Arpeggio Studies Guitar

5/19/2018 Arpeggio Studies Guitar

1/35


2/35

S8rI8

Guitar

ARPEGGIO STUDIES

ON

JAZZ

STANDARDS

Mimi

J

contents-

3456789

'

2004

BY MEL

BAY

PUBLICATIONS INC. PACIFIC

MO 63069.

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RIGHTS

RESERVED

INTERNATIONAL COPYRIGHT

SECURED

B M I

M DE

AND PRINTED IN U.S.A.

No part o f t hi s publication may be reproduced

in

whole

or

in part or stored in a retrieval system

or

transmitted in any form

or by

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means electronic

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or

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without written

permission of

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Liii

Tuning

Example

9

Example

20

Example

Example

10

Example 21

Li

Example

2

Example 11

Example

22

Example 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

25

Example

3.3

Example

12

Example

26

Example

3.4

Example

13

Example

27

Example

3.5

Example

14

Example

28

fJ J

Example

4

Example 15

Example

30

ftjj

Example

5

Example

16

Example 31

jJ

Example

6

Example 17

Example

32

U

Example

7

Example 18

Example

33

Li

Example

8

Example

19

Visit

us

on

the Web

at www melbay com

E-mail us at emall@melbay com


3/35

GUITAR

ARPEGGIO

STUDIES

ON

JAZZ

ST N R S

introduction

L

his

book is

ll

about the

exciting world

of

arpeggios

Arpeggios

are

the

notes that make up any

given

chord. They

can

be

played

in many ways wit

different

emphasis on

each

note, in

varied order

with

different

patterns,

and

finally,

super imposed ove

different

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

vocabulary.

For

improvisors,

arpeggios initially

form a

safety

net

because

they

spell out

the

exact note

in the chord

being

played. Mastery of arpeggios

will

mean that

you

can outline the

correct

chord

change

for any song. As

you

develop your ear,

it

becomes clear that arpeggios can later

be

used

to

create

ll kind

of

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

position

and

fingerings

that

may

be

new

to

you.

The fingerings that are written

here

are

only

some

of th

possibilities. Try

playing

these

using

different fingerings on different

frets

Practice

slowly,

and

eventuall

you

will

be able to

play through tunes with more confidence and musicality because these studies

wil

develop your

fingers

and

your

ears.

Have fun


4/35

leof

Introduction

.2

Triad

Shapes

4

V 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

dvanced

Arpeggio

Concepts

26

Epilogue

31

About the

Author

34


5/35

PL

et s

begin

very

simply with

a

G

triad.

This

is

as the name

implies

a three-note chord:

G, B and

i. e. 1

3 5

of

the scale of

G

If

you have

a simple blues

or

song

using

this

chord this

arpegg

______

is

a

natural choice.

Note:

All

th e

8t h notes

should

be

played

with

a

swing

feel.

Example

I

G

Triad

fi

No.

2

-

t4

G

II

ii iT

iT

:_ _

a

a

A

55

B

25 52

5

25

25252525

5

1

Example 2

G

C D Triads fi

No.

3

C

D

rn

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

th e

same

as

shape

IV 10th fret and shape

ll

of th e

G

triads

page 11 .

G

-

a

JJ

jj

T

B

2

325

542 2


6/35

triad arpeqqios

Example

3

G D

Triads

fi No 4

G C

D___

G

i

liii

Notice in

Example

3 that

I reversed

the

order

of the

D

arpeggio

descending instead

of

ascending

and 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 2

3

Example 3 2 Triad Arpeggios

fi No 6

__

r

T

3

55

A

5

B

Example

3 3

Triad Arpeggios fi No 7

A

5

5

B

2

5 2

5

5


7/35

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

4

5

4

5

B

5

4

5

5

2

Example

3.5

Descending Triad

Arpeggios

fi

No.

9

3

L_ J

4

4

5

5 5

B 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

J

U

A

4555

B

3 55 3

4

4

5445

S

G C

D G

G C

a

I

G


8/35

arpeqq io

shapes

ow we

are

ready to

play

the different triadic

shapes

grips

and

move them vertically

up

and

down

the neck of

the

guitar.

Please

see

page 10-12

for

all

the

triad

shapes. The 4th

finger

always moves

you

up

to another

position and

the

1s t

finger

moves you down the neck

to

a

lower position.

