The Easy Guide to Jazz Guitar Arpeggios

Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 What Are Arpeggios? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Chapter 1: First Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 The ii-V-I-VI Progression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 The iim7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 The V7 Chord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Imaj7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 The VI7b9 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Chapter 2: Major ii-V-I-VI Arpeggios Position 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Arpeggio Practice Pattern 1: Approach Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Chapter 3: Major ii-V-I-VI Arpeggios Position 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Apreggio Practice Pattern 2: Enclosures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Arpeggio Sample Licks For Position 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Chapter 4: Minor ii-V-I-bIII Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 The ii-V-I-bIII Progression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 The iim7b5 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 The V7b9 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

The Im6 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 The bIIImaj7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Chapter 5: Minor ii-V-I-bIII Arpeggios Position 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Arpeggio Practice Pattern 3: Double Enclosure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Chapter 6: Minor ii-V-I-bIII Position 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Arpeggio Practice Pattern 4: Approach Notes Variation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Chapter 7 – Autumn Leaves Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Autumn Leaves Arpeggio Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Arpeggio Study Variation 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Arpeggio Study Variation 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Arpeggio Study Variation 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Autumn Leaves Arpeggio Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Chapter 8 – Major Turnaround Arpeggios Position 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 3 To 9 Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Arpeggio Practice Pattern 5: 7-1-3-5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Chapter 9 – Major Turnaround Arpeggios Position 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Arpeggio Practice Pattern 6: 5-7-1-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102 Chapter 10 – Minor Turnaround Arpeggios Position 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 Arpeggio Practice Pattern 7: 3-5-7-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109 Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 Chapter 11 – Minor Turnaround Arpeggios Position 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 Arpeggio Practice Pattern 8: 5-7-3-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117 Sample Licks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 Chapter 12 – Rhythm Changes Studies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Rhythm Changes Arpeggio Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123 Arpeggio Study Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126 Rhythm Changes Arpeggio Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 Chapter 13 – Must-Know Arpeggio Shapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 Practice Example Exercises. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 Maj7 Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137 Dominant 7th Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Minor 7th Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148 Minor 7b5th (Half Diminished) Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154 Diminished 7th Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160 Chapter 14 – Some More Useful Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167 Maj7#11 Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

Dominant 7#11 Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170 Minor 6 Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172 Minor Major 7 Arpeggio Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174 Chapter 15: A Brief Look At Arpeggio Substitution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176 Major 7 Arpeggios Used as Substitute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176 Minor 7 Arpeggios Used as Substitute. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178 Dominant 7 Arpeggios Used as Substitute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 Half Diminished 7 (m7b5) Arpeggios Used as Substitute . . . . . . . . . . . . . . . . . . . . . . . . . . .180 About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181

6

Introduction

Welcome to The Easy Guide to Jazz Guitar Arpeggios, we’re glad to have you here! In

this eBook you will learn arpeggio theory, how to play jazz arpeggios on the guitar, how to use arpeggios to improvise, as well as study practice patterns and sample solos built from the arpeggio fingerings in this eBook. Each Chapter builds on the previous material in the book. So, if you are new to jazz guitar, you can start on page 1 and work forward from there. Or, if you have some experience playing jazz guitar, you might want to skip around a bit, finding relevant chapters and exercises to what you are currently studying. Either way, the material presented in this eBook will prepare you to outline chord progressions using arpeggios in various positions on the fretboard. This will enhance your ability to do one of the toughest tasks in jazz - make the changes - while outlining the chord tones for any chord you are soloing over. We hope you enjoy this eBook and that the information contained within will give you countless hours of fun and benefit in the practice room. Happy Playing! Matt Warnock & Dirk Laukens

About the audio in this eBook: if you are connected to the internet while working in your ebook, all you have to do is click the link of each audio example to play it. If you are not connected, you’ll have to download the audio files first here.

7

What Are Arpeggios? Let’s get started by learning what an arpeggio is exactly, and how the jazz definition of an arpeggio differs slightly from the classical definition.

An arpeggio (in a jazz context) is the notes of any chord, played as single-notes, in note order.

• In the classical world: an arpeggio is any chord played as single notes, regardless of the order. This means that if you take any chord shape you know, and pluck up and down the notes one at a time in that chord then you are playing a classical arpeggio.

• In the jazz world: in jazz, we put the notes in order. So, if you have a Cmaj7 chord, to make a jazz arpeggio to take the four notes from that chord (such as C-G-B-E), place them in note order (C-E-G-B), and you have an arpeggio.

