SMG Arpeggio Compendium-Complete Book for Guitar
March 28, 2017 | Author: mister88s | Category: N/A
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Introduction This book is designed to aid the guitarist in the development of arpeggio technique. Fingerings, strings, slurs (“hammer-ons” and “pull-offs”), and pick strokes have been included in the examples, and it is suggested that they be played on all twelve tonics. These exercises begin with triad arpeggios and progress to more elaborate and complex structures (9ths, 11ths, 13ths, etc…). The material may be approached in any way desired, be it chronologically or by skipping around. It is my intent that these studies serve to develop one’s musical concept in the following ways: instrumental technique, tone production, musicianship/ear training, improvisation, composition, etc. In short, it is hoped that these examples will promote, encourage, and inspire musical action. Although this text is geared primarily towards the pick-style (plectrum) guitarist, fingerstylists can benefit greatly as well and are encouraged to substitute their own right hand combinations for the down and up strokes given. Attention has been given to include a wide variety of fingering and picking schemes to serve as models for any/all other individual musical creations. These pages are offered to be included into the guitar’s large and exalted literature. Scott McGill 10 August 2007
With Gratitude Maestro Dennis Sandole and Tom Giacabetti. Barry Cleveland and Vincent DeMasi from Guitar Player Magazine. Anders Lazaret for the brilliant cover art. A special thanks to Josh Sager for friendship, encouragement, and his many sacrifices involved in making this book a reality.
With love to Meredith and Declan
Glossary of Terms Picking hand
= downstroke of pick = upstroke of pick
Fretting Hand
1 = Index Finger 2 = Middle Finger 3 = Ring Finger 4 = Pinky Finger
= Slur (“Hammer-on” or “Pull-off”) = Low E String = A String = D String = G String = B String = High E String
Topics Two- and Three-Octave Arpeggios Major, Minor, Augmented, Diminished, Sus4, 6ths, 7ths, 9ths, 11ths, 13ths
Scales Derived From Arpeggios Arpeggios on Scales (Permutations) Octave Displacement
Arpeggios (Two Notes per String) Single-String Arpeggios, Diatonic Cycles (Triads, 7ths, 9ths, 11ths, 13ths), Overlaps, Variants
Position Studies Major and Minor Tonalities with Permutations, Combined Minor Scales
Open-String Arpeggios, Arpeggios with Harmonics Triad Inversion Arpeggios Exotic and Synthetic Scales Polytonal Arpeggios 2, 3, 4 Triads with Inversions, 2, 3 7th Chords and Alterations, Twelve-Tone Arpeggios, Articulations
Quartal Arpeggios Triads, Diatonic, Alteration, 4-, 5-, 6-Note, Polytonal 4th Chord Arpeggios, Inversions, 12-Tone 4th Chord Arpeggios, Inversions, Octave Displacement
Scott McGill's Biography Proclaimed “The Thinking Man’s Yngwie Malmsteen” by celebrated jazz-fusion author and critic, Bill Milkowski, Scott McGill has been a guitarist, recording artist, and educator for 27 years. At the age of 19, he played lead guitar for RCA recording artist, Robert Hazard (“Girls Just Want to Have Fun”) and went on to receive his B.M. in Jazz Performance at Temple University, graduating Summa Cum Laude. He continued his studies for the next ten years with legendary jazz/avant-garde composer Dennis Sandole, who also trained jazz greats John Coltrane, Pat Martino, and James Moody, among others. Scott’s international recording career has spanned the last ten years, performing as both a solo artist and a member of such bands as The Hand Farm, Finneus Gauge, McGill Manring Stevens, and FreakZoid; he has also served as a guest guitarist on many other recordings. He has toured and/or recorded with such noted artists as Jordan Rudess (Dream Theater), Michael Manring (Michael Hedges), and Percy Jones (Brand X, Tunnels), along with producers Neil Kernon (Queensryche, Mahavishnu Orchestra) and David Torn (Jeff Beck, David Bowie). Today he is a musician, performer, and much sought-after teacher and clinician in guitar technique and improvisation. He is a Senior Lecturer in Jazz Guitar and an ensemble director at the University of the Arts in Philadelphia, PA. He and his family currently reside in southern New Jersey. For more information, please go to www.scottmcgill.com.
Arpeggios in Two Octaves Major
� � �
� 1
� � 4
Minor
� � � � �� � 1
Augmented
� � �
� 1
4
� �
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�
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2
3
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3
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2
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3
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4
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1
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4
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Diminished
� 1
Sus4
� � �
� 1
4
� � 4
� � � 2
3
1
� � � �
��
1
1
� � � 1
4
�� 3
� 1
��
�
��
� � � �
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
� �
� � � �
CMaj
� � �
Cmin
�� � �
CAug
�� � �
Cº
��� � �
Csus4
� �� 8
6th Chord Arpeggios � � �� �� �� � � � � � � � � � � � � � � � � � � � � � � � � � � �
C6
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Cm6
Maj 6
� � � 4
3 2
1
3
3
� � 2
1
� 1
3 4
Min 6
� 1
4
� � 3
1
1
4
� � 3
1
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
� � � �
� �� � �
9
7th Chord Arpeggios � �� � � � � � � � � � �� � � � � � � � � � � � � � � � � � � � � �
Maj 7
� � � 3
2
1
3
� � �
4
3
2
1
�
2
1 4
� � � � �� �� � �� � � � � � � � � � � �� � � � �� � � � � �� � � � �� � �� �
min 7 (version 1)
� 1
4
� � 3
1
�
3
1
� �
4
3
1
� � � � �� �� ��� � � � � � � � � � � �� � � �� � � � � � � � � � �� � � �� �
min 7 (version 2)
� 1
4
� � 3
1
1
3
� � 2
1
3
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Dom 7 (version 1)
� 1
4
� � 2
1
4
� � � 3
2
1
2
� � � � � � �� �� ��� � � � � � � � � � �� � � � � � �� � � � � � � � � �
CMaj7
� � � �
Cm7
�� �� � �
Cm7
�� �� � �
C7
�� � � �
Dom 7 (version 2)
� 1
4
� � 2
1
1
4
� � 2
1
3
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
C7
�� � � � 10
� �� � � � � � � � � � � � � � �� �� �� � � � �� ��� �� �� � � �� � � �� � � �� �
min 7b5
� � � � dim 7 � � � � �� �� ��� � � � � � � � � � �� �� � � � � � �� � � � � � �� �� � �� �� � �
� 1
� 1
4
4
2
1
� � 2
1
3
1
1
4
4
2
4
� � 2
1
4
Cm7b5
� ���� � � Cº7
� ���� � �
� � � � � � � � � � ��� �� � � � ��� ��� � � � � � � � � � � �� � �� �� � �
Cº/Maj7
� � � � � � � � � � � � �� � � � � � � �� �� � � � � � � � � � � � � � � �
C7sus4
dim/Maj 7
� � � �� � � � 4
2
1
1
4
2
1
1
2
Dom 7sus4
� � � 3
4
1
1
3
� � 4
1
4
� 2
� � � � �� �� �� � � � � � � � � � � �� � �� � � � � � � �� � � � �� � �
Maj 7b5
� � � � � � � � 4
3
1
1
4
3
1
1
2
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
� ��� � �
�� � � �
CMaj7b5
�� � � �
11
� � �� �� �� � � � � � � � � � �� �� � � �� � �� � � � � � � �� �� � �
Maj 7#5
� � � � 4
3
2
1
2
� � 3
1
3
4
CMaj7#5
�� � � �
� �� � � � � � � � � ��� � � � � � � �� ��� � � � � � � � �� � � �� �
Cm/Maj7
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Cm7#5
min/Maj 7
� 1
4
� � 3
2
3 2
� � 1
1
4
� 1
min 7#5
� 1
3
� � 4
1
1
3
� � 4
1
3 4
� � �� �� � �� � � � � � � � � � � � �� � � � �� � �� �� �� � � � � �� � � �
Dom 7b5
� 1
4
� � 2
1
3
� � 2
1
4
� 1
� � � � �� �� � �� � � � � � � � � � �� � � � �� � �� � � �� �� � � � �� � �
Dom 7#5
� 1
4
� � 3
1
1
4
� � 3
1
3
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
� � �� �
� ���� � �
C7b5
��� � � �
C7#5
��� � � �
12
9th Chord Arpeggios � � � �� �� �� �� � � � � � � � �� �� � � � � �� �� � � � � � � � � � � �
Maj 9
� 1
4
� � 2
1
4
� � �
4
3
2
1
2
4
CMaj9
� � � � �
