Examples5A-5D

cd tracks 61-64

Ex 5a Here’s our ‘home’ IV C major 7 arpeggio in shape 1, with the following three examples demonstrating another common approach used to create extended sounds - this time by superimposing the diatonic arpeggios built from the 3rd, 5th and 7th degrees of our IV C maj7/ C Lydian tonal centre. Let’s review all three

2 superimpositions xxxxxxxxxx to understand how this approach works.

Ex 5b This is the diatonic arpeggio built from the 3rd degree of our ‘home’ IV C major 7 chord which is E minor 7, with the notes: E(R), G( B(5th) and D( When viewed from the root note perspective of C, these notes then give us the intervals: 3rd(E), 5th(G), 7th(B) and 9th(D).

Ex 5c Here we have the diatonic arpeggio built from the 5th of our IV Cmaj7 chord, which is G major 7, with the notes: G(R), B(3rd), D(5th) and F#(7th). When viewed from C, these notes give us the intervals: 5th(G), 7th(B), 9th(D) and #11th(F#).

Ex 5d And now the diatonic arpeggio built from the 7th degree of our IV C major 7 chord, which is Bm7, with the notes: B(R), D( F#(5th) and A( When viewed from C, these notes give us the intervals: 7th(B), 9th(D), #11th(F#) and 13th(A). So, as a formula, and to help us memorise this, we can remember that over any IV major 7 chord, we can superimpose the diatonic arpeggios starting from the 3rd, 5th and 7th degrees, and which gives us the 9th, #11th and 13th extensions.