8 Here is how that looks on paper, try playing through all three to hear and feel how they sound on the guitar.

• Bar 1: chord shape • Bar 2: classical arpeggio • Bar 3: jazz arpeggio

Audio Example 1 Click here to play audio example 1

CŒ„Š7 ° 4w &4 w w w ¢⁄

5 4 5 3

Classical Arpeggio

œ

3

œ

5

œ 4

œ

Jazz Arpeggio

œ

5 3

œ

œ

2

5

œ 4

9 To help further your understanding of jazz arpeggios, here is a Drop 3 Cmaj7 chord next to a two-octave Cmaj7 arpeggio. You will see how the notes of the chord are in the arpeggio, but the arpeggio also fills in all the gaps so you play each note in order rather than spread out as in the case of the chord shape.

Audio Example 2 Click here to play audio example 2

10

Chapter 1: First Steps To begin your study of jazz guitar arpeggios, we are going to take a look at one of the most commonly used chord progressions in jazz, the major ii-V-I-VI progression. In this chapter, you will learn:

• How to build each arpeggio in this progression. • Two positions for two-octave arpeggios. • Some essential arpeggio patterns and licks.





The examples in this chapter will be using the ii-V-I-VI progression in the key of G major:

11





Built from the second degree of the major scale, the iim7 chord is a four-note chord with the interval structure 1-b3-5-b7. You can also think of this arpeggio as the 1st, 3rd, 5th and 7th notes of the dorian mode, the second mode of the major scale. To help you visualize this arpeggio, here is a chart that lays out the intervals and notes for an Am7 arpeggio:

Here is the one-octave A dorian shape next to a one-octave Am7 arpeggio, in order to see and hear how the Am7 arpeggio is derived from the A dorian mode.

Audio Example 3 Click here to play audio example 3

12

This arpeggio shape can be used to solo over iim7 chords. A one-octave shape is limited in its use though, that’s why it’s better to learn arpeggio shapes that cover more of the fretboard, like the following two-octave Am7 arpeggio shape with the root note on the th string. ractice this this shape until you can play it uently and by memory.

Audio Example 4 Click here to play audio example 4

13 Here is a backing track that you can use to begin practicing improvisation with this arpeggio. The track is a static Am7 chord, so you can press play and then use the twooctave shape you just learned to begin soloing over this chord change. If you are just running up and down the notes right now, or don’t feel like you have a lot of ideas to work with at this point, that’s fine. ust begin soloing with the arpeggio in order to get used to creating music with arpeggio shapes, and we’ll work on building your soloing vocabulary as you progress through this eBook.

Backing Track 1 Click here to play backing track 1

14 Once you have this shape down comfortably, try playing it in other keys. To do so, you can use the first note (





) as your guide. ust move that note to any other

fret on the guitar, and that note is now the root. This means that if you want to play a Gm7 arpeggio, you would play this same shape from the rd fret of the th string (the note G). f you want to play a Cm7 arpeggio, play the same shape from the th fret of the th string (the note C), and so on.

15

16





The next arpeggio in the progression is the V7 arpeggio, in this key it will be D7. 7th arpeggios are built with the interval structure 1-3-5-b7, and can also be seen as the 1st, rd, th and 7th notes of the mixolydian mode, the fifth mode of the major scale. Because they come from the mixolydian mode, they are used to solo over the same chords as this important jazz scale, 7th chords. Here is a quick chart to help you visualize the notes of the 7th arpeggio, both from an intervallic standpoint and from a note standpoint over a D7 arpeggio.

Here is a visualization of the mixolydian mode next to a one-octave D7 arpeggio shape, to help you see, and hear, how the 7th arpeggio is built from the mixolydian mode. Audio Example 5 Click here to play audio example 5

17

You will now extend that arpeggio shape into a two-octave D7 arpeggio from the 5th string, and begin to learn it on the fretboard. You are learning a 5th-string shape for D7 in order to keep it close by on the guitar to the Am7 arpeggio you just learned, which will help when you begin to combine them in your soloing practice.

Audio Example 6 Click here to play audio example 6

18 hen you have the 7 arpeggio under your fingers, try putting on this D7 backing track and begin soloing over that chord change using only this one arpeggio shape. As we saw with the m7 arpeggio, this won’t be very musical yet for some of us, but give it a try anyway in order to start building your creative muscles alongside your technical chops.

Backing Track 2 Click here to play backing track 2 You can now begin to work on soloing over a iim7-V7 chord progression, such as the chords Am7- 7, with both of these first two arpeggio shapes under your fingers and in your ears. Here is a backing track that has Am7 for 4 bars and D7 for 4 bars, alternating between those two chords throughout the track. Your first goal is to be able to switch arpeggios from Am7 to D7 when the chords switch on the track. Once you can do that, start to take more chances and stretch out a bit, but always keep your eyes set on switching arpeggios along with the progression.

Backing Track 3 Click here to play backing track 3

A‹7 & 44 ? ? D7 & ?