� � �� �� � � � � � � � � � � � � � � � � � � � � � � �� � � � � �� � � � � � � � �� � � �� � ��� � � �
Cm9
min 9
� 1
3
� � 2
1
4
1
3
� � 2
1
3
4
� � � �� �� �� � �� � � � � � � � � � � � � � �� �� �� � � � �� � �� � � � � � �� � � � � �
Dom 9
� 1
C9
4
� � 2
1
4
1
4
� � 2
1
3
4
� � � � � � � �� �� �� � �� � � � � � � � � � �� � � � � �� �� � � �� �� � � � � � �� � � �� �
min 9b5
� 1
4
� � 2
1
4
3
� 1
3
� 1
3
4
Cm9b5
� ���� � � �
� � ��� �� �� � �� � � � � � � � �� �� � �� � � � � �� � �� �� � �� �� �� � � � �� �� �� � �� � � � � �
Cm9#5
min 9#5
� 1
3
� � 4
1
4
1
3
� � 4
1
3
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
13
� � � � � � ������ �� �� � �� ��� � � � � � � � � � � � � � � �� � � �� �� �� � � � � � � � ��
dim 9
� 1
4
�� � � 2
1
1
1
� � 2
4
� � 1
4
1
1
� � � � � � � �� � � � � � ��� ��� � � � � � � � � �� �� � � � � � �� � � �� �� � � � �� �
dim/Maj 9 (version 1)
� 1
4
�� � � � �� 2
3
4
1
2
1
2
1
4
dim/Maj 9 (version 2)
� � � � � � � � ��� ��� �� � � �� ��� ��� � � � � � � � � � �� � �� �� � � � �� � � � �� � 4
2
1
1
� � �� 4
3
2
1
1
2
4
� � �� � � � � � � � � � � � � � � � � �� � � � � � � � � � � �� � � �� � � � � � � �
Dom 9sus4
� 1
1
� � �� � �� 3
1
4
1
1
3
3
1
4
� � � � � � � � � � ��� � � � �� ��� � � � � � � � � � � � � �� � � � � � �� � � �
Maj 9b5
� � � � 4
3 2
1
1
3
��� � 4
3
1
1
2
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
Cº9
� ���� � � � Cº/Maj9
� � � ��� � Cº/Maj9
� � � � �� �
C9sus4
�� � � � �
CMaj9b5
� � �� � �
14
� � � � � � �� �� �� �� � � � � � � � � � � � � � � � � � � � �� � � � �� � � � � �
Maj 9#5 (version 1)
� 1
4
� � 3
1
4
1
4
� � 3
2
3
� � 1
2
CMaj9#5
� � �� � �
� � � � � � �� �� �� �� � � � � � � � � � � � � � � � � � � � �� � � � �� � � � � �
CMaj9#5
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Cm/Maj9
� �� �� �� �� � � � � � � � � � � � � � �� � � � � � � � � � � � �� � � � � �� � �
Cm/Maj9
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C9b5
Maj 9#5 (version 2)
� 1
4
� � 3
1
4
2
�� 1
1
4
� 1
� � �� � �
2
min/Maj 9 (version 1)
� 1
4
� �� �� � � 3
2
1
4
1
2
1
2
4
min/Maj 9 (version 2)
� 1
3
� � 2
1
4
2
� � 1
1
4
� 1
2
Dom 9b5
� 1
4
� � 2
1
4
3
� � 2
1
4
� 1
3
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
� � � 1
2
3
1
� 2
� � �� � �
� � �� � �
� ��� � � �
15
� � �� � � � � � � � � � � �� � � � � � ��� �� � � � � � � � � �� �� � � � �� �� � � � �
Dom 9#5 (version 1)
� � 2
1
4
� 1
4
� � � � 4
3
2
2
1
4
� � � �� � � � � � � � � �� � � � � � ��� � � � � � � � � � � � �� � �� � � � � � �� �� � �
Dom 9#5 (version 2)
� 1
4
� � 3
1
4
1
4
� � 3
1
3
4
� � � �� � � � � � � � � � �� � � � � � � � � � � � � � � � �� � � �� � � � � � � �� � � �
Dom 7b9 (version 1)
� 1
4
� � 2
1
3
4
� ��
3
2
1
2
3
�� �
1
2
4
1
� 2
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Dom 7b9 (version 2)
� 1
4
� � 2
1
3
1
4
� � 2
1
3
4
� � � � � �� � � � � � � � � � � � � � � �� �� � � � � � � � �� �� � � � � �� �� � � � �
Dom 7#9 (version 1)
� 1
4
� � � � � � 2
1
1
3
2
1
3
� 1
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
C9#5
� ��� � � � C9#5
� ��� � � � C7b9
��� � � � � C7b9
��� � � � �
C7#9
��� � � � �
16
� � � � � � � � � � � � � � � � � � � � � � � �� �� � � � � � � � �� �� � � � � � �� �� � � �
Dom 7#9 (version 2)
� 1
4
� � 2
1
1
1
4
� � 2
1
�
3
1
� � � � �� � � � � � � � � � � � �� � � � � � � � � � � � � � � � � � �� �� � � �� �� �� � � � � �
Dom 7b9b5 (version 1)
� 1
4
� � 3
1
4
3
� � 2
1
4
� 1
2
� � � 1
2
3
1
� 2
� � �� � �� � � � � � � � � � � � � � � �� � � � � � � � � � � � �� �� � � � �� �� �� � �� � �
Dom 7b9b5 (version 2)
� � 2
1
3
� 1
4
2
� 1
3
� 1
3
4
� � �� � �� � � � � � � � � � � � � � � �� � � � � � � � � � � �� �� � �� � � � �� �� �� � � �
Dom7b9#5
� � 2
1
4
� 1
3
2
� 1
4
� 1
3
4
� � � � � � � �� � �� � � � � � � � � � � � � � � � � � � � � � � �� �� � �� � � � � � �� �� �� �
Dom 7#9b5
� 1
4
� �� �� 2
1
1
2
1
3
� 1
2
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
C7#9
��� � � � �
C7b9b5
� ���� � � �
C7b9b5
� ���� � � � C7b9#5
� ���� � � �
C7#9b5
� ���� � � �
17
� � � � � � � �� � �� � � � �� � � �� � � � � � � � � � � � � � � �� �� � � � � � � � �� �� � � �
Dom 7#9#5
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4
� � � � �� 3
1
1
2
1
1
3
� 1
4
� 3
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Maj 6/9
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4
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4
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1
4
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1
3
4
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min 6/9
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4
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1
1
1
4
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1
4
� 1
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
C7#9#5
� ���� � � � CMaj%
� � � � �
Cm%
�� �� � �
18
11th Chord Arpeggios � � � � � � �� �� �� � �� �� �� � � � � � � � � ��� �� � � � � �� � � � � � � � � � � � � � �
CMaj9#11
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Cm11
Maj 9#11
� � 2
1
4
� � 3 2
1
� � �
4
3
2
4
1
� 1
3
4
min 11
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1
4
� �� � � � �
2
1
4
1
4
3
2
1
3
4
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Dom 11
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3
1
3
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1
4
3
2
1
1
3
4
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min 11b5
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1
4
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2
1
4
3
2
1
1
2
4
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min 11#5
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1
1
2
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4
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1
2
4
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2
4
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dim 11
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4
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1
1
3
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4
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1
1
2
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
�� � � � � �
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C11
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Cm11#5
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Cº11
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dim/Maj 11
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4
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3
1
4
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4
3
1
2
4
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Maj 9#11#5
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1
4
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1
4
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1
1
4
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4
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min/Maj 11
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1
4
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1
3
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1
1
4
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2
4
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Dom 11b5
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1
3
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1
4
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2
1
4
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3
4
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Dom 11#5
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OR:
2
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3
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1
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1
1
3
etc...