Example

Vertical

Movement fi

No.

11

G

C

D

G

ow

let s

move

on

to

the

three more

jazzy

arpeggio

groups:

Min7th

Dom7th

and Maj7th.

Once

you

memorize

a

given

grip ,

practice

these

arpeggios

in the same manner

as your

triad arpeggios using the

patterns outlined

on

pages 5-6 and practice moving

the shapes vertically

up and down the neck

as

we have

just 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

CMAJ7

a

JJL Lrflm

658

4535

53

3 5

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

G

C

0

G


9/35

arpeqqio shapes

Example 7 Il V i

Arpeggio Study

in F No

13

C7m17

Cm17 F7

4 H

LLLJ

L_i_

a

a

r

BMAJ7

aLIH

LILJ

a a

fl

LT1

8

A

8

B

u6

868

6

878

6

87

8 8

FMAJ7

Example 8

l V

Arpeggio Study

in

Ba

No

14

8


10/35

arpeggio studies through

a

piece

of

music

ny

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

48 and

work

up to

brighter

tempos

as

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

beats

of

jazz.

This

will

help

with

your sense of

swing,

too.

Please adhere

to

the

continual 8th-note rhythms

because this

will

train

you to develop strong lines

and

rely

on your

ear

Advanced students could

begin

to

make

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

many

patterns

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

will

notice

that

on

the

first

beat

of

the

new

measure,

whenever

possible,

have

used

a

new note

that

is

from

the

next

arpeggio

i.e,

in going from

G

to CMaj7

the

F

of the

G

arpeggio drops

to

the

E of

the

CMaj

this

enables

the ear

to actually hear the

chords changing

without

actually

playing strumming

the

actual chords

themselves.

Resolution

to

the 3rds both major and minor

are often

selected

for

just

this

purpose,

though

often

other notes

ca n

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.

The

chord shape is

represented

by

the big black dot in

conjunction

with the

circled black

dots. The

hollow

dots

played sequentially make up the

arpeggio.


11/35

arpeqqio studies

v

oot

note

Tones

found

in chord

shapes

o

Full

rpeggio

tones

Shape

Shape

Shape

Shape

IV

Shape

V

3fr

5fr

3fr

5fr

8fr

3fr

Gm 7 G7

GMAJ7

X7 5X

X7 5X X7 5X

5fr

8fr

8fr

2fr

X

7

X

Ofr

2fr

optional

fingering

Oft

Oft

l2fr


12/35

arpeqqio studies

hape

hape

hape

hape

hape V


13/35

arpeqqio studies

Shape

Shape

II

Shape

II I

Shape

IV

Shape

V

X X

5

7

5fr

I

X

7

5

X

X

7

5

X

I

X

7

11

X

t

3fr

3fr

optional fingering

Xll5b7l3X

lOfr

X 5 73X

lOfr

X 573X

lOfr

XH 73X

lOfr

X

3

7

X

5

X

X

5

3

7

l fr

X

X

5

7

X

X

7

l2fr _l2fr

l fr

Xxi

15173

XXi

5 73

5fr

X

x

ill

7

8

fr

5

X

7

X

8fr

yLJ

optional

fingering

X5

X

7 I

x

X

I

01 7

X

7 7fr

12


14/35

summertime

urpeqqios

ow we are

ready

to move on to

simple

songs.

Lets

take the

classic

Summertime

Arpeggios.

First

we will

play all

8th-note arpeggios through the piece.

Example

9

Summertime Arpeggios fi

No.

15

Gm17

T

A

B

g5 5g

35

542

6

3

3

3363

5

23

524

5

p

Notice

the

B in the 4th

measure.

This creates

a nice

leading tone

to the

Cmi

chord

in

measure

5

and

is

a

common

jazz

technique. Also notice the

different patterns used

in

organizing

these arpeggios and the

ascending

and descending lines and

how

this

sounds.

13

BMAJ

Gm17

Ami75

D

Gm17 D

a


15/35

summertime arpeqqios

n

Example

10 we

will

now use

some

common

chord substitutions

over this same

piece and do

a

arpeggio study with

these

new substitutions.

Example

1 Summertime

Arpeggios

Substitutions fi

No.