?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

19





Moving on, you will now learn how build and play maj7 arpeggios on the guitar. Maj7 arpeggios contain the interval structure 1-3-5-7, and are built from the 1st, 3rd, 5th, and 7th notes of the major scale. As they are related to the major scale (aka the ionian mode), maj7 arpeggios are used to solo over maj7 chords. ere is a chart that lays out the interval and note structure of a Gmaj7 arpeggio:

20 The next example shows a one-octave G major scale next to a Gmaj7 arpeggio, so that you can see and hear how the arpeggio is directly related to the scale shape on the fretboard.

Audio Example 7 Click here to play audio example 7

21 You will now extend that same Gmaj7 arpeggio into a two-octave shape, with the root on the 6th string, and practice it. ake sure to master it from the G root note first before taking it to all 12 keys around the fretboard, and use a metronome to help keep your time steady.

Audio Example 8 Click here to play audio example 8

Now that you have the maj7 arpeggio under your fingers, here is a Gmaj7 backing track that you can use to begin applying this shape to your soloing ideas.

Backing Track 4 Click here to play backing track 4

22 You can now begin to practice applying these arpeggios to a ii-V-I chord progression, in this case Am7- 7-Gmaj7. To help you get your hands around these changes, the following backing track features Am7 for 2 bars, 7 for 2 bars, and Gmaj7 for

bars to help ease you into making these

changes using the 3 arpeggio shapes you’ve learned so far in this chapter.

Backing Track 5 Click here to play backing track 5

A‹7 4 &4 ? ? GŒ„Š7 & ? ?

? ?

? ?

? ?

? ?

? ?

? ?

D7 ? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

23





The final arpeggio that you will learn in this first chapter is the VI7b9 arpeggio, an E7b9 in the key of G major that we have been focussing on so far. The VI7b9 arpeggio contains the interval structure 1-3-5-b7-b9, and comes from the phrygian dominant scale, the 5th mode of harmonic minor. To begin, here is a chart laying out the notes and intervals for an E7b9 arpeggio:

You can now take a look, and play through, a one-octave E phrygian dominant scale and an E7b9 arpeggio to see and hear how these two shapes are related on the fretboard.

Audio Example 9 Click here to play audio example 9

24

Here is a two-octave E7b9 arpeggio with the root on the 5th-string that you can use to begin studying this shape on the fretboard. There are many ways to play this arpeggio on the guitar, but for our purposes play the arpeggio in the following order on the fretboard, 1-3-5-b7-b9, then 1-3-5-b7 in the second octave. Make sure to work this arpeggio in other keys around the neck, and try saying each interval to yourself as you do, which is a great way to internalize the shapes and interval structure for this, or any, arpeggio in your studies.

Audio Example 10 Click here to play audio example 10

25 You can now begin to apply this five-note arpeggio shape to your soloing studies as you improvise over this E7b9 backing track using the E7b9 arpeggio shape you just learned in this lesson.

Backing Track 6 Click here to play backing track 6

ith all four arpeggios under your fingers, you can now work on applying these arpeggios to the full ii-V-I-VI chord progression. Here is a backing track to help you work on these changes, with each chord lasting two bars to give you a chance to stretch out over each change in the progression.

Backing Track 7 Click here to play backing track 7

A‹7 & 44 ? ? GŒ„Š7 & ? ?

? ?

? ?

? ?

? ?

? ?

? ?

D7 ?

?

E7(b9) ? ?

? ?

? ?

? ?

? ?

? ?

? ?

26

Chapter 2: Major ii-V-I-VI Arpeggios Position 1 Now that you know how to build and play one shape for each arpeggio in the ii-V-I-VI chord progression, let’s begin to combine them as you use them to solo over a ii-V-I-VI set of changes. Here are all four arpeggios from the previous chapter, starting with the Am7 shape on the 6th string, and moving to the closest arpeggio shape from that starting point. When doing so, you play the Am7 and Gmaj7 arpeggios from the 6th string, and the D7 and E7b9 arpeggios from the 5th string. This will allow you to move between arpeggio shapes without making any big leaps around the fretboard as you do.

27 Here are those four shapes to practice and memorize, if you haven’t done so already.

Audio Example 11 Click here to play audio example 11

28

Arpeggio Practice Pattern 1: Approach Notes Along with practicing each arpeggio up and down on its own, you can also add in common bebop patterns to your arpeggios in order to spice them up and provide inspiration when using these shapes in your solos. The first pattern that you will study uses approach notes. These approach notes are played one fret below each note in the arpeggio, creating a sense of tension that you then release when you play the next arpeggio note.

