Don Latarski - Arpeggios for Guitar.pdf
March 18, 2017 | Author: carlos.murgueitio | Category: N/A
Short Description
Download Don Latarski - Arpeggios for Guitar.pdf...
Description
THE PROGRESSIVE GUITARIST
ARPIOO FOR
GUITAR ,..4 NEWAPPROACH TO ARPEGGIOS AND THEIR RELATIONSHIP TO CHORDS AND SCALES. FORTHEROCK,BLUES, AND JAZZGUITARIST.
by DON LATARSKI
THE PROGRESSIVE GUITARIST
ARPIOO FCR
GUITAR ...ANEWAPPROACH TO ARPEGGIOS ANDTHEIR RELATIONSHIP TO CHORDS AND SCALES. FORTHEROCK,BLUES, AND JATZGUITARIST.
by DON LATARSKI
.l990 o Don Lotorski Internotionol RightsSecured All RightsReserved Cover Design:Joonn Correro WARNING:Any duplicotion, odoptotion or orrongement of the compositions contoined in this collection, without the wriiien consent of the owner, is on infringement of U.S.copyright low ond
INTRODUCTION An arpeggiois a seriesof chordtonesplayedone note at a time. Everyserious guitaristmust at some pointmastermanyof the primaryarpeggioformssuch as majTth,minTth,augTth,etc. Arpeggios are frequently usedin constructing melodies. A quickanalysisof melodies frommusicof nearlyall agesandstyleswilldemonstrate thisfact.Theyare alsoused as accompaniment devices. In contemporary music,such as rock, blues and jazz, arpeggiosare used as improvisational toolsalongwith scales.lt is for musicians who play in thesestyles thatthisbookis intended. In any givenimprovisational situation,the "safest"soundingpitchwill alwaysbe a chordtone.However, if yoursolois madeup onlyof chordtones,you runthe riskof boringyourlistenels.Goodsolosare madeup of a varietyof rhythmic, melodicand harmonicdevices.lt's up to eachpersonto findthe properbalancebetweenplaying it safeandtakingchances. Arpeggiosare very usefulin particularto the jazz musicianbecausethis style of musicoftenrequiresthe improvisor to makequickkey shiftswhensoloing.Many guitaristsuse arpeggiosto facilitatethesekind of changes.The arpeggiohas the benefitof outlining the harmony that'shappening at the moment,lettingthe listener knowthat the improvisor has a firm graspof the harmonicmovementin the piece. Also,the useof arpeggios hasthe effectof breaking up the flowof the musicallineby interspersing intervallic leapsintothe solo.Solosmadeup of just scalepassages tendto soundsmoothandvocal-like. Wideintervalleapsprovidecontrastin the line. Learningarpeggios on the guitaris morethanjust learningchordforms.Chordsare usuallyplayedone noteper string.In somecases,it's possibleto playone,two or threenotesper stringin an arpeggio.This will becomevery obviousonceyou get intothe book. The formatof this book is simple.Eachpagecontainsa particulartype of chord, whichis shownin fivedifferent forms.The rootof eachchordformis shownas a solid blackdot.The dot is yourreference note.By usingthisnote,youcan movethe chord formup anddownthe fingerboard to playthischordon anyfretand in any key. The middlecolumnshowsthe arpeggioof the chordto its left.The rightcolumn showsthe largerscalepatternwhichgoeswiththisarpeggioand chord.You get the
scale.An X abovea wholepicture,fromthe chordto its arpeggio to the complete stringmeansyoumusteithermutethestringor stringsor simplynotpluckit if youare of thesechordswillbe easierto playif youpluckthe strings usingyourfingers.(Many with your fingersinsteadof tryingto strumthemwitha pick.) On someof the morecomplicated chordssuchas Dom9b5,I'veshadedin someof notes the notesin anattemptto makethingsa littlecleareras to whatare important and what are not. In somecases,the root will be shaded,becausethe root is not notein an arpeggio.For the mostpart,the chordsare in root reallya necessary position,withthe bassnotebeingthe lowestnoteof the chord.ln somecases,this was not possible. At any rate,all chordvoicingsare shown.