gm7 and c7 arpeggios

can anyone give me any arpeggios that would fit with this chord progression (excluding those of the root note). thanks

Over Gm7, many jazz players would play the Am7 arpeggio.

The Gminor Dorian Scale:

G A Bb C D E F

The Aminor7 Arpeggio:

A C E G

It accentuates a few of the notes that make the G dorian sound jazzy, such as the 4th, 6th and 7th. Try it out.

Over C7 Try playing the Eminor7b5 arpeggio:

E G Bb D

it contains the 3rd, 5th, 7th, and 9th of C7

haha any website to learn all these fantastic methods?

Originally Posted by: wreckenshaha any website to learn all these fantastic methods?

Not that I know of...but it's basically finding ways of playing the same scale over a chord but with different ideas. for example:

Take the C7 Chord, which would usually be the 5th chord in the key of F major. Normally you might play the C mixolydian over the C7, but instead, if you played the G dorian scale which has exactly the same notes as the C mixolydian, you would find yourself playing different sorts of licks that you would more often associate with the minor scale and thus create a different sound.

kaka i dont get it X)

Originally Posted by: wreckenshaha any website to learn all these fantastic methods?

Dude you're there!

so u mean this theory far beyond the c major scale?
wat u mean NINJA! NARUTO! :D

so u mean this theory far beyond the c major scale?
wat u mean NINJA! NARUTO! :D

Have a read on diatonic harmony.... it'll answer so many of your questions... it's a big topic and it will be easier to answer your questions when you have more of the information together.

It's all kind of inter-dependant, so when I try to explain something to you I'll end up using other terms you maybe haven't heard, which doesn't help you as much...

Start with this:

G Major Diatonic Harmony

I - G Major Chord / G Ionian Scale
II - A Minor Chord / A Dorian Scale
III - B Minor Chord / B Phrygian Scale
IV - C Major Chord / C Lydian Scale
V - D Major Chord / D Mixolydian Scale
VI - E Minor Chord / E Aeolian Scale
VII - F# Diminished Chord / F# Locrian Scale

The roman numerals are the 'scale degrees'. With seventh chords instead of normal triads, the order is the same as above, but the fifth degree (V) would be a D7 (dominant) chord rather than a major as it is above.

From the above, if someone you're jamming with says 'let's play a one four five in G', they want to jam on a G, C, D chord progression.

I hope that helps... :D

Originally Posted by: ren
From the above, if someone you're jamming with says 'let's play a one four five in G', they want to jam on a G, C, D chord progression.

I hope that helps... :D

So does that mean if someone said "lets play a one-four-five in C", they want to jam on a C, F, G progression ?

God I hate theory :(

Originally Posted by: tzerSo does that mean if someone said "lets play a one-four-five in C", they want to jam on a C, F, G progression ?

God I hate theory :(

Yes... that's it. Don't hate it dude.... just take it slow. It all makes sense eventually, honest... :cool:

Ok cool but what would the names of the modes be? Would they stay the same except for the root, and what about the F# Diminished?? Would it be B Major?

Example:

I - C Major Chord / C Ionian Scale
II - D Minor Chord / D Dorian Scale
III - E Minor Chord / E Phrygian Scale
IV - F Major Chord / F Lydian Scale
V - G Major Chord / G Mixolydian Scale
VI - A Minor Chord / A Aeolian Scale
VII - B ?????? Chord / B Locrian Scale

really appreciate the help here guys and ROCK ON, I didn't mean to take over your post ;)

Originally Posted by: tzerOk cool but what would the names of the modes be? Would they stay the same except for the root, and what about the F# Diminished?? Would it be B Major?

Example:

I - C Major Chord / C Ionian Scale
II - D Minor Chord / D Dorian Scale
III - E Minor Chord / E Phrygian Scale
IV - F Major Chord / F Lydian Scale
V - G Major Chord / G Mixolydian Scale
VI - A Minor Chord / A Aeolian Scale
VII - B ?????? Chord / B Locrian Scale

really appreciate the help here guys and ROCK ON, I didn't mean to take over your post ;)

We have crashed a bit.... :o

Anyway... yeah, the progression remains the same, so the B chord would be B diminished. The seventh degree is the leading tone.

The previous post from me should have also said if we're talking seventh chords, the seventh degree becomes m7b5 or half diminished rather than full diminished like the triad chords. It's not just the fifth that changes... Brain on a go slow...

If you're interested, here's the science

I am gonna provide you a couple examples that you can use to reproduce the Dorian sound, over the Gm7 chord.
Compare these two scales:

............... G minor Scale= [G-A-Bb-C-D-Eb-F]
............... G dorian mode=[G-A-Bb-C-D-E-F]

The major 6th (E) is what gives you the characteristic Dorian sound,
Play the Gm7 chord, followed by two arpeggios; and finish it with a minor pentatonic scale.

....Gm7............Bbmaj7(#11).............Fmaj9...................A minor Pentatonic scale...........
e---3-----------------------------------------------------------------
B---3-----------------------------------------8-----------------------
G---3-----------------9-------------------9---------------------------
D---3--------------7--------------7--10------------------------5------
A---5--------5--8--------------8-------------------------5--7---------
E---3-----6----------------------------------------5--8---------------


These are three separate examples, so don`t try to play the whole thing thru, play each example separately and hear them against the Gm7 chord.




Hope that helps.


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Wow...I forgot this topic was originally "gm7 and c7 arpeggios" :eek:

And equator thanks for that post too, very useful info! ;)