Here is an Am7 arpeggio written out with the added approach notes, each one-fret below every arpeggio tone in the shape. The approach notes are written in red to help you see them easily on the fretboard. Go slow at first with this techni ue as it can be a bit tricky to get under your fingers. f it helps, try saying “tension-release” as you play through this example, helping to mark the tension notes and arpeggio notes in your head as you play the pattern.

29 Once you have this pattern down comfortably, try putting on the Am7 backing track and soloing over that static chord with the arpeggio and approach notes in your lines. f it sounds funny at first, don’t worry it might take your ears a bit of time to get used to these tension notes. Keep it up and over time your ears will become comfortable with these new sounds and they will ow naturally into your jazz guitar solos.

Audio Example 12 Click here to play audio example 12

° 4 &4 ¢⁄

A‹7

œ #œ œ #œ œ Ó™ # œ œ œ œ œ #œ œ #œ # œ œ œ œ #œ

4

7

5

8

6

7

4

5

6

7

4

5

4

5

7

4

8

5

You can now apply this same pattern to each note of the D7 arpeggio you learned earlier:

Audio Example 13 Click here to play audio example 13

° 4 &4 ¢⁄

D7 #œ

4

œ

5

œ #œ #œ

3

4

6

œ

7

œ 4

œ

5

#œ

6

œ

7

œ #œ #œ

œ

œ

œ

4

5

7

8

6

7

30 Let’s now apply the approach note pattern to the Gmaj7 arpeggio you learned earlier:

Audio Example 14 Click here to play audio example 14

° 4 &4

GŒ„Š7

œ #œ #œ œ Ó™ œ # œ œ œ #œ #œ œ #œ œ # œ œ # œ #œ œ

¢⁄

2

3

1

2

4

5

3

4

4

5

3

4

2

3

1

2

2

3

Lastly, you can now apply approach notes to the E7b9 arpeggio, which you can see below. Because there are 5 chromatic notes in a row with this arpeggio (C#-D-D#-E-F), the 7b9 arpeggio can become a bit cluttered when applying the approach notes to this shape.

31 To avoid it from becoming simply a short chromatic scale in your playing, make sure to think of the approach notes as “tension” notes and the arpeggio notes as “release” notes. This will help you keep those notes organized in your playing and prevent them from becoming a chromatic scale, which is not the point of this exercise.

Audio Example 15 Click here to play audio example 15

E7(b9)

° 4 & 4 #œ œ œ #œ #œ œ #œ œ ¢⁄

6

7

5

6

8

9

6

7

#œ œ œ œ #œ œ œ #œ # œ œ Ó™ 9 10 8

9

8

9

6

7

9 10

ith all of these patterns and arpeggios under your fingers, you can also begin to apply them to the various other backing tracks included in this eBook, the ii-V, ii-V-I, and ii-V-IVI backing tracks are a good place to start...

32

Sample Licks To help you take these arpeggio shapes to the soloing side of your practice routine, here are two licks that use the plain arpeggio shapes you’ve learned so far, as well as an approach-note lick that you can use in your jazz guitar solos. This first sample lick uses arpeggio shapes you have learned so far, mixed with a few that you will learn later in the book to spice things up. Make sure to work this lick in one key to begin, and then take it to other tonalities. Audio Example 16 Click here to play audio example 16

A‹7 D7 GŒ„Š7 E7(b9) œ ° 4 #œ œ œ œ œ œ Œ j œ #œ ‰ œ œ œ œ œ Œ &4 ‰ œ œ œ œ œ œ œ œ #œ #œ J ¢⁄

5 7 5 7

5

5 8

7

7 5

7 4

5

4

5

4 7

7

5 6 5

7 4

6

33 Moving on, here is a ii-V-I-VI lick that uses approach notes to build tension throughout the phrase. Go slow with this one, and if the approach notes are still sounding weird to your ears, try singing the lick along with your guitar to internalize those sounds further into your playing.

Audio Example 17 Click here to play audio example 17

A‹7 D7 GŒ„Š7 E7(b9) œ # œ n œ œ ° 4 #œ #œ œ œ j #œ œ #œ œ nœ œ j œ #œ & 4 ‰ #œ œ œ #œ œ œ #œ ‰ #œ œ œ œ œ 3

¢⁄

6 7

5

5

4 5

7 8

7

7 5

6 7 3 4

3 4 3 4 7

8 7

6 4 5

3

3 4

To help you practice these licks in your studies, here is a ii-V-I-VI backing track, one bar per chord, at both a slow and medium tempo to use as a practice aid when working these licks at home.

Backing Track 8 Click here to play backing track 8

34 Here is the medium tempo backing track to use in your woodshedding.

Backing Track 9 Click here to play backing track 9

A‹7 4 &4 ? ?

?

?

D7 ?

?

?

?

GŒ„Š7 ? ?

?

?

E7(b9) ? ?

