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Page 1: Arpeggio Studies Guitar
Page 2: Arpeggio Studies Guitar

S8rI8

Guitar

ARPEGGIO STUDIESON JAZZ STANDARDS

Mimi

CJ contents-

234567890' 2004 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069.

ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any formor by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

Liii Tuning Example 9 Example 20Example I Example 10 Example 21

Li Example 2 Example 11 Example 22Example 3 Day and Night Example 23

IJ Example 3.1 All the Things You Ain’t Example 24

jII Example 3.2 Winter Leaves Example 25Example 3.3 Example 12 Example 26Example 3.4 Example 13 Example 27Example 3.5 Example 14 Example 28

fJJ Example 4 Example 15 Example 30ftjj Example 5 Example 16 Example 31jJ Example 6 Example 17 Example 32

UII1 Example 7 Example 18 Example 33

LiI1 Example 8 Example 19

Visit us on the Web at www.melbay.com - E-mail us at [email protected]

Page 3: Arpeggio Studies Guitar

GUITAR ARPEGGIO STUDIESON JAZZ STANDARDS

introduction

L,1 his book is all about the exciting world of arpeggios!

Arpeggios are the notes that make up any given chord. They can be played in many ways: withdifferent emphasis on each note, in varied order with different patterns, and finally, super-imposed overdifferent chords to create beautiful colors and exciting and unusual melodic motifs.

In conjunction with scales, arpeggios make up the essential building blocks of any musician’svocabulary. For improvisors, arpeggios initially form a "safety net" because they spell out the exact notesin the chord being played. Mastery of arpeggios will mean that you can outline the correct chord changesfor any song. As you develop your ear, it becomes clear that arpeggios can later be used to create all kindsof amazing tonal clusters and we will cover these concepts as well.

Remember too that arpeggios are great for building your technique as they force you to play positionsand fingerings that may be new to you. The fingerings that are written here are only some of thepossibilities. Try playing these using different fingerings on different frets. Practice slowly, and eventuallyyou will be able to play through tunes with more confidence and musicality because these studies willdevelop your fingers and your ears.

Have fun!

2

Page 4: Arpeggio Studies Guitar

leof

Introduction .2

Triad Shapes 4

II V I Studies 7

Arpeggio Studies Through a Piece of Music 9

Chord/Arpeggio Shapes 10

"Summertime Arpeggios" 13

Arpeggio Studies Over Standards 18

"Day and Nighf’ 18

"All the Things You Ain’t" 21

"Winter Leaves" 24

Advanced Arpeggio Concepts 26

Epilogue 31

About the Author 34

3

Page 5: Arpeggio Studies Guitar

PL

et’s begin very simply with a G triad. This is, as the name implies, a three-note chord: G, B and Di. e., 1, 3, 5 of the scale of G. If you have a simple blues or song using this chord, this arpeggio

______

is a natural choice.

Note: All the 8th notes should be played with a "swing" feel.Example I G Triad fi No. 2

- t4G

¶! 4 I I I I I I II ii iT iT* -:_*------_--- a * a *

A 55B ,25 52

525 25252525

5,,

1

Example 2 G, C, D Triads fi No. 3

C Drn

Notice in measure 3 how the B precedes the chord tone B, which creates a nice blues feel.

Now, in examples 2 and 3 we add these shapes for C and D triads.Note: These are the same as shape IV 10th fret and shape Ill of the G triads page 11.

L 12

GG-

‘a

JJ jj j -

T

B 255 2325

542 2

S

4

Page 6: Arpeggio Studies Guitar

triad arpeqqios

Example 3 G, C, D Triads fi No. 4

G C D___ G

________

iri*1

liii 1,

Notice in Example 3 that I reversed the order of the "D" arpeggio descending instead of ascendingand this made for another variation.

Now begin to play the arpeggios in different patterns:

Example 3.1 Triad Arpeggios fi No. 5

,

5 2 ‘ 5

__________

5 ‘ 23

Example 3.2 Triad Arpeggios fi No. 6

__ r1

________ ______________

T 3

552A 5B 2525

555

Example 3.3 Triad Arpeggios fi No. 7

A 5 5B , 2 5 2 5

S

5

Page 7: Arpeggio Studies Guitar

triad arpeqqios v

LJ hese arpeggios start by descending so they are a little harder at first.