(Theseare the numbers insidethe circlesin eachchordform.)Fivedifferent formsof eachchordtype are given.Thisapproach effectively coversthe entirelengthof the fingerboard. The scalesI choseto showwith eachchordtype are what your "average"garden mighthavechosen.However, don'tbe fooledintothinking that varietyjazzmusician possibilities, you I seek out theseare the only becausethey aren't. encourage to SCALE otherbookson the subjectof improvisation or checkout my bookentitled, PATTERNS FORGUITAR.Scalechoiceis dependant uponhowanygivenchordis jazz instructor can put this in a song.A good functioning lheorytext and qualified perspective you. for subjectin It's up to you to choosewhatorderto playthe noteswhichmakeup any arpeggio. You don'thaveto startfromthe lowestnoteandgo rightup fromthere.Youcan start anywhereyou likeand playthe notesin any order.Also,you'llhaveto workout your for the chordforms,arpeggios and scales.The numberswhichare own fingerings in eachchord,scaleand arpeggio, included are the scaledegreesyou are playing. you mustknowwhatyou'redoingwhenyou are playingthesethings,so Eventually, startnowto knowwhat'sgoingon withyourplaying. whichgoeswithit, Practice thesearpeggios by firsthittinga chord,thenthe arpeggio and thenthe largerscale.Thiswilltakeyou acrossthe pagefromleftto right.You in yourfingersas fluently needto havethe arpeggio as the chordsandscales.Think as the bridgebetweenchordsand scales. of the arpeggios who'vegrownup playingrockand bluesstylesare oftentrappedby a Mostguitarists mono-scalar to soloing.Thatis, theytry to useone scale,usuallythe minor approach pentatonic or blues,as it'softencalled,to playovera seriesof changingchords.In manycases,thisworkswell becausewhattheycall chordsare reallynot.Theyare doesn't intervals of a perfectSth,alsoknownas powerchords.Thistypeof approach workto wellwhenthe harmonyconsistsof movingtriadsandfournotechords(7th's). and out of This type of harmonicmovementmakesyour scaleseem inadequate
place.You needdifferent tonalresources, i.e.,newscales,to effectively solooverthe changes. All guitarists run up againstthisproblemsoonerof later,especially if they wantto moveintosongswhichhavea )azz leaning. Two of the earliestiazz guitariststhat reliedheavilyon arpeggiosare Django Reinhardt and CharlieChristian. Listento how they usedarpeggios to followthe contourof the movingchordprogressions. You'llsoonsee the art involvedin this typeof approach. Fora moremodernapproach, listento guitarists likepat Metheny, JohnScofieldand MikeStern. Experimentation is the key to becomingan accomplished improvisor. There,sno substitute. ThethinEsin thisbookare meantto get you starteddownthispath.And if you findthesearpeggios helpful,pleasecheckout my otherbooks.ln additionto the SCALEPATTERNS FORGUITAR,mentioned earlier,I'vealsowritten:MOVEABLE G U I T A RC H O R D SI,N T R O D U C T I O N T O C H O R DT H E O R YC, H O R DE M B E L L I S H MENTandCHORDORB|TS.
Don Latarski
About the author.., DonLatarskihas beenplayingthe guitarsince1963.He'san adjunctfacultymember at the University of Oregon'sMusicSchool.ln additionto this book,he'swrittena numberof otherson guitarinstruction lntroductionto ChordTheory,MoveableGuitar Chords,Scale Patternsfor Guitar,Arpeggiosfor Guitar andChordEmbettishment. Knownnationally as a a giftedguitaristand composer;Don performsfrequently with his groupat Jazz Festivalsand Clubsin the PacificNorthwest. His musiccan be heard on "HAVEN", lnnercity Records and'LIFELINE', PAUSARecords. originallya Michigannative,Donhas madeEugene,Oregonhis homesince1973wherehe buildsand ridesrecumbant bicycleswhenit'snot raining.
TABLEOF CONTENTS
MajorTriad.
......10
Major6th..
...... 11
Major7th
12
Major6/9.. .
