I-VI-ii-V

steteak

Hi, how are all my friends? I need help on good arpeggios to use over a Bm7 moving to aEm7/B in the key of D (if that matters for these particular chords). I like playing the Bm arp and it sounds good but, I cannot find good tones to move to. Does any one have insight?

-Steve

Frank Wekenmann

I am not quite sure if I understand your question correctly, but, considering that Bm7 and D6 contain the same notes, you could use licks you know for Bm7 on a D6 chord and vice versa. A nice sound is to play a Dmajor7 arpeggio over Bm7, resulting in a Bm9.
However, because of the similarity between I6 and vim7, I often don't play different lines on these chords in a I-vi-ii-V progression, especially if the tempo is very high.

steteak

The chords that I am having trouble finding good arpeggios are Em7 and A7. I just cannot find good tones to connect my first run over D6 and Bm7 to the Em7 and A7.

Jazzaferri

The I vi ii V progression you refer to is commonly called rhythm changes A section after the song I got Rhythm. In the key of C using a 6/9 voicing and all root position chords notes are c,e,g,a.(d) For the I chord ........a c e g for vi .... d f a c for the ii ...and g b d f for the V.

Say you want a phrase based on an ascending shape. The guide tones could be e g a & b. Start your arp on the guide tone note. So for 1 start on e and play eigths up the 1 arp for half a bar then play the vi arp starting on g the ii arp starting on a and the V arp starting on b. After you have that grooved trying shifting the order of the notes you play the arp on but always starting on the guide tone. You will find some lines that you like better than others. Have fun with it play with it. If you want more after that get back to me for other suggestions.

Once you have the idea down slide it up two frets and your in D major.

Joli Gadjo

There are many transcriptions of Daphne either from Django or others (cheek Shawn Walters set of tabs). Daphne is also one of the major tunes studied in the DC (Denis Chang) Music School. In other keys, Swing 42, Belleville, Double Scotch, Swing de Paris, and the archetype of 6-2-5 I got Rhythm.
All of those should provide you with lots of ideas.
Have you checked Matt Warnock's website, I am sure there are tons of it.
Otherwise, maybe thinking substitutions will help you: try to think G or CMaj7 instead of E-7. Probably G is most important note you have to hit for the Em, isn't it?

Jazzaferri

In most cases the two notes that tell you most about a chord are the 3 and the 7.

Major or minor 3 major or dominant 7. Then there are the oddballs, the b5, 6 and sus chords. But this another discussion