Example 3.4 Descending Triad Arpeggios fi No. 8

I’

A 45

45

B 54

55 25 2

Example 3.5 Descending Triad Arpeggios fi No. 93

L_1J3

4 4A 5 5 5B------5 2 5 2 5

Next, begin mixing the three triad shapes we’ve covered thus far in a musical etude.

Example 4 Musical Triad Etude fi No. 10

D

I I I

I ‘J U

A 4555

B2325523 4

"24 5445

S

-

G C D G

G Ca -

-I-

G

6

Page 8: Arpeggio Studies Guitar

arpeqq io shapes

ow we are ready to play the different triadic shapes grips and move them vertically up and downthe neck of the guitar. Please see page 10-12 for all the triad shapes. The 4th finger always movesyou up to another position and the 1st finger moves you down the neck to a lower position.

Example 5 Vertical Movement fi No. 11

G C D G

Now let’s move on to the three more "jazzy" arpeggio groups: Min7th, Dom7th and Maj7th. Once youmemorize a given "grip", practice these arpeggios in the same manner as your triad arpeggios using thepatterns outlined on pages 5-6 and practice moving the shapes vertically up and down the neck as we havejust done in Example 5.

Let’s put these grips to use in one of the most common jazz progressions, a 11-V-I:

Example 6 Il-V-I Arpeggio Study in "C" fi No. 12

Dmi7- nr

G7 CMAJ7a

JJL Lrflm J658

58

63 453553

2325

4-3----------------------

G C 0 G

S

7

Page 9: Arpeggio Studies Guitar

arpeqqio shapes

Example 7 Il-V-i Arpeggio Study in "F" fi No. 13

C7Gm17

Cm17 F7

, 4.H LLLJ L_i_ I - a a

r

BMAJ7

aLIH -LILJ - a a

0I I fl I LT1

8A 558

B

u6

868

6

55878

687

858

FMAJ7

Example 8 Il-V-I Arpeggio Study in "Ba" No. 14

8

Page 10: Arpeggio Studies Guitar

arpeggio studies through a piece of musicny time you are learning a new piece, it’s a good idea to be able to "outline" the chord changes

A with arpeggios. Start slowly with a metronome marking of J = 48 and work up to brighter temposas you become more comfortable with the process. Guitarists should always vary the fingerings

and positions where they are playing to facilitate the greatest freedom.

Take care to play these studies in all registers/octaves and throughout the full range of the instrument.Eventually, it’s a good idea to have the metronome clicking on "2" and "4" since these are the strong beatsof jazz. This will help with your sense of swing, too. Please adhere to the continual 8th-note rhythmsbecause this will train you to develop strong lines and rely on your ear. Advanced students could begin tomake up their own arpeggio studies until the process becomes second nature.

In-depth analysis of these studies will reveal many techniques for solo development. There are manypatterns used in these studies 1-3-5-7, 1-7-5-3, 3-1-7-5, 3-5-7-1, 5-3-1-7, 7-5-3-1, etc. and also, you willnotice that on the first beat of the new measure, whenever possible, I have used a "new" note that is fromthe next arpeggio i.e, in going from G7 to CMaj7, the "F" of the G7 arpeggio drops to the "E" of theCMaj7 - this enables the ear to actually hear the chords changing without actually playing! strumming theactual chords themselves. Resolution to the 3rds both major and minor are often selected for just thispurpose, though often other notes can signify the chord change, perhaps not as strongly.

The following pages show different arpeggio grips. The big black dot is the root of the chord. Thechord shape is represented by the big black dot in conjunction with the circled black dots. The hollow dotsplayed sequentially make up the arpeggio.

S

9

Page 11: Arpeggio Studies Guitar

arpeqqio studies v

= Root note

= Tones foundin chord shapes

o = FullArpeggio tones

Shape I

Shape II

Shape III

Shape IV

Shape V

3fr.

5fr.

3fr.

5fr.

8fr.

3fr.

Gm17 G7 GMAJ71X735X 1X735X 1X735X

5fr.

