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GUITAR ARPEGGIOSTUDIES N J A Z Z S T AN D A R D S
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his book is all about the exciting world of arpeggios!
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played in many ways: with Arpeggios are the notes that make up any given chord. They can be finally, super-imposedover different emphasison each note, in variedorder with different patterns,and motifs' differentchordsto createbeautifulcolorsand excitingand unusualmelodic essential building blocks of any musician's In conjunction with scales, arpeggios make up the "safety net" becausethey spell out the exact notes vocabulary.For improvisors,arpeggiosinitially form a outline the correct chord changes in the chord being ptayeo.Mastery of arpeggioswill mean that you can later be usedto createall kinds for any song.As you developyour ear,iibecomes clear that arpeggioscan of amazingtonal clustersand we will covertheseconceptsas well' force you to play positions Remembertoo that arpeggiosare greatfor building your techniqueasthey here are only some of the and fingerings that may be new to you. Ttre fingerings that are written Practiceslowly,and eventually possibilities.Tryplaying theseusingdifferentfingeringson differentfrets. becausethese studieswill you will be able to play through tunes with more confidenceand musicality developyour fingersand your ears. Havefun!
et'sbegin very simply with a G triad. This is, as the nameimplies, a three-notechord: G, B antl D (i. e., l, 3, 5 of the scaleof G). If you havea simplebluesor songusingthis chord,this arpeggio is a naturalchoice.
Note: All the 8ithnofesshouldbe playedwitha "swing"feel.
Example 1 3 G T r i a d@ N o . 2 G o
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E x a m p l e 2 3 G , C , D T r i a d@ s No.3
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Example 3.{ 3 TriadArpeggios @ No.5
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Example 3.3 3 TriadArpeggios @ No.7
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Next, begin mixing the threetriad shapeswe've coveredthus far in a musicaletude.
Example 4 J MusicalTriadEtude@ No.10
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ow we arereadyto play the differenttriadic shapes(grips) and move them vertically up and down the neckof the guitar.Pleaseseepage10-12for all thetriad shapes.(The4th finger alwaysmoves you up to anotherpositionand the lst finger movesyou down the neckto a lower position).
Exampfe 5 3 Vertical Movement @ No.11
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Now let'smoveon to the threemore "jazzy" arpeggiogroups:MinTth, DomTthand MajTth.Onceyou memorizea given "grip", practicethesearpeggiosin the samemanneras your triad arpeggiosusing the patternsoutlinedon pages5-6 and practicemoving the shapesverticallyup and down the neck aswe have just donein Example5. [rt's put thesegrips to usein one of the most commonjazz progressions, a II-V-I:
Example 6 e il-V-lArpeggioStudyin 'C' Q No.12
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ny time you are learninga new piece,it's a good idea to be able to "outline" the chord changes with arpeggios.Startslowly with a metronomemarkingof J = 48 and work up to brightertempos as you becomemore comfortablewith the process.Guitaristsshouldalwaysvary the fingerings and positionswherethey are playing to facilitatethe greatestfreedom. Takecareto play thesestudiesin all registers/octaves and throughoutthe full rangeof the instrument. Eventually,it's a good ideato havethe metronomeclicking on "2" and"4" sincetheseare the strongbeats of jazz. This will help with your senseof swing, too. Pleaseadhereto the continual 8th-noterhythms becausethis will train you to developstronglines and rely on your ear.Advancedstudentscould begin to makeup their own arpeggiostudiesuntil the processbecomessecondnature. In-depthanalysisof thesestudieswill revealmany techniquesfor solo development.Thereare many patterns usedin thesestudies(l-3-5-7,l-7-5-3,3-l-7-5,3-5-7-1,5-3-l-7,7-5-3-1, etc.)andalso,you will "new" noticethat on the first beatof the new measure,wheneverpossible,I haveuseda note that is from "F" the next arpeggio(i.e, in going from G7 to CMaj7, the of the G7 arpeggiodrops to the "E" of the CMajT) - this enablesthe ear to actually hearthe chordschangingwithout actually playing/ strummingthe actualchordsthemselves.Resolutionto the 3rds (both major and minor) are often selectedfor just this purpose,though often other notescan signify the chord change,perhapsnot as strongly. The following pagesshow different arpeggiogrips. The big black dot is the root of the chord. The chord shapeis represented by the big black dot in conjunctionwith the circledblack dots.The hollow dots played sequentiallymake up the arpeggio.