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3
4
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Dom 11b9
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1
4
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4
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1
4
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3
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
Cº/Maj11
� � � � �� � � CMaj9#11#5
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C11b5
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C11b9
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20
�� �� �� � �� � � � � � � � � �� � � �� � � � � � � �� � �� � � � � � � � �� �� � � � � � � �� � � � �
Dom 11#9
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4
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1
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3
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4
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1
1
2
3
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Dom 11b9b5
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3
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4
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4
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4
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Dom 11b9#5
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2
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1
3
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3
4
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4
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4
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4
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3
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Dom 9#11
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4
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1
1
4
3
2
1
1
2 3
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
C11#9
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� ��� � � � � C11b9#5
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C11#9b5
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C11#9#5
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C9#11
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21
� �� � �� �� � � � �� �� � � � � � � � � ��� � � ��� � � � � � � �� �� � �� � � � � � � �� � � �� �� �� � � �
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2
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2
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1
2
1
1
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2
4
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Dom 7b9#11
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4
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1
3
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1
4
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1
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4
1
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Dom 7#9#11
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4
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1
1
3
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4
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1
1
2
4
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1
4
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1
4
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1
1
3
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2
4
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4
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1
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4
3
2
1
3
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4
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The Guitar Arpeggio Compendium — Two-Octave Arpeggios
C9#11#5
�� ��� � � � �
C7b9#11
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C7#9#11
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C7#9#11#5
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C7b9#11#5
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22
13th Chord Arpeggios � �� �� � �� �� � � � � � � � � �� �� � � �� ��� � � � � � � ��� �� � �� �� � � � � � � � � � � � � � � � � �
Maj 13#11
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1
4
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1
1
4
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4
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3 2
1
1
2
4
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min 13
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3
�� 2
1
4
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4
� 1
3
� � 2
1
4
� 1
2
4
� � �� �� �� �� � � �� � � � � � �� � � � � �� � � � � � � � � � � �� � �� � �� � �� �� � � � � � �� � � � � � �� � �
Dom 13
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3
1
4
� �� � � �� 3
2
1
4
3
2
1
4
1
2
4
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min 13b5
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1
3 4
4
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2
1
4
2
1
1
4
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2
4
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min 13#5
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1
1
4
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2
1
4
2
3
1
4
1
3
4
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dim b13
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1
4
2
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1
4
1
4
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1
1
1
2
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
CMaj13#11
� �� � � � � �
Cmin13
� � � �� � �� �
C13
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Cm13b5
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Cm13#5
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Cºb13
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23
� � �� �� �� �� � � � � �� ��� � � �� �� � � � � � � � � � �� �� �� � ��� ��� � �� � � � � � �� �� � �� �� � �
dim/Maj 13
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2
1
1
3
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2
4
2
1
1
4
1
2
4
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Maj 13#11#5
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4
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1
4
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4
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4
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2
1
1
3
4
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min/Maj 13
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1
4
4
� � 2
1
4
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2
1
1
4
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2 3
4
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Dom 13b5
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4
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1
4
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4
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1
4
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2
4
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Dom 13#5
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2
1
3
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1
4
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4
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1
4
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3
4
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Dom 13b9
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1
4
� �� 2
1
1
4
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4
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1
4
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2 3
4
The Guitar Arpeggio Compendium — Two-Octave Arpeggios
Cº/Maj13
� � � � � � �� �
CMaj13#11#5
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Cm/Maj13
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C13b5
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C13#5
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C13b9
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24
� �� �� �� � �� � � � � � � �� �� � � �� �� � � � � � � � � � ��� �� �� �� �� �� � � � � �� �� � � � �� � � � �
Dom 13#9
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1
4
2