8fr. 8fr.

1 2fr.

X 1 5 73 X

1 Ofr.

1 2fr.

optionalfingering

1 Oft 1 Oft

l2fr.

10

Page 12: Arpeggio Studies Guitar

arpeqqio studies

Shape I

Shape II

Shape III

Shape IV

Shape V

11

Page 13: Arpeggio Studies Guitar

arpeqqio studies

Shape I

Shape II

Shape III

Shape IV

Shape V

X X 1 15 1713

5fr.

I X 17 3 5 X 1 X 17 5 X I X 7 3 11 X

tt33fr.

¶3fr.

optional fingering

Xll5b7l3X

lOfr.

X115173X

lOfr.

X11573X

lOfr.

XH1173X

flOfr.

X 3 17 X 15 1 X X 15 1 3 17

l2fr.

X X 5 1 3 17 X X 111 1 3 7

l2fr._l2fr.l2fr.

Xxi 15173 XXi 5,73

5fr.X x 1 ill 7 3

8 fr.15 X 3 17 1 X

______

8fr.I

yLJoptional fingering

X5 X 3 7 I x

I

__

X I 3 01 7 X

7%7fr.

12

Page 14: Arpeggio Studies Guitar

summertime urpeqqios

ow we are ready to move on to simple songs. Let’s take the classic "Summertime Arpeggios."First we will play all 8th-note arpeggios through the piece.

Example 9 "Summertime Arpeggios" fi No. 15

Gm17

TA 5B 4g5 5g.,

3554236

3 3 3363

5 323

52453

I # I %p

Notice the B in the 4th measure. This creates a nice leading tone to the Cmi chord in measure 5 andis a common jazz technique. Also notice the different patterns used in organizing these arpeggios and theascending and descending lines and how this sounds.

13 BMAJ7 Gm17 Ami7’5 D7 Gm17 D7I a a

a13

Page 15: Arpeggio Studies Guitar

summertime arpeqqios

n Example 10 we will now use some common chord substitutions over this same piece and do anarpeggio study with these new substitutions.

Example 10 "Summertime Arpeggios" Substitutions fi No. 16

Gmi7 G7

LIJfl JJ

4-368634

AB

663634

25255325 34665646

Gmi’ Cm17 F7

uLrr3

A-B 5

3 6 6 3 6 33 6 5

6 4

Cm175 B,mi7 Ami7 Emi7 A7i ni T

BMAJ7 Gmi7U

Ami7’5 D7 Gmi7

14

Page 16: Arpeggio Studies Guitar

arpeqqio ideas

n Example 11 we play an actual solo using many arpeggio ideas including altered dominant D9,G759.

Cmi7

f#1

Cmi7 F73 3 3 3 BMAJ7 Gmi7

I I I I] I I I I I I I I I I I - * r’ I - I I a

.J I

B

54365645

23233

323

- - J -- - - - r I I- -.

Example 11 "Summertime Arpeggios" First Chorus fi No. 17

Gmi7

10 3 3 3 3I II

Ami7’5 D7 Gm17 D7

a

15

Page 17: Arpeggio Studies Guitar

summertime arpeqqios

Example 11 continued "Summertime Arpeggios" Second Chorus

17- I

Gm7

I.

_

III

3

3 3

L9 #9G7 ‘5

3

3A 53B

53535353 535356

21 Cm17 Bbmi7 Am17 Emi A7a - a - a i - - -

L-_-L JJ 3 3 -

34

A 53

B66868

677546768

89866

A

Cm17 F7

BMAJ7 Gm1729

_____________

I I1

3

Gmi7

16

Page 18: Arpeggio Studies Guitar

v arpeqq io ideas

example 11 analyzed

Notice all these super-imposed ideas:

Chorus 1:In measure 2 a BLmaj7 arpeggio is used to create a Gm9 sound.

In measure 4 a G7l9 arpeggio is used to create tension.

In measure 5 a Cmi9 arpeggio adds nice color.

In measure 6 the same idea is used a BE’m9 arpeggio but the rhythm is varied to addinterest.

In measures 7 and 8 a Cmaj7 arpeggio creating Ami9 and Gbmaj7 arpeggiocreating Eb mi9 are used and again the rhythms used are different. These arpeggiosare ascending, rather than descending, which also adds interest.