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orpeggios summertime
"SummertimeArpeggios." ow we are readyto move on to simple songs.Let's take the classic First we will play all 8th-notearpeggiosthroughthe piece.
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s u m m e r t i moer p e q q i ov s
n Example10 we will now usesomecommonchordsubstitutions over this samepieceanddo ar l-l arpeggiostudywith thesenewsubstitutions. | | LI
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In measure2 aBbmajTarpeggiois usedto createa Gm9 sound.
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In measure4 a G7b9 arpeggiois usedto createtension.
3
In measure5 a Cmig aqpeggioaddsnice color.
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In measure6 the sameideais used(a Bbmg arpeggio)but the rhythm is variedto add interest.
--
In measures7 and 8 a CmajT arpeggio (creatingAmig) and Gbmaj7 arpeggio (creatingEbmi9) are usedand againthe rhythmsusedaredifferent.Thesearpeggios are ascending,ratherthan descending,which also addsinterest. In measuresl0 and ll, I use a repeatingmotif from the Gmi arpeggioto build excitement.
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Measure20 usesan Abmig arpeggioover a G7 chord! This createswhat we call poly-tonalityand gives you thesenice notes:Ab (b9 of G7), Eb (fls of G7), and Bb (f,9 of G7). We'll discusspoly-tonalitylater in the sectionof the book on advanced concepts.
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Measures2l and22 usea Cmi6 anda Bbmi6(orAmi7b5 andGmi7b5,respectively) and again the rhythm of the arpeggiois varied to keep interest.
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Measure23 usesan Ami6 (or Ffimi7b5)arpeggioand measure24 usesan Ebmi9.
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Measure30 usesaD7fr5arpeggio.
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ow we can begin to play through the standardjazz repeftoireusing the appropriate arpeggiofor eachchord' In the first study (pp.18-20)we will staywithin a limited fret area to show that the entire "harmonicuniverse"existseverywhereon the guitar.In otherwords,you can stayin one positionand play all the arpeggiosfor any songin that one area(for example, lst to 5th fret, or 5th to 9th fret. etc.). Later, the studiesmove aboutfreely throughoutthe entire rangeof the instrument, which providesfor the most flexibility for the improvisorand alsodevelopsgreattechnique.
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FmiT in measureI is played in the IV shape BbmiT in measure2 is playedin the I shape Eb7 in measure3 is the IV shape Af MajT in measurefour is shapeI DbMajT in measurefive is shapeIV
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CmiT in measure9 is shapeIV FmiT in measurel0 is shapeII Bb7 in measure11is shapeV EbMajTin measure12 is shapeIII AbMajT in measure13 is shapeI Ami7b5 in measure14 is shapeV
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3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
D7 in measure14 is shapeIII GMajT in measure15 is shapeI AmiT in measure17 is shapeV D7 in measure18 is shapeIII GMajT in measure19 is shapeI Fflmi7 in measure21 is shapeI 87 in measure22 is shapeIV EMajT in measure23 is shapeIII C7il5 in measure24 is shapeI FmiT in measure25 is shapeIV BbmiT in measure26 is shapeII Eb7 in measure27 is shapeV AbMajT in measure28 is shapeIII DbMajT in measure29 is shapeI DbmiT in measure30 is shapeI CmiT in measure3l is shapeI B'7 in measure32 is shapeI BbmiT in measure33 is shapeI Eb7 in measure34 is shapeIII AbMajT in measure35 is shapeI
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exciting possibilities.super-imposition uper_impositionof arpeggiosopens a whole world of an EmiT over a CMajT' Using a II V meansplaying differentarpeggiosover a given chord,e'g", ideas' I progressionas an example,here are someof my favorite a Dmig sound. I then move up a minor In Example 12, luse an FMajT arpeggioover a DmiT to create and 11 sound' 3rd and play an Abmaj7over a G7 to createa G7 with ab9,b13
upin MinorThirds@ No'21 Exampfe 12 C Maior7 Arpeggio 67
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G7 and then use a GMajT over the CMajT In Example 13, I use the sameideasover the DmiT and that in this example,Iam usingMajT arpeggios g, which createsacMzjl with a fi 11and l3 sound.Notice over eachchord!
@ No'22 Example {3 3 Maior7 Arpeggios DmiT
67
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a G7 with ab9bl3 il9 sound' In ExamPle14,I usean Abmg over a G7 which creates
@ No.23 ArPeggios Example 14 3 Attered DmiT
67
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n Example 15, I usean EmiT arpeggioover the CMajT which createsa CMajg sound.