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1
4
1
4
2
1
1
1
2
4
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4
3
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Dom 13b9b5
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1
3
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1
1
4
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2
1
4
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1
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4
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Dom 13b9#5
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4
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1
3
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4
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4
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1
4
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3
4
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Dom 13#9#5
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1
4
3
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1
4
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4
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1
3
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The Guitar Arpeggio Compendium — Two-Octave Arpeggios
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27
Arpeggios In Three Octaves � � � � � � �� � � � �� � � � � � � � � � � �� �� � � � � � � � � � � � � � � � � � � � Major
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
28
Sixth Chord Arpeggios � �� �� �� �� � � � � � � � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � Maj 6 (version 1)
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
29
Seventh Chord Arpeggios � � �� �� � �� �� � � � � � � � � �� ��� � � � � � � � � � � � � � � �� � � � � � � � �� � � � � � � � � Maj 7
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
30
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
31
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
32
9th Chord Arpeggios � � � � � � � � � � � �� � � � � � � � � � � � � � � ��� � � � � � � � � � � � � ��� � � �� ���� � � � � � � �� � � � � �� � Maj 9
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
33
Gº9 � �� �� � �� � � � � � � � � � �� � � �� � �� � � �� ��� � � � � � � � � �� � � � � � � ��� ��� � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ��
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
34
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
35
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
36
� �� �� � � � � �� � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� � � ��� � � � � � � � � � � � ���� � � �� � � ��
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
�
� � � � � �
37
11th Chord Arpeggios � �� � �� �� � � � � � �� �� � �� �� � � � � � � � � �� � � � ���� � � �� �� � � � ��� � � � ��
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
� � 4
1
1
38
� � �� �� �� � � � � � ��� ��� �� � � � ��� � �� � � � � � � � �� ���� ��� � � �� � � � � � � � � � � �� � � ���� � �� � � �� � �� � � �� � � �� � � � � ��
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
39
Gm/Maj11 � � �� �� �� � � � � � � � � � � � ��� � � �� � �� �� � � �� �� � � �� � � � � � �� � � � � � �� � � �� ��� � � �� �� � � � � � � � � � � � � � � �� � �� � � � � � � �
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
40
G11b9b5 � �� �� � �� � � � � � � � � � �� �� � �� � �� � � � � � � � � �� � � � ��� � � � � � ��� � � � � � �� � ���� � � � � �� � � � � � � � � �� � �� � � � � �� � � � � �
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The Guitar Arpeggio Compendium — Three-Octave Arpeggios
41
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1
4
� � � G7b9#11 � � � � �� � � �� � �� �� � � � � �� �� � ��� � �� � �� �� � � � � � � � � � �� � � � � � � ���� � � �� �� � �� � � � � � � � � � � � � � � � � � � � � � � � � �
Dom 7b9#11
�� 2
1
4 3
� � � �� � � � �� 1
1
4 3
1
2
1
1
2 3 1 4
1
3
4
�� � G7#9#11 � � � � � � � � � � � �� � ��� � ��� �� � �� � � � � � �� � �� � � � � � � � � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
Dom 7#9#11
� �� � � � � � ��� 1
4
2 1
1
3
1 4
2
1
1
4
2 3 1
4
1
2
4
The Guitar Arpeggio Compendium — Three-Octave Arpeggios
42
� � �� � �� � � � � � � � � � � �� � ��� � � ��� �� ��� � � � � � � � � � � � � � �� � � �� � � �� ��� � � ��� � � � � � �� � � � � �� � � �� � �� � � �� � � ��
Dom 7b9#11#5
�� 2
1
4 3
G7b9#11#5
� � �� � � � �� � 1
1
3 2
1
2
1
1
2 3
1
4
1
3
4
�� � � �� � � � �
� �� � �� � �� � � � � � ��� � ��� � �� � �� � �� ��� � � � � �� � � �� � � � � � � � � � � � � � � � ��� � � �� �� � �� �� � � �� � �� �� � � � �� � � � �
Dom 7#9#11#5
� �� � � � � � �� � 1
4
3 1
1
3
1 4
3
1
1
4
2 3
1
4
1
2
4
G7#9#11#5
���� � � � � � �
The Guitar Arpeggio Compendium — Three-Octave Arpeggios
43
13th Chord Arpeggios Three octave arpeggios based on the chords of the 13th have been omitted because of practical range limitations, although some are possible, for example:
� �� ������ � � � � � ����� � � � �� � � � � � �� �� � � ��� � � � �� � � � �� � � � � � � � � � � � � � � � � � � � �� �� �� � � ����� ���� � � � � � ��� ���� � ���� ��� � � ��� � �� ���
Emaj13#11
� � � � �� �� � � � � 0
4 2
1
2
1
4 2
1 4
3
2
1
4 1
3 2
1
4
1 2
4
The Guitar Arpeggio Compendium — Three-Octave Arpeggios
44
Scales Derived From Arpeggios All arpeggios can be arranged stepwise to form a scale:
� � � � � � � � � �
�� � �� � � � � � ��
� � ��� � � � �
Dom13b9
C13b9
C13b9
This procedure can be applied to any arpeggio. Explore all possibilities. Since all alteration possibilities are not shown because of space, the student is encouraged to alter and extend all examples to their limitations.
� � � � � �� � � �� �� �� � � �� �� � � �� � � � � � � �� � �� � � ���� � ��� �� �� ���� � 4
3
2
1
1
4
3
2
1
1 2
4
CMaj7#9 (pentatonic)
CMaj7#9
Maj 7#9
� ��� � � � ��
�� � � � �
1
Alter all major, minor, augmented, and diminished arpeggios. Extend to the range of your instrument. Cºb13b9
Cºb13b9
��� � � � � ��� � � �
dim b13b9
� � �� � � � � ��
� � �� �� � � � �� 3
1
��
�
4
2
1
1
4
� 1
4
� � � � � ��
� � � 3
�
��
� � � � � ��
�� � �
��
2
1
1
2
4
��
��
� � � � � � � � ��
� ��
�� �� �
The Guitar Arpeggio Compendium — Scales Derived from Arpeggios
45
Arpeggios On Scales (Permutations) An arpeggio of a scale can be formed by arranging the scale in order of every other note. Major
� �
�
�
� � ��
�
�
�
Arpeggio
�
�
�
�
�
� /� 0
�
Perform the arpeggio starting on every 'C' note on the fingerboard, using all four fingers as a starting point. Play ascending and descending utilizing consecutive right-hand pickstrokes where necessary.
�
�� � ��
�� �� � � � 4
3
1
4
2
1
�� � ��
�� �� � � �
4
3
2
1
4
3
2
�� ��
1
2
1
�� � ��
��
4
3
1
3
� 4
The higher strings (D, G, B, E) usually require shifting:
� � � � � � � �
� � � � 3
4
2
1
4
1
4
1
1
4
� 1
1
The high 'E' string requires octave displacement:
�
� � 1
�
�
� 4
1
4
�
� 1
� 4
�
�
�
�
�
0
�
3
�
�
1
4
1
4
3
� �
4
1
4
4
1
2
1
4
1
2
� � � � � � �
� � � � � � �
� �
�� � �� �� � �� ��
1
4
� 4
1
4
� 1
Start on every finger, every string, on all 'C' notes on the fingerboard. Apply every string/ every finger concept to all arpeggios covered thus far. C7b9#11
�� �� �� � � � � � � � �� � � � � � � 1
4
2
1
4
1
�� �� �� �� �� � � �� �� �� � � 2
The Guitar Arpeggio Compendium — Arpeggios on Scales
1
4
2
1
4
46
�� �� �� � � � � � � � � � � � � � � � � 3
2
1
3
1
2
The Guitar Arpeggio Compendium —Arpeggios on Scales
�� �� �� � � � � � � � � � � � � �� � 4
3
2
1
3
4
47
More fingerings can be generated by starting on a given note, shifting to the next note in the arpeggio on the string as the first, and then completing the series in the new position.
� � � � � � � � � � � �
Apply to all previous fingerings. Apply shifting principle to 2nd, 3rd, 4th, 5th, 6th, & 7th note 3 3 1 4 1 4 1 in arpeggio. Octave displacement creates new melodic possibilities either by isolating one note at a time for displacement:
�
������� � � � �
� �� �� � 2
1
3
4
1
4
1
� � � ��� � � � � � � � �� ��� �
�
1
2
3
4
1
2
4
Or, by dropping the notes in sequential order:
������ � ��� � ��� �� �� � 2
1
4
3
1
4
� � �� � ��� � � � �� �� ��� � 1
2
1
Octave displacement example on higher strings:
�
�
� 1
� 4
�
� 1
�
�
� 2
4
�
� 1
�
3
4
�
�
1
2
�
1
�
�
�
4
Apply octave displacement principles to all previous examples.
Octave displacement applied to scale so that arpeggio ascends but notes descend.