16

Gmi7

G7

LI

l

JJ

4 686 4

A

B

66

6 4

5 5

5 5 4665646

Gmi

Cm17 F7

u

3

A

-B

5

3 6

6

3

6

3

6 5

6

4

Cm17

B,mi7

Ami7

Emi7

A7

i ni T

BMAJ7

Gmi7

U

Ami7 5

D7

Gmi7


16/35

arpeqqio

ideas

n

Example

we

play an actual

solo

using

many

arpeggio

ideas

including

altered

dominant D9

G759.

Cmi7

f 1

Cmi7 F7

3 3

3 3

BMAJ7

Gmi7

I]

a

J

B

54 6564

5

2323

3

3

23

J r

Example

Summertime Arpeggios First Chorus fi

No.

17

Gmi7

10

3 3

3 3

Ami7 5

D7

Gm17

D7

15


17/35

summertime

arpeqqios

Example

11

continued Summertime

Arpeggios Second

Chorus

7

Gm7

I

III

L9

9

G7

5

3

A

5

B

5 5 5 5 5 5

Cm 7

Bbmi7 Am 7

Emi A7

a a

a

L _ L

JJ

3

4

A

5

B

66868

677

6768

8

9866

A

Cm 7 F7

BMAJ7 Gm17

29

_____________

I

Gmi7

6


18/35

v

arpeqq io ideas

example

11

analyzed

Notice all these super imposed ideas:

Chorus

:

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

add

interest.

In

measures

7

and 8 a Cmaj7

arpeggio

creating

Ami9 and Gbmaj7 arpeggio

creating

Eb mi9

are

used

and

again

the

rhythms

used

are

different.

These

arpeggios

are

ascending, rather than descending, which

also

adds

interest.

In measures 10 and 11, I use

a

repeating

motif from the

Gmi arpeggio to build

excitement.

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 tones

followed

by

a

D 9 arpeggio.

Chorus

2:

Measure 20

uses an

Ami9

arpeggio over

a G7 chord

This creates what

we

call

poly-tonality

and gives

you

these nice notes: Al

of

G7

E1

of

G7

and

B

of

G7. We ll

discuss

poly-tonality

later

in the section

of

the

book

on

advanced

concepts.

Measures

21 and

22

use a

Cmi6

and

a

Bbmi6

orAmi7L5

and

Gmi71 5,

respectively

and

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

is

a colorful

sound.

Measure 27 again

uses a

Bmaj7

arpeggio over

Gmi.

Measure

30 uses a

D75 arpeggio.

7


19/35

arpeggio

studies over

standards

_

w

ow

we

can

begin

to

play

through

the standard

jazz

repertoire

using

the appropriate arpeggio

fo

each

chord.

In

the

first study

pp.

18-20

we

will stay within

a

limited

fret

area to show that

th

entire

harmonic

universe

exists

everywhere

on

the guitar.

In

other

words,

you

can

stay

in

on

position and

play

all

the

arpeggios for any song in that one area for example,

St to

5th fret, or 5th to

9t

fret, etc..

Later, the

studies move

about

freely

throughout

the

entire

range

of the instrument,

which

provides

fo

the

most flexibility for the

improvisor

and also develops great technique.

Day

and

Night

Arpeggio Study

fi

No.

18

D

mi7 5

rT

lIiii

}

...

ri11

-.---- j

Dmi75

G7

CMAJ7

1 I

S

-

. I

J 1 T

rr .

I I

r ITTI 1

-

----L::J=--

36

53735

35

325

3

54

5

45

25

52323

Fm17

Em17 E

G7

CMAJ7

Dmi7 G7

CMAJ7

J

.LJJjj

1151352

A

B

35

25

4

5235234

If-,.-

.

-r

1

f

w

1

.

t

,

1

r

L

I-I

I

r

U

1

1

A

r

I-F--

.

w

r

r r

U

U

- J

.

.

A

I---

L

r

U

f

A

e

-F- ---

r

.,

. U

.