Example {5 @ No.24 DmiT
Curu7
In Example 16,I use l6th notesto play a compoundideaover the G7 chord (compoundmeaningtwo ideasat once)- first an Abmi6 (or Fmi7b5)is usedand for the last beatof the measurean Abmig is used.
Example {6 3 Compound Arpeggios @ No.25 DmiT
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In Example17,I usea Bmi7b5arpeggioover the DmiT to createa Dmi6 soundand a Dmi7b5 over the G7 to createa G7 soundwith an l1 and a b9. Over the CMajT I usean Amig arpeggiowhich creates a CMaj l3 sound.
Example 17 @ No.26 DmiT
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@ No.27 Arpeggios Example {8 C Diatonic Cmi t-4j
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In Example 19, I move diatonicallythrough the key of Bb Major (C Dorian) using Cmi7, Dmi7, ElMajT and F7 arpeggiosin ascendingand descendingorder'
@ No.28 Arpeggios Example {9 ) Diatonic
In Example 20,luse Csus4and Cilsus4over a Cmi vamp to createnice tension.I startthe Cilsus4at the end of the Csus4phrase(beat4) which givesa senseof rhythmic anticipation,too.
@ No.29 Arpeggios Example 20 3 lnside/Oufside CmiT -
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Example 21 3 lnside/Oufside Arpeggios @ No.J0 CmiT
Example 22 utllizes more poly-tonality (several different chordal ideas applied over one chord). MeasureI movesfrom Csus4to Ebsus4and measure2 movesfrom Dsus4to Cfisus4and resolvesfinally to Csus4.
Example 212 3 Poly-Tonality @ No.Jl CmiT
Starting with Example 23 we will use a G7 vamp to try different arpeggiatedideas. I start with a Bmi7r5 in Example23 which createsa G9 sound.
Exampfe 23 3 DiatonicArpeggios @ No.J2
o d v o n c e od r P e Q Q i o- s glllll3), n Example 24,I use a Dmig in measureI (G7 3 and4' aG7 9 lllll3 sound)anda Bmi7b5in measures
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an Amig in measure2 (also creates
33 @t'Jo. Arpeggios 3 Diatonic
67
(G7 glllll3 sound),a Bmi7b5 In Example 25,I use a descendingFMajT arpeggioin measure| arpeggioin measure2, andan FMajT arpeggioagain in measure3.
@ No.34 Arpeggios Example 25 3 Diatonic 67
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of this book' In Example26,wecomefull circle to the triad arpeggiosthat we learnedin the beginning an E triad over a G] (G13b9sound)!! Only now I am super-imposing
35 @t'Jo. subsfifufions Triadic Example 26 ? Poty-tonat 67
tudy of scalesand chordsprovidethe industriousstudentwith ampleopportunityto be creative. As an example,hereis a pretty chord voicing that I like:
ffi5fr
x 2 x3 x 1
This couldbe thoughtof as manypossiblechords(EbMajTf11,A7sus4/Eb,F13,Dmillbg, etc.). If I makean arpeggioout of eachnotein the chordwe get: Eb, G, A, D. (Note: This is similarto the Maj7fi I I "grip" minusone note.) This givesus a nice arpeggiogrip to play over any of the aforementioned chords.SeeExample27.
Example 27 Q No.36
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Another techniquefor creating arpeggiosis to make chordal clustersfrom scales.For instance, supposewe takethesenotesfrom a G Major scale: 1,2,5,6 (G, A, D andE). This createsa G6 chord.but hasmany otherapplications(Emi7,Dsus4,A7sus4,BbMajl3fill, etc.).SeeExample28.
Example 28 @ No.37
e p i l o q u ev
andcontinueto makeup fresharpeggios: n fa n e canextendthis ideato any otherscales
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canbe used In Example 2g lhavetaken1,b3,4 and7from thec melodicminorscale thisarpeggio andothers'Explore! EbMaj7fr5, overCmi(Maj7),B7bgb5,F7$5,
Example 29 @ No.38
chord types: Maj7, Finally, to generatefresh ideas,take any chord and start with the three essential arpeggiosto use' Dom.7, and Min.7. Applying all l2keys to thesechord typeswe get 36 different this chord, eight chords For example,lets take an A7 chord. If I apply all lLMaj7 chord types against chord so I've omitted them' will be useable- the other four chordshave a Gil in them which violatesthe A7 FMaj7,GbMajTandGMajT' The eighruseablechordsare: BbMajT,BMajT,CMaj7,DMaj7, EbMajT, hasthesenotes:Bb' D' My favoritesareBbM ajl,cMajl, DMajT and GMaj7. we seethat a BbMajT G' B createsan A7il9'h9sound' F, A which createAl1, il5, b9 sound. The CMajT with thesenotes: C' E' glllll3 soundthat wasfavoredby wes The DMajT createsanA add4+6 sound. The GMajT createsanA1 Montgomery. (the chord we are playing over), you By mixing and matching thesearpeggioswith an A7 arpeggio can createa nice senseof color. see Examples30, 31,32 and 33.