In measures 10 and 11, I use a repeating motif from the Gmi arpeggio to buildexcitement.

In measure 14, I use an Ami75 arpeggio and a D7L’9 arpeggio.

Measure 16 is a compound line using a chromatic line for the first series of tonesfollowed by a D795 arpeggio.

Chorus 2:Measure 20 uses an Ami9 arpeggio over a G7 chord! This creates what we callpoly-tonality and gives you these nice notes: Al 9 of G7, E1 5 of G7, and B9 of G7. We’ll discuss poly-tonality later in the section of the book on advancedconcepts.

Measures 21 and 22 use a Cmi6 and a Bbmi6 orAmi7L5 and Gmi71’5, respectivelyand again the rhythm of the arpeggio is varied to keep interest.

Measure 23 uses an Ami6 or Fmi7L5 arpeggio and measure 24 uses an ELmi9.

Measure 25 uses a Dmi9 arpeggio which creates a Gmi with a 9 and 13.

Measure 26 uses an Ami7 arpeggio which gives a Gmi with a 9, 11 and 13 which isa colorful sound.

Measure 27 again uses a Bmaj7 arpeggio over Gmi.

Measure 30 uses a D75 arpeggio.

17

Page 19: Arpeggio Studies Guitar

arpeggio studies over standards_w

ow we can begin to play through the standard jazz repertoire using the appropriate arpeggio foreach chord. In the first study pp. 18-20 we will stay within a limited fret area to show that theentire "harmonic universe" exists everywhere on the guitar. In other words, you can stay in one

position and play all the arpeggios for any song in that one area for example, 1 St to 5th fret, or 5th to 9thfret, etc..

Later, the studies move about freely throughout the entire range of the instrument, which provides forthe most flexibility for the improvisor and also develops great technique.

"Day and Night" Arpeggio Study fi No. 18

D mi7’5rT I I

lIiii } ... 1 ri11- -.---- -j ---- I I I ---

Dmi75 G7 CMAJ71-I I I S

-.- I I I J-1- Trr*’. I I I

r ITTI * 1 *

- - - r ----L::J=-- *

3653735

35325

354

545

25 52323

Fm17 Em17 E°

G7 CMAJ7

Dmi7 G7 CMAJ7

4rr J .LJJjj

1151352AB

3525

45235234

* If-,.- -#-

.

-r1

‘-fw --1

.

t *, , *1

-

rLI-I

IrU

*1 1

- I

Ar

-- I-F-- -

.

-w

rr r U U

II I -

I I - J I

.

.

,

A

I--- -

1L

rU f A

e

I -F- ---

-

‘ r ‘

., ,‘. U

£. .1

-r-, -

5

9

18

Page 20: Arpeggio Studies Guitar

"Day and Night" Second A Section

arpeqqio ideas

All Dmi7’5rI I J fl i - - a

3663D

4454554 5

5 2 52I-,

Dmi7’51

jrG7

jmCMAJ7

rrr3

A3B 5

6

55353232 23

Fm17 Emi7 B°Fmi7’5

irrTA242B

14525

52442313

3

C MAJ7G7Dmi7

4mip ffs!18735

jIj

TB 5A23

3ç35

45525 7

59510 7

G7

I1

CMAJ7

r F1

a19

Page 21: Arpeggio Studies Guitar

arpeqqio over standards ‘V

"Day and Night" B Section

BMAJ33__ -I

CMAJ7

JJjjTAB

106

6

85785 85 5

6 6565

5453232

525

BMAJ7 CMAJ7

T3AB

3533333 33336334 5378735

525232

Fmi7 Em17 E°

-I-. -

Fmi7’541

‘p

S

20

Page 22: Arpeggio Studies Guitar

" arpeqqios over standards

"All The Things You Ain’t" Arpeggio Study fi No. 19

Bmi’Fm17 B7 AMAJ7

a_w Jj**

k’ JErUTA63B 6 36 636 53663

656

13 AMAJ7 Ami7U’5 D7 G MAJ7

Jjj jnr j,

6AB 63 36535

234 3

25

32343543

9II

Cm17 Fm17 B’7 BMAJ7II F fl i

17

‘p

Am17 G MAJ7

21

Page 23: Arpeggio Studies Guitar

*‘ a

- CD

m ;*40

5’ CD-,

3 U

oC a

**1*‘ 40

-1

CD

0’C’

mCD

C--4

mC-1

C-4

n

m

-.1

Page 24: Arpeggio Studies Guitar

‘v’ arpeqqio over standards

guide to arpeggio shapes grips

In "All the Things You Ain’t"