13
Major7b5(akaM47#11). . .
14
MajorT#s..
15
Major(edd9)
16
Majorg....
17
MinorTriad.
......18
Minor6th..
......19
Minor6/9..
......20
Minor7lh..
......21
Minor#7..
......22
Minor7b5(akaHalf-Diminished) Minor(addg)
. . 23 .....24
Minorg....
......25
Minor11...
......26
Dominant 7lh . .
27
Dominant 7b5(akaDominant 7#11)
28
Dominant7b9....
29
Dominant 7#9. .
30
Dominant 7b5b9..
31
Dominant 7#5#9..
32
Dominant 7#5bg. .
33
Dominant 7b5#9. .
34
gth. . Dominant
35
Dominant 9b5(akaDominant 9#11).
36
gth). Dominant 9#5(akaAugmented
37
Dominant 13th.. .
38
Dominant 13b5(akaDominant 13#11) .
39
Dominant 13b9.. .
40
Dominant 13#9.. .
41
Suspended 7th.
42
gth. Suspended
43
Augmented Triad.
44
Augmented 7th .
45
Diminished 7th
46
't
"'
l0
ChordType: Majortriad Chord 'Form -+
Scale/Mode:
Arpeggio#
lonian
e
1
3I6I2
5
5
4
713
J
zIsf|fqYaYz
5)
e
5
e
3
2Is
z l3 I
A
sl6
J
215
4
3Io
I+ 5I3
215
-Ls2J-
2I5I3Y6
5I3
4
7 513
5I3
2I5I3I6 4
e dod z
3 b
A
ll
Major6th Chord Form ->
Scale/Mode
Arpeggio -->
lonian
L
rt7
316
3I6I2
Lgl .grL1 zX sf + \ a \ z
5
i
3
e
sL
e
?
4 t6 t2
o
h
5
7
.t
o
e
2l5l7l3
J,+
x e
5
2l517
I3 A
3I6
3I6
eI6 215
A
3I6
3I6 215
4 7 e
2I5r316
5I316
4
LI.3 I6
7
l-tt
316
2I5I3I6 A
3I6
3I6
3I6I2 4
7 t
t2
ChordType: Major7th
Chord Form ->
Scale/Mode:
Arpeggio ->
lOnian
3 41612
s{z{s
5I7I3
215l713
o
5I713
+
51713
21517
13
sI6 215
4
5
s& +) l(z{s
6
7
a)
7
2I sIs
513
Io
A
l(')l
7
513
5I3
a
sf s
o
4
7
\ 5
3 I6I2l A
| (7
s)
13
Scale/Mode: Chord Form ->
Arpeggio*
lonian
oXg
o
oXg
oX s
416 12
e I5
215I713
I
A
x 9I5
.)
2 t5 17 | 3 A
3I6
316
eIs
3I6
e Is
o
215
4
5
215
A
7
9I513I6
2I51316 t
6I9
3 I619
316
7
2I513I6 3I6I2
4) |
7
| (s
t4
Major7b5 Chord Form * os{z
Scale/Mode
Arpeggio-_> 3
b5I7
usl7I3
7 t3
Lydian 3l6l2l#4
#41713 215
6l2
'{
e
t b5
D5
zXs
x
7
o) #4
zXs
z{s{z{s
o
x o5
zXs
7
o
3
b5I7
o
osYz 3
b5I7
os{z 3
3
b5I 7
316
F4
2l5 #417
2I5I3I6
l5
ChordType: Major7#5
Scale/Mode:
Chord Form -*
Lydian-aug
Arpeggio-> 7
7 l3I#5
3I6I2I#417
7 13 I#5
t4 17 13 l#5
6 r2
z
#5
#5
3
.t
OIGX, #4 7 13
2) | (713
713
#5
r5
15
+4
x 7 Is
7 13
#5
7 13
Z
t5
t5
e
sI6
#4 2
7
#5
#5
Is
#4
#5
316
#4
o t+\z
#5 3I6
z
#5
2
#5
t r 4 17 e
#5
Ie
2
#5
#5 3I6
#5
a
3I6I2I#4I7 F5
16
Majoradd9 Chord Form+ s)
scate/Mode:
Arpeggio-+ e
q
3
lonian 3I6I2
7
5
6
7t3 2I5 I4
16 | 2
(.)