�
�
� 1
� 4
�
� 1
� 4
�
� 1
� 4
� � 1
The Guitar Arpeggio Compendium — Arpeggios on Scales
�
� 4
� 1
�
� 4
� 1
�
� 4
� 1
48
Two Notes Per String � � � � ��� � � ��
� � � � �� �� � � � � 1
4
1
4
1
1
2
4
3
1
4
�
�
3 4
1 1
1 1
�
4 4
�
3 4
1 1
�
4 4
2 1
1
1
� 1
4
� 1
4
4
��� ����� � � � � � 1 1
4 4
1 1
�
4
Apply principles to a single string:
����� � � � ����� 4 4
1
4
Overlap using two per string:
1 1
� � � � � ��
With shifts:
Then with one note:
Start with two notes:
4 4
2 1
4 4
4
1
1 1
4 4
1 1
3 4
1 1
4 4
Exhaust all possibilities - use octave displacement. The arpeggio can be played as a series of triads using an overlap principle. Descending:
� � � �� �� �� � � �
Apply principles to a single string:
� �� �� �� � � � � � � � � � ����������� �
�� ��� �� �� ��� ��� ��� ��� 4
3
1
4
2
1
4
3
1
4
2
1
3
2
1
3
1
2
3
1
4
Descending:
� � � � � � � � �� � � � � �
� � �� ���� � � � � � � � � � � � �������� � �� 2
1
4
�� 2
1
4
�� 2
1
�� 2
4
1
�� 2
4
1
�� 1
4
1
�� 1
2
4
Descending:
4
�� �� � ���� � � � � � � � � � � �������� � � 1
4
� � 2
1
4
� � 3
1
4
� � 2
1
4
�� 2
1
4
� � 2
The Guitar Arpeggio Compendium —Arpeggios on Scales
1
4
�� 3
1
4
� � � � � � � � �� �� � ��
� 2
49
Triad arpeggios across the neck in a diatonic cycle of 4ths (start on every scale degree):
� � � �� � �� � � � � � � � � � � � �� � � � � � � � � � � � � � ���� � � � �� � � �� �� �� �� � � �� �� �� � 2
1
4
1
2
4
1
3
2
4
1
4
1
2
4
2
1
4
2
1
4
2
1
4
1
1
4
3
1
4
�� ��� �� �� � � ��
etc...
� �� � � � � � �� �� � �� � � � � �� � � � � � � � � � � � � � � � � � � � � � etc... � � � � � � � � � � � 1
2
4
4
1
2
1
2
4
3
1
4
3
4
1
1
� � � � � � � � � � � � � � � � � � � � � �� � � � � � � � � � � � � � � � � etc... � � � � � � � � � � � � � 4
3
1
4
3
1
4
2
1
3
2
1
Explore other possibilities - employ combinations of picked and slurred notes. Experiment with 7th, 9th, 11th, and 13th arpeggios.
�
� � � 2
�
�
� 1
�
� 4
� �
� 2
� �
� 1
� � 4
��
� 2
� � 1
��
��
�
�
4
2
� � 1
��
� 4
Overlap principle on triad arpeggios:
� �� � � � � � � ��� � � � � ��� � � � � ������ � � � �
etc...
Apply all previous picking and fingering sequences. Overlap with 7th, 9th, 11th, and 13th arpeggios. The Guitar Arpeggio Compendium — Arpeggios on Scales
50
Extend arpeggios to the 7th on each degree (all fingers):
��� �� �� � ��� � �� ��� � � � � � � � � ���������� ��� ��� � ��� ����� �� � �� � � �� � �� � �� 1
4
2
1
1
4
3
1
4
1
2
1
2
1
4
1
2
3
4
2
Stretch:
� � � �� � �� � � � � � � � � � � � � � � � � � � � � ���� ����
� � � � � � � � � � � � � � � � � � � � � � ��� ��� 3
2
4
2
3
1
1
4
4
3
2
1
3
4
2
1
Two to a string:
� � � � � � � � � � � � � � � �������������� � � 1
4
1
4
�
1
4
1
� � 1
4 3
1 2
4
� 4
1
1
Extend to the 9th (all fingers):
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1
4
� � 2
1
4
� 1
4
�� 3
1
4
The Guitar Arpeggio Compendium —Arpeggios on Scales
� 1
4
�� 2
1
4
51
Variant:
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
�
� ��
4
1
2
3
1
���
�
��
�
���
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� 1
2
� �
��
4
3
1
2
1
4
2
1
2
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ��� 2
3
1
4
�
�
� 2
2
3
�� � � � � � � � � � ���� � � � � ���� � � � � ��� �� ���� �� � � � � � ����� � ��� �� ��� ����� ��
��� � 4
3
1
4
2
� 4
��� � 3
4
2
1
4
� � �� 4
3
2
1
4
Start 11th chord arpeggios on the 'A' string, then 'D' string, etc...
�� �� � � � � �� � �� �� � � � � � � � ���� ������ � � � ��� ����� �� � �� � 1 4 2 1 4 2
� �� �
� � � ��� � � � � � � ������ ���� � � �� ����� ���
� �� �
The Guitar Arpeggio Compendium — Arpeggios on Scales
1 4 3 2 1 4
� �� � 1 4 3 2 1 4
52
11th Chords (cont.):
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 2
1
4
3
1
4
Variant:
2
1
4
2
1
4
� � � � � � � � � � � � � � � � � � � �
� � � � � �� � �� � � � � � � � � � � � � � � � � � � � � � � � � � � �
� � � � �� � � � � � � � � � � � � � �
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
3
2
4
1
3
4
2
2
1
4
1
3
3
2
4
1
3
3
2
2
1
1
4
3
� 13th Chords: � � � � � � � � � � � � � � �
� � � � � � � � � � � � � � � � � � � � � � � � � � �
� 1
4
� � 2
1
3 4
� � 1
1 2
� 1
The Guitar Arpeggio Compendium —Arpeggios on Scales
4
� � 3
1
3
�� 4
1
53
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ��� �
Variant:
1
4
3
2
1
3
4
1
4
3
2
1
4
2
� � � � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� � �� � � � �� 2
1
4
3
2
1
4
2
1
4
3
2
1
4
� � � � � � � � � � � � � � � �� � ��
�� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ��
� � �� �� � � � � � � � � � � � �� � � �
� � � � � � � � � � � � � � � � � � � �
3
4
2
3
1
2
4
1
3
3
2
2
1
1
3
4
2
4
2
3
1
� � �� �� �� � � � � � � � � � � � � � � � � � � � � � � � � 3
Apply all previous principles. Explore all possibilities. The Guitar Arpeggio Compendium — Arpeggios on Scales
1
2
1
4
� 1
4
54
Triads may be placed on each degree of the scale. These are called "diatonic triads."
� � � � � � � � � � � � � � � � � � � � � � � � � Major:
C:
ii
I
iii
IV
V
vi
vii°
� � /�0 � � � � �
[I]
In a major tonality, the I, IV, and V degrees are major chords, the ii, iii, and vi chords are minor chords, and the vii is diminished. Play the triads as arpeggios utilizing all previous fingering and picking procedures. For example:
� �� � � � �� ������ � � � � � � �������� ��� � �� � � �� � � �� � � �� � 2 3
1 4
F
Em
Dm
C
4
1 4
1
3
2
Am
G
4
1
2 3
1 4
C
Bº
1 1 4
4
2 2
4
� ����� � ��� ��
��� � � � � ��� ��
� �� � ��
�� � � 2
1
1 4
4
3 1
4
1 2
2 4
1
Full-position studies:
� � �� � � � �� � � � � � � � � �� �� � � � � � � � �� � �� � � � � � � � �� � � � � �� � � � �� � � �� � ��� ���� � � ���� � ��� �� � � ���� � ��� �� 2
1
3
4
2
1
1
4
1
4
F
Em
Dm
C
1
1
3
2
4
1
1
4
3
2
1
1
1
4
4
1
1
2
3
2
4
1
�� � � � � � � � � � � �� � � � � �� � � � �� � � � � � � � �� � ��� � � � � �� ��� � � �� �� � � � ����� � � � � �� ���� � 2
1
3
4
2
1
1
4
4
1
C
Bº
Am
G
� �� �� � ��� � 1
1
3
2
4
1
1
The Guitar Arpeggio Compendium —Arpeggios on Scales
4
2
3
1
4
1
4
4
1
� �� � � 1
2
3
4
1
2
55
Permutations:
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �
� � � � � � � � � � � � � � � � � � � � � � � � 4
1
3
3
1
1
1
1
1
3
1
4
4
1
2
2
1
1
1
2
3
3
1
2
� � � � � � � � � � � � � � � � � � � � � � � � �
�� � � � � � � � � � � � � � � � � � � � � � � 4
1
2
2
1
1
2
1
3
3
1
2
1
4
3
3
1
1
1
1
1
3
1
4
� � � � � � � � � � � � � � � � � � � � � � � � �
� � � � � � � � �� � � � � � � � � � � �� � � 4
1
3
3
2
1
1
1
2
3
1
4
1
4
2
2
3
1
1
2
4 3
3
1
2
� � � � � � � � � � � � � � � � � � � � � � � � �
� � � � � � � � � � � � � � � � � � � � � � � � 4
1
2
2
3
1
1
1
3
4
1
3
4
1
3
3
2
1
1
1
2
3
1
4
� � � �� � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� � �� � �� �� � � � � � � �� ��
Variants:
2
4
1
2
4
1
1
4
1
2
4
1
1
2
4
1
4
3
1
3
4
1
3
4
Practice in all 12 keys. Apply all previous formats to diatonic triads. Extend triad studies to diatonic 9th, 11th, and 13th chords.