.1

-r-

5

9

18


20/35

Day and

Night Second

A Section

arpeqqio ideas

All

Dmi7 5

rI

J fl i

a

66

D

5 55

5

5

2 5

I

Dmi7 5

jr

G7

jm

CMAJ7

rrr

3

A3

B

5

6

55353232

3

Fm17

Emi7 B

mi7 5

irr

T

A 4

B

4

525

5 44

3 3

3

C

MAJ7

G7

mi7

m

ip

ffs

87 5

jIj

T

B

5

A 3

35

45

7

595

10

7

G7

C

MAJ7

F1

a


21/35

arpeqqio

over

standards

V

Day

and

Night

B

Section

BMAJ

33__

I

CMAJ7

JJjj

T

A

B

6

6

857

85 85 5

6

6565

545

3232

BMAJ7

CMAJ7

T3

A

B

5

6 4 5 787 5

5 5

Fmi7

Em 7

E

I

Fmi7 5

p

2


22/35

arpeqqios

over

standards

All

The

Things

You Ain t Arpeggio Study fi

No.

19

Bmi

Fm17

B7

AMAJ

a

_w

Jj

k

JErU

T

A

B

6

6

6 6

5 66

656

AMAJ

Ami7U 5

D

G

MAJ7

Jjj

jnr

j

6

B

6

6

2

34

3

4 54

9

II

Cm17

Fm17

B 7 BMAJ

II

fl i

17

p

Am17

G

MAJ7


23/35

m

-.1


24/35

v

arpeqqio over

standards

guide

to

arpeggio

shapes grips

In All the

Things

You Ain t

Fmi7

in

measure

is played in the IV shape

Bmi7 in

measure

is

played

in

the

shape

in

measure

3

is

the

IV shape

AIMaj7

in

measure

four

is shape

DMaj7

in measure

five

is

shape

IV

G7

in

measure

six

is

shape

I

CMaj7 in measure seven

is

shape IV

Cmi7

in

measure

9

is

shape

IV

Fmi7

in

measure

10

is shape

II

B,7

in

measure

is shape V

BMaj7

in measure

is shape

III

AMaj7 in

measure

3

is

shape

Ami75

in measure

4

is

shape

V

D7

in

measure 4

is shape

III

GMaj7

in

measure

5

is shape

Ami7

in

measure

7

is

shape V

D7

in

measure

8 is shape

III

GMaj7

in

measure

9

is shape I

Fmi7

in

measure

is

shape

I

B7 in measure

22

is

shape IV

EMaj7

in

measure

23

is

shape

II I

C75

in

measure 24

is shape

I

Fmi7 in measure

5

is

shape IV

BL mi7

in

measure

26

is shape

II

in

measure 27

is

shape

V

A Maj7

in

measure

28

is shape

III

DtMaj7

in

measure

29

is

shape

I

Dmi7 in

measure 30

is shape

I

Cmi7 in

measure

3 is shape

I

B

in

measure

32

is shape I

Blmi7

in

measure 33 is shape

I

in measure

34

is

shape III

AMaj7

in

measure

35

is

shape

I


25/35

arpeqqio

over

standards .

Winter

Leaves Arpeggio Study fi No

2

Th

Shape

L_i

Shape

IV

Cm17

F7

Shape

IV

L]

EMAJ7

LMAJ7

Shape

9

T

A

8

1

8

8

1

1

8

1

1

8

1

7 8

7

1

1

1

8 7 5

6

6

8

8

Ami7 5

D7

Gmi

0m17

Shape

Shape

IV

Shape

Shape

777

3

A

Cmi7

F7

BMAJ7 BMAJ7

Shape

IV

T

Lr

Shape

6 868

7 8

Shape

87

8 6 6

rr

Shape

IV

8

8

8

Ami7 Gm17

Shape

Shape IV

Shape

A

8

24


26/35

Winter Leaves Arpeggio

Study

Page

2

V

arpeqqios over

standards

Ami7 5

Shape

r

D7

Shape V

.ln

n

Li

Shape

n

G7

Gm17

Shape

An

8

A

8

lug 77

7

7

8llllS

7 97

lAO

Iv

,

an

U

Cmi7

F7

BMAJ7

EMAJ7

rrrrrr

Shape

Shapes IV

Shape

Shape

IV

T

A

8 8 888 78 8 878787 78

5j1I11

B

Ami7 5

D719

Gmi7

GL7

Fmi7

[7

Shape

T

A

8

B

Shape

IV

75657955875787586878

Shape

Shape

Shape

Shape

5686465T_

EMAJ7

D7

Gmi

JJjJJ

Shape

Shape

p

Shape

T

A

B-----

25


27/35

advanced

arpeggio

concepts

uper-imposition of arpeggios

opens

a

whole world

of

exciting

possibilities.