t
q
5
| 41612
q
215l713
9I5
J,q
x eI5
9I5
e
z {s {z {s
o 9I5
o
(+ 3I6
J,q
2ls
J,q
215
2IsfeIo
5I3
4 o
5
J
3I6
5I3
I
s)
t7
Scale/Mode:
Chord Form ->
Arpeggio€
7
q
9
lonian
L Ll__
s7
7
3I6I2 A
7 Iz
713
5
I
I
2I5-qIalz
v
5I713
e I517 J3
5I713
2 15 17 l3 4
3I6 9I5
215
3I6
gXs
9I5 7
215
A
7
7
5
2 I513
16 A
3
2I5I3I6 A
q
3I6I2
I 6
7
A
7
18
ChordType: Minortriad
Scale/Mode:
Chord Form --+ Arpeggio€
Dorian 6I2
oe{s}
b3I5
4 I b 7I b s I 5
5)
215-41612
b3
b3
b3
b7Ib3
I
4l6
b3
he
l2
b7 Ib3 2t5 b3
5 b3
b3
4
o 5
b3
b3
F
I
215
he
he
s)
s)
b3
b3
zY5
b3
s)
## !_ b3
5
4 tb7
2l5
b3
b
b3
4 lb7 612
us{s
+dozfs{s
l9
ChordType: Minor6th Chord Form -+
Scale/Mode:
Arpeggio ->
he
Dorian
b3I s
5
o
5
o
b3
b3
o
h
b3
4T6T2 b3
b7 Ib3
c
o
b3
5 b3
215
b3
b3
215
o
he
5
b3
h
a
4 I b 7I 2 l 5 b3
h
b3 o
b3
o
b3
6
4 tb7
215 b3
b
b3I 5
2Is b3
5 o
Jo
4Ib7I2Is
he
b3
4
4 tb7 6I2
b3I5
-4^b7it3I5
z0
Minor6i9 Chord Form -*
Scale/Mode:
Arpeggio#
Dorian
6Ie
6l2
os{s
he
ttl qilT
6I9
4 lb7 Ib3I 5
6I9
z
he
ffi
5 r4
he
4t6
6I9
t2
b7Ib3 2l5
5
b3
9Is
215
b3
he
b3
o
A
o
a
9
4 lb7 I 2 I 5
5
b3
s)
6
9I5
b3
915
n
215
b3 o
4 lb7
zl5
9I5
he
o3
6 t9 b3I 5
l-l-
zY5 b3
he
9I5
l"#
o
o
I
h?
b3I5
4 lb7 612
4 lb7lb3 I 5
2l
ChordType: Minor7th Chord Form -->
Scale/Mode:
Arpeggio#
Dorian
b7Ib3
o
b7Ib3
oz{o 5
O
he
5 h?
