The major third so it is not symmetrical here it is on the sacks in two octaves a bit faster. In that way perhaps it is easier to remember personally I like to practice it like this with a minor third descending proceeding. Here it is in C you can see it contains both the major and minor thirds so it can be thought of as the two arpeggios sum together major and minor as well. I humbly suggest another arpeggio could be practiced alongside the major minor from the very beginning which I called the blues arpeggio. I would argue that the two sound flavors of major and minor, even though essential to know are however just too limiting for people who are looking for the unusual and exotic sounds of jazz and blues. What about the newcomer to music? Who was interested in the exotic sounds of jazz and blues? Where will he or she just starting out find these alluring, evocative sounds heard in the classics? The inquisitive student will be frustrated if they look for these colorful jazzy musical sounds in the major or regular minor as they are not there. All you need to know sufficient to pass the exam, but wait a minute. The major arpeggio is happy sound and the minor, a sad one and that is it. Traditionally the music student is taught major or minor arpeggios as totally isolated concepts. Jazz duets believes also there is a missing link between the major and minor arpeggios in music and the video you are watching seeks to offer at least some kind of remedy for this. Most people have heard of the idea that there is a missing link between man and apes. The BLUES ARPEGGIO offers a solution to this massive hole in music education. There is no arpeggio that is taught academically that contains both Major + Minor, that is until now. For the student of improvisation the minor /major 3rd sound dichotomy is essential to know and love as it is arguably the most fundamental sound of Jazz and Blues.
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