?

?

35

Chapter 3: Major ii-V-I-VI Arpeggios Position 2 It’s important to learn arpeggios in a





in order to give you multiple

places on the fretboard to solo. In this chapter you’ll learn all four arpeggios over the ii--

progression in the key of G with the first arpeggio beginning on the th string root.

When doing so, you are now playing the















,

and the V7 and VI7b9 arpeggios from the 6th string root, which is the opposite of what you did in chapter 2.

36 ere are the

arpeggio shapes to get under your fingers.

hen they are comfortable,

put on the ii-V-I-VI backing track (two-bars per chord), and begin to solo over those changes using these new arpeggio shapes to create your lines.

Audio Example 18 Click here to play audio example 18

37







As was the case with the previous position of arpeggios, you will now learn a



applied to these new shapes. You can use the approach note pattern

you learned earlier with these new shapes, and vice-versa. The bebop arpeggio pattern uses what is called an

, and is built by playing:

1. one fret above the arpeggio tone, 2. then one fret below the arpeggio tone, 3. then the arpeggio tone There are a number of variations of the enclosure in jazz history, but this one variation is the most commonly used, and so is the best place to start. Because you now have













, enclosures tend

to sound a bit more tense than the approach notes you learned in the last section. Take your time with this pattern, and always use a metronome to ensure you are playing with good time and rhythm when learning these shapes on the guitar. As far as

goes, there are many possibilities and no wrong answers since each

of us have different hand sizes and experience levels with jazz guitar.

hat ’ve found

works for me, is to finger each three-note group so that you wind up on the same finger for the arpeggio note that you would have used without the enclosure. That will keep you in position and allow you to use your familiar fingerings to anchor this new pattern.

38 To begin, here is an Am7 arpeggio with the









. When this

pattern is comfortable, put on the Am7 backing track and use the enclosures to bring a sense of tension and release to your improvised lines. Audio Example 19 Click here to play audio example 19

A‹7 ° 4 bœ bœ nœ œ œ #œ & 4 #œ œ ¢⁄

13 11 12 16 14 15

Here is the



bœ bœ œ b œ #œ œ #œ n œ

15 13 14

13 11 12 15 13 14

bœ œ œ œ œ #œ œ #œ

14 12 13

13 11 12 16 14 15

with added enclosures. Once you are comfortable with this

pattern of the D7 arpeggio shape, put on the D7 backing track and solo over that chord with this new pattern.

Audio Example 20 Click here to play audio example 20

D7

b œ #œ œ b œ n œ œ b œ # œ ˙™ œ ° 4 œ # œ bœ & 4 bœ # œ œ œ œ #œ bœ #œ œ bœ œ œ #œ nœ ¢⁄

11 9 10

10 8 9 13 11 12

11 9 10 13 11 12

12 10 11

11 9 10 14 12 13

11 9 10

39 Moving on, here is the enclosure pattern applied to the





. With

this pattern under your fingers, make sure to apply it to the Gmaj7 backing track in order to learn this pattern from both a technical and improvisational standpoint.

Audio Example 21 Click here to play audio example 21

GŒ„Š7

° 4 bœ & 4 bœ #œ œ œ #œ œ #œ ¢⁄

11 9 10

œ #œ œ bœ #œ œ œ œ #œ b œ œ œ œ #œ œ œ

10 8 9 13 11 12

Lastly, here is the



12 10 11 13 11 12

13

11 12

11 9 10 15 13 14

with enclosures:

Audio Example 22 Click here to play audio example 22

E7(b9)

œ # œ œ b œ # œ œ b œ n œ œ™ œ b œ œ # œ ° 4 bœ nœ œ œ #œ œ J & 4 œ #œ œ œ œ #œ œ #œ œ #œ œ ¢⁄

13 1112

1210 111513 14

13 111216141515 1314

141213

13 1112 16 1415

1412 13

40 ith all of these shapes under your fingers, feel free to put on some of the other backing tracks, such as ii-V, ii-V-I, and the various ii-V-I-VI tracks and soloing over those chords using this second position of arpeggios, both with and without the enclosures added to your lines.

41











To help you take these arpeggios and the enclosure pattern to a musical situation, here are





based on those concepts that you can learn in the given key of G

major, and move around the fretboard to study in other keys.

This first lick uses only the





on their own to build a four-bar

phrase over the changes.

Audio Example 23 Click here to play audio example 23

A‹7 D7 GŒ„Š7 œ œ œ œ #œ œ #œ œ œ œ ° 4œ œ œ œ œ œ œ œ œ œ &4 ¢⁄

15 12 15

14

12

14

12 14

13 13 13 10

11

12

11 11 11

12 9

10

E7(b9)

œ œ Œ œ œ œ #œ œ 3

131213

11 14

12 15

42 The second sample lick is based on those





, over the same chords,

but this time there are a few enclosures thrown into the mix to spice things up a bit.