215
o
b3
+ o
b7 b3
b7 he
5
4 lb7 I 2 I 5
b3
o
b7
h {
5
5
uL he
a
215 b7
Fte
*#: !l_ b3
a
b7
b
4 Ib7
6
he
o
4 Ib7 612
b7Ib3I 5
ozdoo{ s
5
4 t b 7I b 3I s
22
Scale/Mode: Chord Form --+
Arpeggio-->
MelodicMin. 6l2
b3I5
r(li'
b3I 5
7
b3I 5
4
7
5L
5 b3
2Is14I6
b3
b3
a
b3 517
z
b3
b3
4l6
l2
b3
b3
5t7
21517
o
b3
517
J.q
215l7
b3
b3
t
b3
4 o
5
215
4
z Ib3
b3
4
7Ib3
sl
7Ib3
5
lI.u-L b3
5 b3
b3I5
b3I s 1
4
23
ChordType: Minor7b5 Chord Form --+
Scale/Mode:
Arpeggio-->
b7Ib3
Locrian
b7Ib3
b5
ob
b7
os{oz{os
b3
O
b5 I b7Ib3
4
os{oz{os
b2IbsIb7 Jb3
o
b3
b3lb6z b5
b3
o
b3 o5
b7
ob
b2Ib5
b5
b2Ib5
b3
b2Ib5
#
b7 b5
b3
4 tb7 b3
o
o
b3
D/
b3Ib6
b7
b5
o b7
b3Jb6Ib2I 4 Ib7
b5
b7 Ib3 b5
b3Ib6
b3 I b6 lbzl 4 Yb7
b5
b3
4
b 3I b 6 -
b7 b5
t
b5 4 I b7Jb3 b2 Ib5
b6Ib2
1A
Minoraddg
Chord Form ->
Arpeggio€
o
t_t_
liz
915 he
o
t.gtr)-t.,
4
I h2
9
Dorian -
os{s}
b3I 5
s)
Scale/Mode:
rTi'
2X 5f , + f o{ z b3
b7Ib3
416 12
-I
bTIos
€ q
9I5
h?
215
o5
he
e 15
215
ha
o
I
o Yq he
5
b3 5
o
915 ha
e I5 b3
915 b3
b3 9
9
b 3I 5
4
b3
A
4 [b7l 2l 5 b3
25
ChordType: Minor9th Chord Form -->
Scale/Mode:
Arpeggio -->
Dorian
b 7 I b 3l s o
v
4 T6 T2 b7Ib3 215 b3
9I5 h?
b3
4
215
o
ha
A
o
b7I9
b7I9
o
b7Je I5
4IOzIzIs
o z { s{ s
4 I b 71 2 I 5
he
5
he
eIs
215
h?
he
b3
e 15 b3
b7 q
b7
b 7 I b 3I s
4 lb7
26
ChordType: Minor11th Chord Form ->
Scale/Mode:
Arpeggio -->
Dorian
11
tl
b7Ib3
416 l2 b7Ib3
b7Ib3
2Is b3
1l
b3
4
215 11
b7 b3
b3
11
b3
11lb7
5
4Ib7I2I5
b3
+
b3
11Ib7 b3
rr{oz
b3
b3
11Ib7
1,1,* l+ he
4 Ib7
612 b7Ib3
1 1 I O ZI b 3 I 5
4tb7lb3I5
27
ChordType: Dominant 7th
Scale/Mode:
Chord Form --> Arpeggio--* ?
Mixolydian 316I2
b7
s)
o/
4 Ib7
?
5 e
5
215 -4
a I2
b7
b7
e
3 41612
b7
b7
b7 215
J
4
a
J
b7
b7
316 b7
5
5
4 I b 71 2 l 5
ol
5I3
2I5I316 b7
Ia
5I3
4 lb7
2I5I3 b7
4 tb7 3I6I2
b7
b7
5
J6
4 Ib7
28
ChordType: Dominant 7#11 Chord Form --* ArPeggio* b7
Scale/Mode: SuperLocrian
b7
+A t-
#4
b7
#4 lb7
o !4N7
a
#4 lb7
b2 I b5Ib7 Ib3
o
b3 I#5 :2 Ib5
t4 lb7
_Ll
+ A t-
osd+s #4
o
3 ) | (b2Ibs b7
b 2 I O S ) | ( b 3I # s
b7
b7 #4
#4 #4
b7
b3I#5Ib2) | (b7
LtA
hq
b7Ib3
D/
b2Ib5
#5 Ib2
29
ChordType: Dominant 7b9 Chord Form --)
Scale/Mode:
Arpeggio-+
b7
Diminished h/w
b7 ?