The Guitar Arpeggio Compendium — Arpeggios on Scales
56
Triads placed on the natural minor scale:
� �� �� � � � � � � � � � � � � � � � � � � � �� � � � � � � � � �
Cmin:
i
ii°
III1⁄4
iv
v
VI1⁄4
VII1⁄4
�� � � � � � � � � �
[i]
In the natural minor tonality, the i, iv, and v chords are minor, the IIIb, VIb, and VIIb are major, and the ii is diminished. Apply the same procedures for playing diatonic major triads to the natural minor scale. Cm
Dº
Eb
Fm
Gm
Ab
Bb
Cm
� � � � � � � � �� � � � � � � � � � � � � � �� � � �� � � �� � �� � � �� � � 1
4
� � � 3
2
4
1
� 1
4
� � � 2
3
4
1
� 1
4
� � � 3
2
4
1
� 1
4
� � � 2
3
4
1
In the harmonic minor tonality, i and iv are minor, V and VIb are major, ii and vii are diminished, and IIIb is augmented.
� � � � � � � � � � � � � � � � � � � � � � � �� � � � � � � �
� � � � � � � � � �
In melodic minor, the third of the scale degree is raised ascending only, the 6th and 7th degrees follow like a natural minor while descending.
� �� � �
� � � � � ��
�� � � � � ��
� � �
� � � � � � �� � � ��� � � � � � �� � � �� � ��� � b3, b6, b7
b3
� � � � �� �
Construct arpeggios for the minor scales based on fingering and formation principles used for the major scale. Also, try combining minor scales.
� �� � �
� � � � � ��
� � �
�� � � � � �
� � � � � ��
melodic minor ascending
The Guitar Arpeggio Compendium —Arpeggios on Scales
� � � � ��� �
� � � � �� � � �� �
� � � � �� �
harmonic minor descending
57
Arpeggios with open strings Open string arpeggios yield unique, sonorous effects: CMaj7
� � � � � � � � � � � � � � � � � �
� � � � � � � � � 3
2
0
0
1
0
3
4
1
Eb7b5#5b9
� �� � 1
�
� 0
� ��
� ��
�
�
� 3
�
�
0
2
�
�
� �� � � ���
� ��
0
Arpeggios with harmonics (natural): Em7
� �
�
12th
�
� 0
�
� 0
�
�
�
�
�
�
12th
5th
12th
� �
12th
� �
5th
� �
12th
� �
5th
� �
5th
� �
22nd
� �
Descend
�
5th
Explore other possibilites of open string notes and harmonics, combined with stopped (fretted) notes. The open-string notes and harmonics can serve as either extensions or alterations.
The Guitar Arpeggio Compendium — Arpeggios with Open Strings
58
Arpeggios based on triad inversions (four-note) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � Combined fingerings (reverse to descend): Apply various combinations of pickstrokes and slurs.
�� �� �� �� � � � � � � � ������ �� � �
� ������ � � � ������ �� � � � � � � �� �
�� �� � ���� ������� 4
3
1 1
3
1 1 1 3 4 2 1
�
���� ��� ��� ������� ��� ���
3 2 1 1
4
3 1 1
2
1 1 4
1
1 1 4
3
2 1 1
2
1 1 4
1
3 1 4
2
2 1 4
� � � � � � � � � � � � � � � � � � � � � � � � �
� � 2
1
� � � � �
4
3
1
1
1
1
4
� � 1
2
4
� � 1
2
� �
1
1
1
� �
4
2
1
4
� � 1
2
4
� � � � � � � � � � � � � � � � � � � �� �� � ���� ���
�� ��� � ��� 4
3
1
1
1
3
1
1
1
4
����� ���� 3
4
2
1
1
The Guitar Arpeggio Compendium — Triad Inversions
3
2
1
1
4
���� 3
1
2
1
4
���� 1 2
2 2
3 2
1
4
59
Figurations (four-note):
�� ������ �� � � �� � � �� � � ��� � ���� � � � � � � � � � � � � � � �� �� � �� � �� �
� � �� �� � � � � � � � � � � �� � �� � � � �� ���� ��� �� �� �� � � � � � � ��� �� �� �
� � � ��� ����� �
� ����
���
���������
���� � � �� � � � � �� ����� � ��� �� ��� � �
������� �� � � �� � ��� ��
������
�������
�� � � ������ � ������ �� � � � ��� �� � �� � ��� � � � ������ � � �
�� � � � �� ��� ������ ������� � � � � ��� � � ������ � �� ��� � � Experiment with other permutations. Extend to 5, 6, 7, etc. note figures. Repeat procedure using Cmin, C+, and C º triads. Apply to any three-note chords (triads). The Guitar Arpeggio Compendium — Triad Inversions
60
Scales Apply all arpeggio studies discussed thus far on scales (diatonic and otherwise) to the following modal, synthetic, and ethnic scales. Analyze diatonic triads, 7th, 9th, 11th, and 13th chords in each scale. Harmonic Minor
� � � �� � � � � � �
Melodic Minor
� � � �� �� � � �� � � � � � � � �
Dorian
�
�� � � � � � � � �
Lydian
� � � � �� � � � �
Phrygian
�� � � � � � � � � �� Mixolydian
� �� � � � � � �
Aeolian
Locrian
Super Locrian
Lydian Minor
Major Locrian
Overtone (Lydian Dominant)
� � � �� � � �� �� �
� � �� �� �� �� �� �� � �
�� �� �� � � � � �
Lydian Augmented
�� �� � � � � � � � � �
�� � � � � � � � � � � � �� � � � � � � Enigmatic
� � � � �� �� � � �
�� � � � � � � � � ��
Leading Whole Tone
Hungarian Major
� � � � �� �� �� � �
The Guitar Arpeggio Compendium — Scales
�� � � � � � � � �� 61
Hungarian Minor
Neopolitan Major
Neopolitan Minor
Double Harmonic
� � � �� �� � �� �� �
� � � � � � � � ��
� � �� �� � � �� � �
� � � � � � � � ��
Oriental
Spanish Gypsy
Persian
Hindustan
Ananda Bhairava
Mukhari
� � �� � � � � � �� �
� � �� � � �� �� � �
� � �� � � � � � �
�� �� � � � � � � ��
� � � � � � � � � �
�� � � � � � � � �� Six Tone Symmetrical
Whole Tone
� � � � �� �� �� �� �
Six Tone Symmetrical
� � ��
�
� ��
�
�
�
The Guitar Arpeggio Compendium — Scales
�
�
� ��
� ��
�
�� � � � � � � � ��
� � �� � �� � �� �
� � �� �� �� ��
Prometheus
Javanese
Prometheus Neopolitan
Todi
� � � � � � � � �
�
Blues
� ��
� � � �� � �
�
62
Major (Diatonic) Pentatonic
� �
�
�
Chinese
� �
�
Hirajoshi
� �
�
�
��
��
Balinese (Pelog)
� �
��
�
��
Malakosha
� �
��
�
��
�� ��
Scriabin (Piano Sonata No. 7)
� �
��
�
�
�
Hejjajji
� � ��
� �� ��
�
� �
�
�
��
�
�
�
Minor Pentatonic
� � � � �
�
��
��
�
�
Japanese
�
��
�
�
Kumoi
�
��
�
�
�
�
�
�
��
�
��
�
��
��
�
��
��
�
�
Egyptian
� Iwato
�
Locrian Pentatonic
�
�
��
��
��
Symmetrical Diminished (Octatonic)
�� �� �� � � � � � � � � �
Octatonic - Symmetrical (Dominant Diminished)
� � �� �� �� �� � � �� �
8-Tone Spanish
� � �� �� �� � � �� �� �
The Guitar Arpeggio Compendium — Scales
Algerian
�� �� � � � �� � � �� �� �
63
Develop arpeggios from all scale types:
� � �� � � � �� � �� � �
Japanese (Pentatonic)
� � �� � � �� �
� ��
� � �� �
�� � � � ��
Six Tone Symmetrical (Hexatonic)
� � �� � � �� � �
� � � � �����
�
Enigmatic (Heptatonic)
�� � � �
� � �� � �� �� �� � �
� � ��
�
��
�� � � � � ��
�
� ��
� � � � � � ��
��
� �� � � � �� �� �
The Guitar Arpeggio Compendium — Scales
� �� � �� � �
�� � �� � ��
�� � � � � � ��
� �� ��
� �� �
��
�� �
� �
�� � � �
�
� � � � � �� �� ��
� � � � �� �� � ��
�� �� � � �
�
� ��
64
� �� � � �� � � � � � �
Symmetrical Diminished (Octatonic)
� � � �� � �� ���� �� ��
�� � � � � � � � �� � � � � � � � �� � � ��
� ��
� � � � � � ��
� �� �� �
� �� ��
� � ��
�� � � � � �
� �� � � � � � � ��
�� �� � �� � � � � � ��
Apply all previous fingering and picking principles.
The Guitar Arpeggio Compendium — Scales
65
Polytonal Arpeggios Arpeggios can be constructed from two, three, or four distinct triads.
� ��� � � �� � � � � � � � �� � ��� � � � � �� �� � � � � � �� �� �� � � � � � � �� � � �� � � � �� � � �� �
� � �
� � � � � � � � � � � � � � � � � �� � � �� �� � � � �� � �� � � � � �� � � �� � � � � � � �
�� � �
G/Db
1
4
1
2
3
4
1
4
3
2
1
�� � � Db
G
4
(1st inv.)
Gmin/Fmin/Ebº
2
1
1
4
4
1
2
3
3
�� � �
Gmin
�� � � � � � � � � � � � � � � � ���� � � � � � � � � ��� � � � � � �� �� � ��� � �� �� � � � � � � � � � � � � � � � � � E& Gº � � � � ��
Fmin
Gº/E&/Dmin/B
1
4
2
2
1
4
1
2
4
1
2
4
���� � � Ebº
� �� � � � � � Dmin
Bmin
Arpeggios can start and end on any inversion:
� � � � � � � � � � � � � � � � � � � � � � � �� �� �� � � � � � � �� �� � �� 3
1
Amin
Bbmin
G
1
� � � 4
1
1
4
� 1
� ��� � � � � G
(1st inv.)
Bbmin
� � � Amin
4
The Guitar Arpeggio Compendium — Polytonal Arpeggios
66
Two seventh chords:
� � � � � � � � � � � � � � � � �� � �� � �� � � � � � � � � � � � � � � � 1
4
1
4
1
3 4
CMaj7
1
4
�� ��� �
� � ��
CMaj7
BbMaj7+5
(2nd inv.)
(2nd inv.)
BbMaj7+5
Three seventh chords:
� � � � �� � � � � � � � �� � � � � ���� � � �� � � �� � � �� � �� �� � � � �� �� � � �� �� � � � � � �� �� � 1
4
1
1
4
2
GMaj7b5
1
3
1
3
F7
2
4
� � � � � � ��� � � ��� � � � GMaj7b5
F7
E7b5
(1st inv.)
(1st inv.)
E7b5
Four mutually-exclusive triads or three mutually-exclusive seventh chords form arpeggios consisting of all 12 tones with no doublings. This doesn't rule out two, three, or four triads with a doubling or more.
� �� � � � � � �� � � � � � � � �� � � � � �� � � �� � � � � � � � �� � �� � � �� ��� � � � �� �� � �� � � � � � � � 2
1
4
4
G
3
1
3
2
1
2
1
G
Eb
4
� �� G
�� � �� Eb
(G is duplicated)
Eb
Explore all possibilites with duplicated notes. Exhaust all combinations.
� � � �� � � � � � �� � � �� � � � � ���� � � � � � �� �� �� �� � � �� � � � � � �� �� � �� �� � � � �� ��
Two altered triads:
�� � � � � � � � � 2
0
0
4
1
1
2 3
1
4
2
1
4
The Guitar Arpeggio Compendium — Polytonal Arpeggios
�� � Gsus2 or Asus4 (2nd inv.)
���� ��
F#sus2 or G#sus4 (2nd inv.)
67
Twelve-Tone Arpeggios Twleve-tone sets can be made into arpeggios. Here is an example using two distinct wholetone hexachords:
� � �� � � � � � � � � � � � � � � � � � � �� � � � � �� � � � �� � �� � �� � � � �� � � � � �� � � �� D9#11#5
�� 2
1
G9#11#5 4
1
4
�� � 3
1
1
4
2
� 1
�� � �� � � �
G9#11#5
�� � ��� � � � D9#11#5
4
Experiment with all combinations of polytonal triads, 7th, 9th, and 11th chords. Combine any/all altered triads, 7th chords, etc. Create arpeggio formations from twelve-tone sets of original creation, or from any of the modern masters of this technique (Schoenberg, Berg, Webern, Boulez, etc...).
The Guitar Arpeggio Compendium — Twelve-Tone Arpeggios
68
Articulation Although picking patterns have been included for virtually every note, based on the direction of the phrase the student is strongly encouraged to experiment with ascending and descending slurs (hammer-ons and pull-offs) in all examples. Just one slur changes all of the pick strokes and can create a completely different sound. GMaj7 � � � � ��� �� ��� � � � � � � � � ��� ��� � ��� � � � �� � � � � � �� � � � � � � � � � � � � � � � � � � � � � �� �� � �
G Maj7
2
1
4
3
4
3
1
1
2
1
4
2
3
Also experiment with notes on different strings being attacked by the fretting hand only ("hammered" or "tapped" notes). (. = tapped note)
� � � � � � G Maj � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� 2
1
4
4
�� � � 3
1
2
1
1
GMaj
� � �
4
All of arpeggios can be played with strict alternate picking as well. This would be excellent practice for developing accurate crosspicking, and would yield beneficial results for both hands. Start with both a downstroke and upstroke and alternate the pick strokes.