Super-imposition

means

playing different

arpeggios

over

a

given

chord

e.g.. an Emi7 over

a CMaj7.

Using

a

II V

I

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

minor

3rd

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

3

ill

In

Example 13

I

use the same

ideas

over

the Dmi7 and G7

and

then use a

GMaj7

over

the

CMaj7

which creates a CMaj7

with

a

9

ii

and 13

sound.

Notice

that

in

this

example

I am

using

Maj7

arpeggios

over each chord

Example

13

Major

7

Arpeggios

fi

No.

22

LJI

3

3

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

A

C

MAJ7

Dmi7

G7

LtH

C

MAJ7

I

T

A

7

565

5

5

g

-8-98

8

10

44 0 44

Dm17

CMAJ7

A

4......

r

o

no a 7

a

v

8

111014

R 1I

In

7

n

T

5655556

A

B

6


28/35

advanced

arpeqqios

n

Example 15

use

an

Emi7 arpeggio

over

the CMaj7 which creates

a

CMaj9 sound

Example

15

fi No.24

A

Dm17

II

TT

G7

C

MAJ7

In Example 16

use

16th notes to play

a compound

idea

over

the G7 chord

compound

meaning

two

ideas 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

over

the G7

to

create

a G7 sound

with an

and

a

9.

Over the

CMaj7

use an Ami9 arpeggio

which

creates

aCMajl3 sound

Example

17

fi

No 26

Dm17

CMAJ7

,

I .1

/ E

I

I a

I

I 1111

L .L

J

U

T

565

A

8 8

B

2525225_5

Dm17

G7 CMAJ7

J i

L1t

1T

T

A

B

75

58

6

5 8108

6

6

4

6 6 4

6

I

I

,J

t

rrf

T

A

54

B

27


29/35

advanced

arpeqqios

v

LjJ

here are

many other

arpeggios

that

can

be used over

a

V

explore

In

Example 18,

use

a compound idea

oer

a

Cmi

amp

In measure

use

Cmi7 and

Gmi7

arpeggios which creates

a Cmi9

11

sound. In

measure

2

uc a

Cmi

arpeggio

and

a

Dmi7

arpeggio

which

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,

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

,

67

A

B

I

Uu8811 1 1

In

Example 20,

us e

Csus4

and

Csus4 over

a

Cmi

vamp

to

create

nice

tension.

start

the Csus4

at

the

end

of

the

Csus4

phrase

beat

which

gives

a

sense of

rhythmic

anticipation,

too.

Example

20 Inside/Outside

Arpeggios

fi No.

29

nI

CmiT

LI

fl

T

8

A

10

B

810

9

9

10

U

0

28


30/35

advanced arpeqqios

L

n

Example

21

this same

idea

Csus4

and

Csus

is

extended

by going back and forth between

the

two arpeggios in

each measure.

Example 21

Inside/Outside

Arpeggios

fi

No.

30

Ii

Cmi7

1TII

rT

Pfl

9

T

A

10

B

R

10

10

10

10

9

Example 22 utilizes more poly-tonality several different chordal ideas applied over

one

chord.

Measure

moves

from

Csus4

to

EL sus4 and

measure 2 moves

from

Dsus4

to

Csus and resolves

finally

to Csus4.

Example 22

PoIy-Thnality

fi

No.

31

Cmi7

L

t.t

L r

8

A

1010

10

13

B

10

10

9

12

12

Starting

with

Example 23

we will

us e a

G7

vamp to

try

different

arpeggiated

ideas.

start

with a

Bmi75

in

Example 23 which creates

a G9

sound.

Example 23 Diatonic

Arpeggios fi

No.

32

G7

9


31/35

advanced

arpeqqios

n

Example 24 I

us e

a

Dmi9

in measure

G7

9/11/1

3

an Ami9

in

measure

2 also create

a 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

G7

9/11/13 sound a

Bmi75

arpeggio 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 Gl t9 sound

Example

26

Poly tonal

Triadic

Substitutions

fi

No.

35

G7

1

B

J.