b9
b9
hq
3
ho
nq
0l
b7
5 ) | (3 b3 3 ) | (be
b9 67
b7
6 lbzI#4 5
b7) | ( 5
b2l*q ) | (os
o
(
r7) l(5
b2I#4) | (Os 5
D9
5I3I6 b3) | (bzl | (b7
b9
g,\6J I €+. b2 I#4
sfs{o b9
b3) | (b2
ov
3I6 5
b7 +A
b7Ib3I5 b9
30
ChordTvpe: Dominant 7#9
Scafe/Mode:
Chord Form --> Arpeggio --+
Blues
b7
+ I o z J o s sI
3
#A
5 -,4 b7 l#9
b3
M lb7Ib3
e
-l- L
o
b7I*e
I4 b7)#9
5+fozfos
a
5
a
#9
9to
b7I#s 5
o
b3
4 #4
b7
(+\oz
l^7
#9
#4
b3
e
b7 #9
o
b7
q
4 lb7
#9
#4
sIs #9
he
5
b7
b3
^L'7
#4
5 r3 o/
3
3
b7l#eI 5
b3
e-D 4 tb7 #4
b7l#eI 5
4 Ib7Ib3I5
31
ChordType: Dominant 7b5b9 Chord Form -D
Scale/Mode:
Arpeggio---) SuperLocrian b5 b7
b7 Ib3
b5 b9 I b5 Ib7
3
b9
b7
b9 e
b2Ib5
3 I#5 Ib2
b3I#5Ib2Jb5lozlos ?
b9
3
o
b5Ib7
b5Ib7
b9
b3I#s 2
b9Ibs
beIb5
b7
b2Ibs
3
o/
b7
b5
t
b2Ib5
o/
b3 I#5
b7
b5
b2los
b3I*s
e ho
3
b7
b7
o9
3
b5
e
b7
hE
Is
b5
b7
b9 o5
e
.osY*sYbe
osf*sYoe)| (oz 3
b9
hE
b7 Ib3 h(
3
b9
b2Ib5
#5 lb2
JZ
Scale/Mode: Chord Form --> Arpeggio ---D SuperLocrian b7
b7 I#9 3 I#5
3 I#5
O
#9
#5
b7 Tffi
e
o
b7 I#9
b2 I b5Ib7
#5
b3 I#5
92,[bs b7 I#9
b7 I#9
#5
b3 I#5
.#5-L
b2Ibs b7 #5
b2Ib5
b3 I#5
28 b7
l.l-(?' b2Ib5 -9,g
*s{+s
(*r
-I(.
osd+s doz
#5
b7
ltltr. #5
b7 l#9 F3
b7
JJ
ChordType: Dominant 7#5b9 Chord Form -->
Scale/Mode:
Arpeggio---> SuperLocrian
o/
b7
e {+sfos
3 I#5 Ibe #5 Ibg
b7
3
o ol
#5
#5 b9
b9
#5
b3 I#5
b9
b2Ib5
3
b7
b7
b2Ib5
b3 I#5
b7
b2Ib5
QrFu
osd+s {oz
b7 htr
#sIb9
b7
3
lsYog #5
b7
o/
34
ChordType: Dominant 7b5#9
Scale/Mode:
Chord Form -*
SuperLocrian
Arpeggio*
b7
b7 l#9
b5
b5 b 5I b 7 #9
o
3
ho
b5Ib7
a
o os{oz{os
bs I b7I#e
o
.t
J
3
o
b5
b5
b7
b7 f9
o5
t
b5 b7I#9
b2Ib5 b7
#9
b2Ib5
b3 I#5
#9
b2Ib5
b3 I#5
b7 o5
3
e
a
b7 fo
b5
b3 I#5
o
usY#sYbz b5
3
o/
35
ChordType: Dominant 9th Chord Form --#
Scale/Mode:
Arpeggio-+ 3
Mixolydian
o
b7
F
3
3
c
q
b7
3
3 q
o
0l e
ffi
J
J
ffi e
b7I9
b7Ie 15
e
.t
ozls{s
b7Ie I5 5 ffiI
3 b7
5 ffi{3
2I5I3 b7
e AA WI
9 ,a'7
4 Ib7 3I6I2
5
16
4 lb7
36
ChordTvpe: Dominant 9b5 Chord Form ->
Scale/Mode.