Audio Example 24 Click here to play audio example 24

A‹7

° 4 ™ &4 Œ ¢⁄

D7 œ œ œ #œ bœ #œ œ œ bœ œ œ J

14

14 12 13

12 15 13 14 11 9 10

GŒ„Š7 œ œ œ œ œ #œ œ

12

As we get to the end of this chapter, a good

10

12

12



13 11 12





E7(b9) œ œ œ œ #œ œ

15

12 13

Œ

13 11 12

would be to solo

over any of the backing tracks, using only the 1st position arpeggios, only the second position arpeggios, and mixing in approach notes and enclosures to both of those positions. You don’t have to master those goals before moving on to the next Chapter, but having at least a



of those shapes, patterns, licks and application over backing

tracks, will make things easier going forward.

43

Chapter 4: Minor ii-V-I-bIII Overview When learning how to solo on guitar, it is important to practice minor keys as much or more than you practice major keys. Minor keys pose a number of unique challenges that will keep you busy in the practice room. In this chapter you will learn how to build, solo with, and play minor ii-V-I-bIII arpeggios in two positions. You will also expand your melodic vocabulary with arpeggios patterns and sample licks over this commonly used jazz chord progressions. Let’s get started...

The ii-V-I-bIII Progression The examples in this chapter will be using the ii-V-I-VI progression in the key of G minor:

44

The iim7b5 Chord To begin you study of minor ii-V-I-bIII arpeggios, let’s take a look at the iim7b5 arpeggio, which is built with the interval structure 1-b3-b5-b7, and can also be seen as the 1st, 3rd, 5th, and 7th notes of the locrian mode, the 7th mode of the major scale. Here is a table that lays out the interval and note pattern for an Am7b5 arpeggio, so that you can get a theoretical understanding of this four-note melodic shape.

45 Moving on, here is an A Locrian mode next to a one-octave Am7b5 arpeggio, to help you visualize how the m7b5 arpeggio is built from four notes in that locrian mode.

Audio Example 25 Click here to play audio example 25

46 You are now ready to take this arpeggio to the guitar and see how it sits on the fretboard. To begin, here is an Am7b5, two-octave arpeggio from the 6th-string root that you can learn in this key, and other keys around the fretboard.

Audio Example 26 Click here to play audio example 26

After you have worked on this arpeggio from the root note A, and are comfortable playing it from memory, here is an Am7b5 backing track that you can use to solo over using this arpeggio shape in order to begin experimenting with m7b5 arpeggios in an improvisational setting.

Backing Track 10 Click here to play backing track 10

47

The V7b9 Chord The next arpeggio will be familiar to you, just not in this key perhaps and not from the scale degree, as you saw and learned to play the 7b9 arpeggio from the VI degree earlier in this book. Here, you will be applying the same 7b9 arpeggio we saw in chapter 1, but with a D root. As a review, here is the interval and note structure.

As was the case with the VI7b9 arpeggio, the V7b9 arpeggio is built from the phrygian dominant scale, the 5th mode of harmonic minor, and is of course used to solo over 7b9 chords. Here is a D phrygian dominant scale and D7b9 one-octave arpeggio side by side so that you can see how the arpeggio is built directly from the 1st, 3rd, 5th, 7th and 9th notes of the scale.

48

Audio Example 27 Click here to play audio example 27

Armed with this theoretical knowledge, you are now ready to take this arpeggio to the fretboard over a D7b9 arpeggio from the 5th-string root note.

49

Audio Example 28 Click here to play audio example 28

Once you can play the D7b9 arpeggio from memory, here is a D7b9 backing track that you can use to begin working this shape into your soloing practice. When soloing with this arpeggio, try sitting on the b9 interval once in a while in order to get your ears fully around that tension note. This will help you know exactly when to hold that note in your solos in order to create the tension and release vibe that we’ve discussed earlier.

Backing Track 11 Click here to play backing track 11

50 As well, since you have both the iim7b5 and V7b9 arpeggios memorized at this point, you can also begin to work on applying these arpeggios to a minor ii-V progression. Here is an Am7b5-D7b9 (four bars each) backing track that you can use to begin moving between these two arpeggios.

Backing Track 12 Click here to play backing track 12

A‹7(b5) & 44 ? ? D7(b9) & ? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

? ?