Fmi7 in measure 1 is played in the IV shapeBmi7 in measure 2 is played in the I shapeE7 in measure 3 is the IV shapeAIMaj7 in measure four is shape IDMaj7 in measure five is shape IVG7 in measure six is shape ICMaj7 in measure seven is shape IVCmi7 in measure 9 is shape IVFmi7 in measure 10 is shape IIB,7 in measure 11 is shape VBMaj7 in measure 12 is shape IIIAMaj7 in measure 13 is shape IAmi75 in measure 14 is shape VD7 in measure 14 is shape IIIGMaj7 in measure 15 is shape IAmi7 in measure 17 is shape VD7 in measure 18 is shape IIIGMaj7 in measure 19 is shape IFmi7 in measure 21 is shape IB7 in measure 22 is shape IVEMaj7 in measure 23 is shape IIIC75 in measure 24 is shape IFmi7 in measure 25 is shape IVBL’mi7 in measure 26 is shape IIE7 in measure 27 is shape VA!Maj7 in measure 28 is shape IIIDtMaj7 in measure 29 is shape IDmi7 in measure 30 is shape ICmi7 in measure 31 is shape IB°7 in measure 32 is shape IBlmi7 in measure 33 is shape IE7 in measure 34 is shape IIIAMaj7 in measure 35 is shape I

23

Page 25: Arpeggio Studies Guitar

arpeqqio over standards .‘

"Winter Leaves" Arpeggio Study fi No. 20

ThShape I

- - L_i

Shape IV

Cm17 F7

Shape IV- L]

EMAJ7BLMAJ7

Shape II

5

9

TAB

8 108

8 11 1010 8

1010 8

10 7 87 10

1010

8 7-56 5 6

5 88

Ami7’5 D7 Gmi 0m17

Shape I Shape IV Shape I Shape I57775

3A663B

Cmi7 F7 BMAJ7 BMAJ7

Shape IV

T

6363636

LrShape III

65868758

Shape I

87856565

rrShape IV

68

658 8

Ami75 Gm17

Shape I Shape IV Shape II

AB

686

S

24

Page 26: Arpeggio Studies Guitar

"Winter Leaves" Arpeggio Study Page 2

‘V arpeqqios over standards

Ami7’5

Shape Ir

D7

Shape V.ln n

* LiShape III

17

n

G7

I I I

Gm17

-

Shape UIAn

8A 785

8°lug1077

7107

8llllS107 9710

lAOIv ‘, an *

‘U

Cmi7 F7 BMAJ7 EMAJ7

4rrrrrrShape I Shapes III & IV Shape II Shape IV

TA 810810888107810810108787871078 5j1I11B

Ami7’5 D719 Gmi7 GL7 Fmi7 [7

Shape I

TA 5758B

Shape IV

75657955875787586878

Shape II Shape III Shape III Shape III

5686465T_

EMAJ7 D7 Gmi

JJjJJShape III

Shape III

p

Shape I

-

TA

6566-B-----

S25

Page 27: Arpeggio Studies Guitar

advanced arpeggio conceptsuper-imposition of arpeggios opens a whole world of exciting possibilities. Super-impositionmeans playing different arpeggios over a given chord, e.g.., an Emi7 over a CMaj7. Using a II VI progression as an example, here are some of my favorite ideas.

In Example 12, I use an FMaj7 arpeggio over a Drni7 to create a Dmi9 sound. I then move up a minor3rd and play an Amaj7 over a G7 to create a G7 with a ,9. , 13 and 11 sound.