Arpeggio-->
Lydianb7
e Ios h'7
b7
b5
J
9
9
b7
.t
I
6sYoi
b 5I b 7
o
612 #4 lb7
215
ffi o5
3
ffi
b7I 9
b7I9
bTIe
b7I I
b7
.t
b7
9Ibs b7
9 Ibs
o
a
37
ChordType: Dominant 9#5 Chord Form ->
Scale/Mode:
Arpeggio ---> Mixolydian b6 q
DI
3 I#5
3 I#5
ffi
q
I
#5
v
2
+
o/
b7 2l5
#5
#5
b6r4
:t_
2t5
uof,+
#5
u-
3 b7I 9 #5
'
Arpeggio-->
Scale/Mode: Mixolydian
J
b7
b7
3 5
t.t
11
c
IJ
+1._
J
1 1I 1 3
13I
+\a \z
b7
b7
5
.t
2I5 ) | (s
b7
4
b7 5 3 I13
3 I13
o 915
J
316 b7I g
b7I I 13
4 I b 71 2 t 5
IJ ll
s {rs
E
b7
e
I b7
! Jp7,
JE
11 o
2J5I3Y6
39
ChordType: Dominant 13b5 Chord Form -*
Arpeggio-> 3
h7
Scale/Mode: Lydianb7
b5 b7
b5
b5
o o
13 b5 e
b7
3 1 3I 9
?
o TIT .gX'rI
rs{s b5
o
2I5 ) | (3
e
o
b7
b7
O
b5
#4 2
13
b5
3 I13
b5
b7 b5
D5
s X1s
I
3
3I6
#4
b7I2 I s
I
3 I13
5
b5
o
3I6
#4
z I 5I
1,* s Yo
XA
13
l^tr
DI
frXrs
2I5I3I6
tl
3I13IeIbs
b7 3l6l2l#4 ol
5
40
13b9 ChordType: Dominant
Scale/Mode:
Chord Form =>
h/w Dimlnished
ArPeggio* #4
)-l.QlI'tr:
ol #r',
b9
a
13
b2l#4)l(3)l(b2 6
5
b3) | (b2l#4lb7Ib3 6
3
b9
)ttl
t{+{o{oo
b9
b9
5 ) | (3
6
o
b3
67
b7
b2 l#4
s ) | (3 b3
b2l#4 ) I (b3
#9
#A
bz) | ( s
5
b7
b9
3I6Ib2I#4
13I b9
3 I13lbg
3 b7) | (5
b7
b7
b2l#4) l(b3
#4
s f,r: b9
b7
5I3I6 b3) | (b2) | (b7
3I6)l(#4
prt-l | | | sf e{ o
sf s b9
b9
b7
b2) | (b7 6) lH4
3 I13 b7
>
b7lb3l 5
b7 b9
A1 tl
ChordType: Dominant 13#9 Chord Form -*
Arpeggio ->
b7
Scale/Mode: Diminished h/w
b7Tffi
ozft+
#4
J
O
13 #9
3 ) | (b2
1a
#4
#9
b3
b2I#4Ib7Ib3
316
o
IJ
b7 l#9
a
13 #4
lltoXo'F.