51

The Im6 Chord When soloing over tonic minor chords, there are a number of chord colors that you can choose from, such as:

• minor 7 (m7) • minor 6 (m6) • minor 9 (m9) • minor major 7 (mMaj7) For our purposes, you will be treating the tonic minor chord as a m6 color, one of the most commonly used tonic minor colors in jazz, and soloing over that chord with the m6 arpeggio. Built from the 1st, 3rd, 5th, and 6th notes of the melodic minor scale, a tonic minor scale color, the m6 arpeggio contains the interval structure 1-b3-5-6, and is used to solo over m6 chords, or any minor family chord where you want to highlight the 6th interval. When thinking and visualizing notes on the fretboard, the terms 6th and 13th are interchangeable as they are the same note. We often refer to the 6th as part of the m6 chord or arpeggio, but when discussing the scale you can use the term 13th if you like, as that describes the 6th above the 7th that occurs in the scale. f this is a bit confusing at first, not to worry, just understand that the 1 th and th of any scale are the same note, just two ways to describe that note, an octave apart from each other.

52 Here is a chart to help you visualize and memorize the notes and intervals for the m6 arpeggio.

53 Moving on, here is a G melodic minor scale and Gm6 arpeggio side by side on the guitar that will help you see how the m6 arpeggio is derived directly from the melodic minor scale.

Audio Example 29 Click here to play audio example 29

54 To get you started with with m6 arpeggios, here is a two-octave Gm6 arpeggio that you can work in this given key, as well as explore in other keys around the fretboard. otice how the m arpeggio is only 1 note different from the m7 arpeggio shape you learned previously, the b7 from m7 has been lowered by 1 fret on the guitar. This can help you quickly learn this new arpeggio, as well as easily move between these shapes in your solos when coloring minor family chords.

Audio Example 30 Click here to play audio example 30

Here is a Gm6 backing track that you can use to practice soloing with the Gm6 arpeggio as you take this shape from the technical side or your studies to the improvisational side.

Backing Track 13 Click here to play backing track 13

55 Lastly, with the iim7b , 7b , and m arpeggios under your fingers, you can now begin to solo over these chords as a progression in your studies. To get you started with this progression, here is an eight-bar ii-V-I progression in the key of G minor that you can solo over using the arpeggio shapes you have learned up to this point.

Backing Track 14 Click here to play backing track 14

A‹7(b5) 4 &4 ? ? G‹6 & ? ?

? ?

? ?

? ?

? ?

? ?

? ?

D7(b9) ? ? ?

?

? ?

? ?

? ?

? ?

? ?

? ?

56

The bIIImaj7 Chord The final arpeggio that you will learn in your studies of the minor ii- - -b

progression

is the bIIImaj7 arpeggio. This shape is built from the 1st, 3rd, 5th, and 7th notes of the lydian mode, the fourth mode of the major scale, and contains the interval structure 1-3-5-7. The reason that this arpeggio comes from Lydian, and not Ionian as you saw earlier, is that the #4 of the lydian mode (E in this key), is also the 6th of the Im6 chord (Gm6 in this key), connecting those two chords with this important note. For the more advanced players, you can use a Bbmaj7#11 arpeggio to solo over this chord. We will focus on the maj7 arpeggio in this section, but feel free to refer to the arpeggio dictionary at the end of the eBook for maj7 11 fingerings if you are looking for a challenge. Here is a table that lays out the interval and note structure for the Bbmaj7 arpeggio that you can study and memorize.

57 With this knowledge under your belt, here is a one-octave Bb Lydian Mode next to a one-octave Bbmaj7 arpeggio so that you can see and hear how these two shapes are related on the fretboard.

Audio Example 31 Click here to play audio example 31

58 Moving on to applying this knowledge to the guitar, here is a two-octave Bbmaj7 arpeggio from the 6th string that you can learn, or review since you’ve seen this shape before in the previous Chapter, and take to other keys in your studies.

Audio Example 32 Click here to play audio example 32

You can now begin to apply this arpeggio shape to this Bbmaj7 backing track as you move from the technical study of this shape to the improvisational study.

Backing Track 15 Click here to play backing track 15 ith all four arpeggios under your fingers (iim7b5-V7b9-Im6-bIIImaj7), you can now begin to solo over these chords using the arpeggio shapes you have learned so far. Here is an 8-bar progression (two bars per chord) and backing track for the Am7b5-D7b9Gm6-BbMaj7 chord progression.

59

Backing Track 16 Click here to play backing track 16

A‹7(b5) 4 &4 ? ? ? G‹6 & ? ?

?

? ?

? ?

? ?

? ?

? ?

D7(b9) ? ? B¨Œ„Š7 ? ?

? ?

? ?

? ?

? ?

? ?

? ?

60

Chapter 5: Minor ii-V-I-bIII Arpeggios Position 1 Now that you have learned how to build these four arpeggios, how to relate them to various scales and modes, and how to play one shape for each of these arpeggios on the guitar, you are now ready to move on to studying the full progression as a whole.