Example 12 Major 7 Arpeggio up in Minor Thirds / No. 21

3ill -

In Example 13, I use the same ideas over the Dmi7 and G7 and then use a GMaj7 over the CMaj7which creates a CMaj7 with a 9, ii and 13 sound. Notice that in this example, I am using Maj7 arpeggiosover each chord!

Example 13 Major 7 Arpeggios fi No. 22

LJI 33

In Example 14, I use an AL’m9 over a G7 which creates a G7 with a 13 9 sound.

Example 14 Altered Arpeggios fi No. 23

Dmi7 G7- In I-1

A

C MAJ7

Dmi7 G7

LtH

CMAJ7

I-,

-

TA

7

5655 5g

-8-98 8 1044 0 44 4

Dm173 CMAJ7

A

4......

I r o no a 7! "

" " " a ‘ "‘ v

8 111014 R 1I In

7 7 1n

T 5655556AB 66

26

Page 28: Arpeggio Studies Guitar

advanced arpeqqios

n Example 15, I use an Emi7 arpeggio over the CMaj7 which creates a CMaj9 sound.

Example 15 fi No.24

ADm17

II TT iG7 C MAJ7

In Example 16, 1 use 16th notes to play a compound idea over the G7 chord compound meaning twoideas at once - first an AL’mi6 or FmiTh5 is used and for the last beat of the measure an AL’mi9 is used.

Example 16 Compound Arpeggios fi No. 25

a

____

In Example 17, I use a Bmi7L,5 arpeggio over the Dmi7 to create a Dmi6 sound and a Dmi7L,5 overthe G7 to create a G7 sound with an 11 and a 9. Over the CMaj7 I use an Ami9 arpeggio which createsaCMajl3 sound.

Example 17 fi No.26

Dm17 CMAJ7

%, I .1

/ I I I E ‘ I I I a - I I I I I I I II 1111 L’.L I .

- -J - U

T 565A

878B 663

2525225_5

Dm17 G7 CMAJ7

J*i L1t 1T

TAB

7558

6 5 8108 67 6

4 6 6 46 3

I I * ,J

t rrfTA

7667 54777

B

S

27

Page 29: Arpeggio Studies Guitar

advanced arpeqqios v

LjJ here are many other arpeggios that can be used over a II V I - explore!

In Example 18, I use a compound idea oer a Cmi amp. In measure I I use Cmi7 and Gmi7arpeggios which creates a Cmi9 11 sound. In measure 2 1 uc a Cmi arpeggio and a Dmi7 arpeggiowhich creates a Cmi9l1/13. This line resolves to either an orG the and of C minor.

Example 18 Diatonic Arpeggios No. 27

Cmi

I-i

-I---f* ‘1r ‘ - -- -

*1 .1

U *a

In Example 19, I move diatonically through the key of B1 Major C Dorian using Cmi7, Dmi7.EbMaj7 and F7 arpeggios in ascending and descending order.

Example 19 Diatonic Arpeggios fi No. 28

Cmi7

0

!,

5467AB

I.1Uu881101010

In Example 20, 1 use Csus4 and Csus4 over a Cmi vamp to create nice tension. I start the Csus4 atthe end of the Csus4 phrase beat 4 which gives a sense of rhythmic anticipation, too.

Example 20 Inside/Outside Arpeggios fi No. 29

-nI-

CmiT

LI

0 fl

T VQ8A 10B 810 11 9 9 11 10

U *0

S

28

Page 30: Arpeggio Studies Guitar

advanced arpeqqios

L

n Example 21, this same idea Csus4 and Csus4 is extended by going back and forth between thetwo arpeggios in each measure.

Example 21 Inside/Outside Arpeggios fi No. 30

-‘Ii

Cmi71TII rT

Pfl98

-

TA 10 11 11B R

8 10 10 1010 8 9

11

Example 22 utilizes more poly-tonality several different chordal ideas applied over one chord.Measure 1 moves from Csus4 to EL’sus4 and measure 2 moves from Dsus4 to Csus4 and resolves finallyto Csus4.

Example 22 PoIy-Thnality fi No. 31Cmi7

L- !t.t-

I- LHr’

8 8 11A 1010 10 13B

10 10 912 12

Starting with Example 23 we will use a G7 vamp to try different arpeggiated ideas. I start with aBmi75 in Example 23 which creates a G9 sound.