10

ft;_f

897

9

6

t

4

41

11


32/35

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

I

make

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

a

-a

r-

p

5

5

5778

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,

but

has

many other

applications

Emi7,

Dsus4, A7sus4, BMaj 3 l

etc.. See Example 28.

Example 28 fi No.37

x2x3x1

3


33/35

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

used

over 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

apply all 12 Maj7 chord

types

against

this

chord eight

chords

will

be useable

the

other four chords have a

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

Wes

Montgomery.

By

mixing

and matching

these arpeggios with an A7

arpeggio the

chord

we are

playing over you

can

create

a

nice

sense of color. See

Examples 30 31 32

and

33.

32


34/35

Example

3

fi

No 38

epiloque

]

BMAJ

[A7]

a a

L

J

T

6 6

6

7

8

8

A

5

B

[

A7

a

CMAJ7

a

pj

G

MAJ7

L_

7

8

8

8

6

7

7 4

A

B

4

Example 32 No 4

[

DMAJ7

3

]

a

A7

3

rT

Lr

7

8

6

7

A

67

B

L

Example 33

fi

No 41

[

DMAJ7

GMAJ7

[

A7

DMAJ7

A7

Example

3

No 39

]

33


35/35

about the

author

imi

Fox

is at the

peak

of her

career.

Named

Rising

Star

in DownBeats 2003

Critics

Poll,

she

is also

the

onl

woman profiled in

that

magazine s special feature, 66

Hot

6-Stringers:

DownBeats

Look

at

the Guitaris

Making Today s Scene,

which presents

66 guitarists

in th e

worlds

of

jazz.

blues and beyond

whose

work

innovating,

invigorating

and perpetuating the guitar tradition.

From virtuoso solo

guitar to

performances

of

her

original music with

orchestra. lirni truly does

t

all.

She

ha

performed

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

Barbar

Dennerlien, 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 televisi

shows 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

Cit

Blues Alley

in

Washington,

D.C.; Jazz

Alley

i n S ea tt le ;

and

Yoshi s, the

Great

American

Music

Hall,

and

Kimball s East

in

th

San

Francisco

area.

She is a

favorite

at

jazz

an d

music festivals such as the Jazz

on

the Water Festival, The

Guinness Cor

Ireland

Jazz

Festival,

the

Britt Festival,

the

Dominican Republic Jazz Festival,

The

Sa n

Francisco

San Jose Jazz Festivals

The Perth International

Jazz Festival, Bumbershoot,

Port

Townsend,

and

Monterey Jazz Festivals.

Phil

Elwood,

dean

of th

Sa n

Francisco

music critics,

singled her

out: Outstanding performer? From the galaxy

of

stars

at

the

JazzFest,

guitarist Mim

Fox

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 release

in March of 2004. Focusing on Mimi s

original

compositions, t features

legendary

bassist Ray Drummond and runs the

gamu

from 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 rav

reviews including one fro m J im Josselyn in cadence Magazine

who

said. This may he the finest SolO

jazz

guitar

playing

have

ever

heard. Charles

Chapman called

Mimi

a

fiery

virtuoso in Just

Jo::

Guitar

magazine, and said,

This

is jazz

guit

at its

best.

Kicks,

her second

CD as

a

leader,

showcased her

extraordinary soloing

and

featured

special

guests

Joey

DeFrancesc

on

organ, keyhoardist Russell

Ferrante, drummer Will Kennedy, and guitarist Charlie

Hunter.

Kicks

quickly

rose to fifth plac

on 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

th

wide

variety

of

music enjoyed

by her family-show

tunes,

classical, Dixieland, Motown-and her

own youthful

inclinatio

toward pop, folk, and

R B.

When

she

was fourteen,

she

bought

her first jazz album because

t

was

on

sale. The one

sh

chose had

no

guitarist,

but

she was blown

away

by

t

That

album,

John

Coltrane s classic Giant Steps,

changed

the

cours

of

her

musical

life.

She

began

touring

right

out

of high school and

eventually moved to San Francisco in 1979.

where

she

became

sought-after

musician.

She

is Chair of the Guitar Department

at

the

innovative Jazzschool in

Berkeley,

California, and ha

appeared

as guest

clinician

at the University

of

Southern California, Musician s Institute of Technology, CalArts, Universit

of

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, prolif

composer,

talented

arranger,

inspired

teacher,

and dynamic

leader

of her

own band.

4

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