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"Rising Star"in DownBeat's2003CriticsPoll, sheis alsothe only imi Fox is at the peakof her career.Named "66 Hot 6-Stringers:DownBeat'sLook at the Guitarists womanprofiled in that magazine'sspecialfeature, "66 MakingToday'sScene,"which presents guitaristsin the worldsof jazz, bluesandbeyondwhosework is innovating,invigorating and perpetuatingthe guitar tradition." From virtuoso solo guitar to performancesof her original music with orchestra,Mimi truly does it all. She has performedwith fellow guitaristsCharlie Byrd and Charlie Hunter, as well as with the Grammy award winner David Sanchez, saxophonistDon t anphere,ManhattanTransfer'sJanis Siegel, and the German Hammond 83 organ phenomenonBarbara Dennerlien,among many others. She has sharedthe 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,including Orchestra Sonoma, performing her original scores.Fox hascomposedmusic for theaterand film, and has beenfeaturedon a numberof television showssuchas BEf 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; BluesAlley in Washington,D.C.; Jazz Alley in Seattle;andYoshi's,the GreatAmericanMusic Hall, and Kimball'sEastin the San Franciscoarea.She is a favorite at jazz and music festivals such as the Jazz on the Water Festival,The GuinnessCork Ireland Jazz Festival,the Britt Festival,the Dominican Republic JazzFestival,The San Francisco& San JoseJazz Festivals, The perth InternationalJazz Festival, Bumbershoot,PortTownsend, and Monterey lazz Festivals.Phil Elwood, dean of the "Outstandingperformer?From the galaxy of stars atthe JazzFest,guitarist Mimi San Franciscomusic critics, singled her out: Fox came acrossas the brightest." Newly signedto guitarist SteveVai'sFavoredNations recordlabel, shejust finished recordinga new CD to be released in March of Z14.Focusing on Mimi's original compositions,it featureslegendarybassistRay Drummond and runs the gamut from blazing be-bop to greasyblues and beautiful ballads. Her most recently releasedrecording,Standards(Origin Records),is a solo guitar tour de force and has receivedrave "This may be the finest solo jazz guitar playing I reviews including one from Jim Josselynin CadenceMagazine who said, "a fiery virtuoso" in Just Jau Guitar magazine,and said,"This is jazz guitar haveever heard."CharlesChapmancalled Mimi at its best." Kick, her secondCD as a leader,showcasedher extraordinarysoloing and featuredspecialguestsJoey DeFrancesco on organ,keyboardistRussellFerrante,drummer Will Kennedy,and guitarist Charlie Hunter.Kicfrsquickly rose to fifth place on jazz radio chartsand number20 on Billboard jazz charts.Allaboudazz.comawarded Kicksfour starsout of four and raved, 'This is a stronglymelodiccollection,andone thatswingsout stylishly...Mimi Fox is a majortalent...stronglyrecommended'" Bom in New York City, shestartedplaying drumsat nine,and then guitarwhen shewas ten. Shewas inspiredby the wide variety of music enjoyedby her family-show tunes,classical,Dixieland,Motown-and her own youthful inclination "becauseit was on sale." The one shc toward pop, folk, and R&B. When she was fourteen, she bought her first jazz album "blown away" by it. That album, John Coltrane'sclassicGiant Steps,changedthe course chosehad no guitarist, but she was of her musicallife. She began touring right out of high school and eventually moved to San Francisco in 1979, where she becamea sought-aftermusician. She is Chair of the Guitar Departmentat the innovative Jazzschoolin Berkeley, California' and has appeared:rs guestclinician at the University of SouthernCalifornia, Musician's Institute of Technology,CalArts, University of Connecticut,Universiryof Oregon,the Britt Music Festival,and others. Mimi Fox, fleet-fingeredon both steelstring acousticand hollow body jazz guitars,is a compelling musician,prolific composer,talentedalranger,inspired teacher,and dynamic leaderof her own band.
34
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Photographer: David Belove
35
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