Example 23 Diatonic Arpeggios fi No. 32

G7

S

29

Page 31: Arpeggio Studies Guitar

advanced arpeqqios

n Example 24, I use a Dmi9 in measure 1 G7 9/11/1 3, an Ami9 in measure 2 also createsa G7 9 /11/13 sound and a Bmi75 in measures 3 and 4.

Example 24 Diatonic Arpeggios ‘ No. 33

G7

In Example 25, I use a descending FMaj7 arpeggio in measure 1 G7 9/11/13 sound, a Bmi75arpeggio in measure 2, and an FMaj7 arpeggio again in measure 3.

Example 25 Diatonic Arpeggios fi No. 34

G7

In Example 26, we come full circle to the triad arpeggios that we learned in the beginning of this book.Only now I am super-imposing an E triad over a G7 Gl3t9 sound!

Example 26 Poly-tonal Triadic Substitutions fi No. 35

G7I,

1B

J.

10

ft;_f89710

y

9 6

it79

-40-- -41- 11

30

Page 32: Arpeggio Studies Guitar

epilogue - build your own arpeggios!

tudy of scales and chords provide the industrious student with ample opportunity to be creative.As an example, here is a pretty chord voicing that I like:

5fr.

This could be thought of as many possible chords El,Maj7 11, A7sus4IEL’, Fl 3, Dmi 1119, etc.. If Imake an arpeggio out of each note in the chord we get: El,, G, A, D. Note: This is similar to the Maj7 11"grip" minus one note.

This gives us a nice arpeggio grip to play over any of the aforementioned chords. See Example 27.

Example 27 fi No.36

-1 I - 1_ -a -aL’ r- I

p

5

-.

55778 5778 887

B 6 56 65‘I

- t * IL o *j j-

Another technique for creating arpeggios is to make chordal clusters from scales. For instance,suppose we take these notes from a G Major scale: 1, 2, 5, 6 G, A, D and E. This creates a G6 chord, buthas many other applications Emi7, Dsus4, A7sus4, BMaj131l, etc.. See Example 28.

Example 28 fi No.37

x2x3x1

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Page 33: Arpeggio Studies Guitar

epiloque

e can extend this idea to any other scales and continue to make up fresh arpeggios:

In Example 291 have taken 1.73.4 and 7 from the C mchdic lninllr ctle - this arpeggio can be usedover CmiMaj7, B795, F75, E7Maj75. and othcr. Elo1c

Example 29

Finally, to generate fresh ideas, take any chord and start with the three essential chord types: Maj7.Dom.7, and Min.7. Applying all 12 keys to these chord types we get 36 different arpeggios to use.

For example, lets take an A7 chord. If I apply all 12 Maj7 chord types against this chord, eight chordswill be useable - the other four chords have a G in them which violates the A7 chord so I’ve omitted them.

The eight useable chords are: BMaj7, BMaj7, CMaj7, DMaj7, EMaj7, FMaj7, GMaj7 and GMaj7.

My favorites are BMaj7, CMaj7, DMaj7 and GMaj7. We see that a BMaj7 has these notes: B5, D.F, A which create All, 5, 59 sound. The CMaj7 with these notes: C, E. G, B creates an A79, 9 sound.The DMaj7 creates an A add 4+6 sound. The GMaj7 creates an A7 9/11/13 sound that was favored by WesMontgomery.

By mixing and matching these arpeggios with an A7 arpeggio the chord we are playing over, youcan create a nice sense of color. See Examples 30, 31, 32 and 33.

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Example 30 fi No.38

epiloque

] F BMAJ’ I [A7]

a a

*" L J -.

T 58 6566 7

8 8A 5B

[ A7 Ia

F CMAJ7 Ia

I I pj

G MAJ7 I

- L_ I I I

7 85 8 8 56 7 7 4AB

5 4

Example 32 No.40[ DMAJ7

3] F

a

A73

I

rT Lr j7 8 5 6

7A 67B 5

.L -.