The Guitar Arpeggio Compendium — Articulation
69
Quartal Arpeggios (Chords Based on 4th Intervals) There are three types of quartal triads: 1. Two perfect 4ths
�� ] P4 � � ] P4
�
� � � 1
1
1
� �
3
1
2. Perfect 4th - Augmented 4th
� �
�
] A4 � � � � ] P4
�
� � 1
1
��
� �
� ���
� �
� �
2
3
2
4
2. Augmented 4th - Perfect 4th
� �� � �
� � �� �
] P4 ] A4
� �
� � � ��
��
3
4
4
� � � 1
2
� � � ��
� �
� �
��
� �
� �
� �
� �
�� ���
� �
� � � ��
� �
��
1
� � � 3
��
3
��
� �
�
1
�� � ��
� � � ��
� �
� � �� � � �
1
These chords can be inverted and permutated. Figurations can be triadic inversions:
� ���
�� ��
� �� � �
�� �0 /�
� � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� � � �� � � � � � � �� � �� � �� � � � � �� � �� � �� � � �
�� 1
1
4
�� 1
1
3
�� 3
1
4
�� 1
1
4
� 2 3
The Guitar Arpeggio Compendium — Quartal Arpeggios
70
Diatonic Chords
� � �� � � � � �� �� �� � � � � � � � � � � � � � � � � � � � � �� ��� �� � �� � � � � � � � � � � � � � �� ���� ��
Major:
��� 1
1
2
3
�� ��� �� � �� 1
4
3
2
3
1
1
1
1
1
1
�� �� ��� ��� ���� ��� � � �� � �� � ��
3
1
4
3
2
4
3
2
1
1
1
2
4
1
4
3
2
4
2
1
1
1
1
2
4
1
4
3
2
4
3
1
1
Or any other operation normally associated with chords built in 3rds. 4-note chords:
�� ] P4 �� � � � ]] P4 P4
5-note chords: ] P4 �� � ] P4 � �� � � ] P4 ] P4
� � � � � � � �� � �� � � �� � � � �� �� � � � � �� �� �� � � � � � � �
� 1
� 1
4
4
(stretch)
� � 1
1
4
� 3
1
3
� �
� �� � � � � � � � � � � � � � � � � �� � � � �� � � � � � � � � � �� �� � �� � � � � � � �
� � 1
1
4
(stretch)
� 1
4
� � 1
1
4
� 1
4
= Ab Major Pentatonic Scale
�
��
��
�
��
The Guitar Arpeggio Compendium — Quartal Arpeggios
�
/��0
71
6-note:
�
7-note:
= Locrian Scale
�� � � �� � �� � � �
���� � �� � � �
�
� �� � � ��
� �� ��
4-note Chord Inversions
� � �� � �
� �� �� � � � � � � � � � � �� � � �� ��� � � � � � � � � � � � � � � � �
� � � � � � � � � � � � � � � � 1
2
3
4
2
4
1
3
1
2
1
4
3
4
1
2
Reverse to descend
Extend these to the range limit of your instrument. Apply any figuration, and apply to all 4-note chords built in 4ths. Extend to 5-, 6-, 7-, etc... note chords built in 4ths.
The Guitar Arpeggio Compendium — Quartal Arpeggios
72
Polychord Arpeggios - Fourth Chords � � � � �� � �� � � � � � ��� � �� � �� � � � � � � � � � � � � �� � �� � � �� � �� OR: �� � � � � � � � � � �
� ���� � � � �� �
� � � � � � 1
2
3
1
� � � 2
1
3
2
1
4
� 1
4
Scale: Todi (Hexatonic)
�
�� � � � �� �� ��
� � �� � �
�� � � �
� �� ��
� � � ��
� �
� � 3
� � � �
�
� �� � � � ���� ��
�
4
1
4
��
� �
��
3
1
� �
�
��
1
��
��
�� ���
� �
4 3
�
�� � �� ��
��� � �
�
� ��
�
�
�
� �
� �
�
�� �� � �� � � � � � � � � ��� ��� � � � � � � � � �� �� � � � � � �� � � � � � � �� � � � �
� 1
Inversions
� � � � �
� �
Scale: Dominant Bebop (Octatonic)
Inversions
�
�� ��
3
� � 4
1
1
3
�� 4
1
3
� 1
3
Scale: Unadecuple (11-tone)
�
�
�
�
The Guitar Arpeggio Compendium — Quartal Arpeggios
�
�
��
��
��
�� � �
73
Twelve-Tone Arpeggio in Perfect 4ths With Octave Displacement (Multiple Fingerings) �� � � � �� �� �� � � � � � � � � �� �� �� � � �� � � � � � � �
� � � 1
Stretch
� 1
Stretch
1
3
1
�
4
1
�
4
1
���� � � � � � � �
1
� �
4
1
�
4
� � � 1
Stretch
1
� � 1
Stretch
1
1
�
4
1
� � � � ��� �
� � �
4
1
1
1
� �
4
1
1
�
4
� �
4
4
1
3
� � � � �
4
1
1
�
4
1
1
�
4
�
4
1
4
1
4
1
2
Reverse
4
1
Octave displacement (florid) applied to the above set:
�
� � 1
� � � ��
�
�
3
�
4
��
�
1
4
�� ��
��
�
�
2
�
�
1
��
�
3
�
1
�
�
�
4
� OR: � �� � � �
� � �
1
3
2
the above set in various cycles
�� � � � �� �� �
4-note chords:
�
�� �� �� � � � � � �
� � � � 1
�
1
1
�
�
�
4
1
1
1
�
4
1
�
4
1
3-note chords:
�
�� � � �� � � � �� � � � � � � � � � � � � 1
1
1
3
1
4
1
1
� 4
�� �� � ��
� 3
The Guitar Arpeggio Compendium — Quartal Arpeggios
� 1
4
Augmented Cycle
��
�
4
�
Diminished Cycle
�
��
��
��
74
Complete Chromatic Perfect 4th Diads in twelve Tones:
� � � � � � � � � � � � � � � � � � � � � �� �� �� � � �� � � � � � �� � � � � � � � � � �� � � � � � �� � � �� � � �� � � � � � � � � �� �� �
VIII
� � � � � � � � � � � � � � � � � � � � � 1 2
3 4
1 1
4 4
1 1
4 3
2 1
1 2
3 4
1 1
4 4
1 1
4
2 1
3 4
1 2
1 1
4 4
1 1
Florid Octave Displacement (6-note chords in augmented 4th cycle):
� � � � �
2 1
etc... (descend in whole steps)
The cycle descends in whole steps
� � � � �
4 3
� � � � �
� 1
� � � � �
4
� � � � �
� 1
� � � � �
4
� � � � �
� � � � �
� �� 2
3
1
� � � � �
4
� 1
� � � � �
4
� � � � �
� � � � �
� � � � �
� �� 2
3
1
� � � � �
4
� 1
� � � � �
� � � � �
� � � � � � � � � � � � � � � � � � � � � � � � �� � � � � � �� � � �� �� ��� � � � � � �� � � �� � � � � � � � � � � � � � � � � � �
4
The Guitar Arpeggio Compendium — Quartal Arpeggios
� � � � �
� � � � �
� � � � �
�� � 2
3
1
� � � � �
4
�
1
4
�� 2
3
� ��
� ��
75
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