound

 

study this!

 

http://www.jasonstillman.com/uploads/3/4/3/2/34326281/lester_young_shoe_shine_boy.pdf

Please study this song the way it sounds and feels along with the pdf chord chart and melody notation so that you can see the underlining structure involved and how that becomes music.

Don't forget in the youtube controls you can slow down to 50 percent!

 

Last edited: Jul 2, 2018