ffi
E
o
b7 I#9
b3 3 I 6 Ib2I#4
oz{+s
o
#9 3 I13
IJ
5 ) I (3 b3
s | 6 foef++
#4
b7) I ( 5 #4
o
ol 1l
ffi
ozY*q)| 6s
#9
b7
r7) l(5 #9
4i
13
b2t#4 ) | (b3 13
#9
5Is b3) I (oz
x
b7
316 ) | (*+ #4
sf s
a
3 I13 b7Tffi
b2 I#4 b3) I (b2 #4
#9
s I3Io
13
3I6
b7 L '
b7Ib3I5
42
7th ChordType: Suspended Chord Form -+
Scale/Mode:
Arpeggio*
Mixolydian 316I2
afi6tTr5l
5
4 lb7
b7
3 5
zYsf + { o} z
5I4
4
b7
l\-7
+
b7
b7 5
5
4
4
2t5
J
4
[+ 3I6
4 loz
5
4 lb7
4lb7l2ls
3Io b7
5
c
5
4 lb7
+{uzdzf,s 2I5I3I6
5
4 lb7
4 lb7
4
z{sfs{o
s)
4 lb7
4 lb7
4
3I6I2 b7
4 lb7
5
4 lb7
5
43
Scale/Mode: Chord Form ->
Arpeggio->
Mixolydian
q q
b7
4 lb7 o
4
5
5I4
u
b7
I
+
b7
9Is A
4
b7I9
4 Ib7I9
316
4 I b TI e I 5
4lOt Ie I5 915
4 I b 7t 2 1 5
2I5I316 4 lb7
9Is
2I5I3I6
+)
4 Ib7
I
b7
4 tb7
u
4 tb7
4 lb7 3I6I2
5
4 lb7
AI L+.+
UhordType: Augmented Triad
chord Form ->
Arpeggio---> whoreTone 3) t(2 b7
s Y+s
3 I#5
#4) I ( 3 I#5 2
z
# 5) | ( * q l o z
F5
f5)
f5)
fs)
F5
#5
c
#4
ol@\z #5
#4 z
#5
#5
a
z
#5
n/
3
#5
b7
3
2 t#4
#5
#4
#5
45
ChordType: Augmented 7th
Scale/Mode:
Chord Form ---> Arpeggio _+
WholeTone 3) l(2
b7
b7
3 I#5
#4) | (3I#5
,) lo
z
#5 | | (#41b7
b7
b7
#5
F5
b7 z
#5
#5 4^
otY z #4
#4
Ol6,k #5
f,.
3 #5
#5
b7
9T
a
#5
3
z
Ie #5
#5
#4
!)
b7
e
2 I#4 b7 #4
#5
46
7th Diminished Arpeggio -+
Chord Form-D
Scale/Mode: wih Diminished
x b5 b3
b3 b5
b5 o
b3
o
o
o
o
b h2
-J=J4T 6L 2
b5) | (b3
b3
2ll(7
o
b3
b 3 I b 6- ,
4 b5
x
I
he o
o
b3
hq
b3
a
b5
he
o
h6
o A
o
z
b5I 7 b3I b6
b3
o
z
h
b3Ib6
b3
4
x
o
o
b3
r5
o
b3
2 b3I b6
4
o
2lb5
b5 he
4 b5I 7
he
b6
7
THE PROGRESSIVE GUIIARIST SERIESli TheBEST se/ies of itskind!
Eochbook useso cleor,simpleformot to teoch the skills ond informotion necessoryto o developingmusicion,
byDonLotqrski K
ARPEGGIOS
(:3093GTX) S^cr.rseoch orpeggio in five positionsin o simple c cgrom formot, Forevery orpeggio the corresocrding chord form ond scole pottern ore olso
AN INTRODUCTION TO CHORDTHEORY (F3096GTX) A procticol,stepby stepopproochto the fundomentolsof chordconsfruction, onolvsis ond function,
Q^a)\a/n
MOVEABLECHORDS (F309sGTX) CHORDEMBELLISHMENTS (:3397GTX) An excellent, systemotic opproochto buildingo S^cvyshow to embellishond enhonce ony chord comprehensive chordvocobulory.Shows40difrl. -hnr.i nrnrrro55i6ntO OChieVe new Ond mOfe ferentchordtypesin everyprocticolfingering on guitor i^-eresting the sounds, neck, Allfingerings ore bosedon five bosichondshopes, v
rvrv
l/tvvtv
CHORDORBITS (Fs09tcTX) SCALEPATTERNS progres(F3O92GTX) Explore thesoundondshopeofo chord's sion up ond down the fingerboord, Eoch chord type ispresentedin eightfingeringsusingo cyclic diogrom which showsthot ofterthe eighthfingering you willhove orrivedbock otthe storfingpoint - one octove higher,
Thisbook illustrotes, infivedifferentpositions ollthe modes of the mojor, hormonic minor,melodic minor,pentotonic,blues,diminishedond whole tone scoles, Don olsoshowsthe primoryusesfor eoch scole,with on exompleof eoch, X
rsBN0-7692-0956-4
F (,
cf)
o) o cf)
tL
View more...
Comments