Example 33 fi No.41

[ DMAJ7 I F GMAJ7 I [ A7 I F DMAJ7

F A7

Example 31 No.39

]

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about the authorimi Fox is at the peak of her career. Named "Rising Star" in DownBeat’s 2003 Critics Poll, she is also the onlywoman profiled in that magazine’s special feature, "66 Hot 6-Stringers: DownBeat’s Look at the GuitaristsMaking Today’s Scene," which presents ‘66 guitarists in the worlds of jazz. blues and beyond whose work is

innovating, invigorating and perpetuating the guitar tradition."

From virtuoso solo guitar to performances of her original music with orchestra. lirni truly does it all. She hasperformed with fellow guitarists Charlie Byrd and Charlie Hunter, as well as with the Grammv award winner David Sanchez,saxophonist Don Lanphere, Manhattan Transfer’s Janis Siegel, and the German Hanimond B3 orean phenomenon BarbaraDennerlien, among many others. She has shared the bill with a wide array of artists including Diana Krall. Stevie Wonder,Kenny Burrell, and John Sebastian, and has been guest soloist with several orchestras. incIudin Orchestra Sonoma,performing her original scores. Fox has composed music for theater and film, and has been featured on a number of televisionshows such as BET on Jazz.

Mimi maintains a whirlwind touring schedule, playing major jazz clubs and festivals from New York to Tokyo.including tours of the Caribbean, Japan, Thailand, and Austrailia. She has performed at The Village Gate in New York City;Blues Alley in Washington, D.C.; Jazz Alley in Seattle; and Yoshi’s, the Great American Music Hall, and Kimball’s East in theSan Francisco area. She is a favorite at jazz and music festivals such as the Jazz on the Water Festival, The Guinness CorkIreland Jazz Festival, the Britt Festival, the Dominican Republic Jazz Festival, The San Francisco & San Jose Jazz Festivals.The Perth International Jazz Festival, Bumbershoot, Port Townsend, and Monterey Jazz Festivals. Phil Elwood, dean of theSan Francisco music critics, singled her out: "Outstanding performer? From the galaxy of stars at the JazzFest, guitarist MimiFox came across as the brightest."

Newly signed to guitarist Steve Vai’s Favored Nations record label, she just finished recording a new CD to be releasedin March of 2004. Focusing on Mimi’s original compositions, it features legendary bassist Ray Drummond and runs the gamutfrom blazing be-hop to greasy blues and beautiful ballads.

Her most recently released recording, Standards Origin Records, is a solo guitar tour de force and has received ravereviews including one from Jim Josselyn in cadence Magazine who said. "This may he the finest SolO jazz guitar playing Ihave ever heard." Charles Chapman called Mimi "a fiery virtuoso" in Just Jo:: Guitar magazine, and said, "This is jazz guitarat its best."

Kicks, her second CD as a leader, showcased her extraordinary soloing and featured special guests Joey DeFrancescoon organ, keyhoardist Russell Ferrante, drummer Will Kennedy, and guitarist Charlie Hunter. Kicks quickly rose to fifth placeon jazz radio charts and number 20 on Billboard jazz charts. Allaboutjazz.com awarded Kicks four stars out of four and raved."This is a strongly melodic collection, and one that swings out stylishly.. .Mimi Fox is a major talent.. .strongly recommended."

Born in New York City, she started playing drums at nine, and then guitar when she was ten. She was inspired by thewide variety of music enjoyed by her family-show tunes, classical, Dixieland, Motown-and her own youthful inclinationtoward pop, folk, and R&B. When she was fourteen, she bought her first jazz album "because it was on sale." The one shechose had no guitarist, but she was "blown away" by it. That album, John Coltrane’s classic Giant Steps, changed the courseof her musical life.

She began touring right out of high school and eventually moved to San Francisco in 1979. where she became asought-after musician. She is Chair of the Guitar Department at the innovative Jazzschool in Berkeley, California, and hasappeared as guest clinician at the University of Southern California, Musician’s Institute of Technology, CalArts, Universityof Connecticut, University of Oregon, the Bntt Music Festival, and others.

Mimi Fox, fleet-fingered on both steel string acoustic and hollow body jazz guitars, is a compelling musician, prolificcomposer, talented arranger, inspired teacher, and dynamic leader of her own band.

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