61 Here are four arpeggio shapes, one per chord, that you can study in this key (and in other keys around the fretboard). You are taking the same approach as you did with the second major progression, playing the iim7b5, Im6, and bIIImaj7 arpeggios from the 6th string, and the V7b9 arpeggio from the 5th string, which keeps everything in position as you move through these changes. Audio Example 33 Click here to play audio example 33

62

Arpeggio Practice Pattern 3: Double Enclosure You can now begin to add in a new Bebop arpeggio pattern to these four arpeggio shapes. This pattern is what I call a “double enclosure,” as it uses one chromatic note above, then two chromatic notes below your target note, finishing on any note in the arpeggio from there. To begin, here is the double enclosure applied to the Am7b5 arpeggio that you can work in this key (and other keys).

Audio Example 34 Click here to play audio example 34

° 4 &4 ¢⁄

A‹7(b5)

b œ œ#œ œ b œ œ#œ œ œ b œ b œ œ œ # œ Ó bœ œ#œ œ bœ œ#œ œ œnœ b œ œ # œ œ bœ œ n œ œ œ# œ œbœ

63 45 96 78

7 45 6

63 45 85 67

6345

5 23 4 96 78

63 45

63 Here is the double enclosure pattern applied to the D7b9 arpeggio:

Audio Example 35 Click here to play audio example 35

D7(b9) b œ œ#œ œ b œ b œ n œ œ œ ° 4 œ # œ œ b œ œ œ b œ œ œ nœ#œ bœ œ#œ œ œnœ œ #œ Ó & 4 bœ œ œ # œ œ nœ œ#œ ¢⁄

63 45

523 4 85 67

6345 9 67 885 67

856 7

63 45 9 6 78

You can also apply this double enclosure pattern to the Gm6 arpeggio:

Audio Example 36 Click here to play audio example 36

° 4 &4 ¢⁄

G‹6

bœ œ#œ œ œ œ œnœ œ b œ b œ n œ œ # œ œ œ#œ b œ œ # œ œ œ # œ n œ b œ bœ œ # œ œ œ œnœ

41 237 4 5 6

63 45

3012 63 45

4 12 3

41 236345

b œ œ#œ œ

Ó

41 23

Lastly, here is the double enclosure as applied to the Bbmaj7 arpeggio shape, which you can take around the fretboard to other keys.

64

Audio Example 37 Click here to play audio example 37

° 4 &4 ¢⁄

B¨Œ„Š7

bœbœnœ œb œ nœ#œ œ œ b œ n œ b œ b œ œ œ # œ bœnœ#œ œ œbœnœbœ Ó bœ œ b œ n œ b œ bœ œ # œ œ bœnœ œ

7 4 5 6

63 45 9 6 78

8 5 67 9 6 7 8

85 67

7 4 56

6 3 45 7 4 5 6

65

Sample Licks To help you take these four arpeggio fingerings to a soloing setting in your studies, here are two sample licks that you can learn in the given key, as well as all 12 keys. The first lick uses only the arpeggio notes themselves to outline a ii-V-I-bIII progression in the key of G minor. Audio Example 38 Click here to play audio example 38

A‹7(b5) D7(b9) G‹6 B¨Œ„Š7 œ œ ° 4 bœ œ œ œ œ # œ bœ Œ ‰ œJ œ œ bœ Œ ‰ œj bœ œ œ Œ &4 Œ œ #œ œ œ œ œ 3 ¢⁄

8

8

5

8 5

5

4 7

5 8 7

7

5

5

3

5 3

3

7 8 7

8 5

This second sample lick brings a few double enclosures into the mix as you outline the same ii-V-I-bIII G minor chord progression. Audio Example 39 Click here to play audio example 39

A‹7(b5)

° 4 ™ &4 Œ ¢⁄

D7(b9)

G‹6 B¨Œ„Š7 #œ b œ œ #œ œ b œ œ œ ‰ œ œ ‰ j bœ œ œb œ œ #œ œ j bœ b œ œ œ œ œ œ #œ œ J 3

5 8 5 6 7

5 8 7

7

6 3 4 5

6

6 3

5 3

7 8

7

6

6 3 4 5

66 Here are two backing tracks, one slow and one medium tempo, that you can use to solo over using the shapes, patterns, and licks that you have learned so far. To begin, here is a slow iim7b5-V7b9-Gm6-Bbmaj7 backing track, one bar per chord.

Backing Track 17 Click here to play backing track 17

Here is the faster backing track: Backing Track 18 Click here to play backing track 18

A‹7(b5) & 44 ? ?

?

?

D7(b9) ? ?

?

G‹6 ? ? ?

?

?

B¨Œ„Š7 ? ?

?

?

67

Chapter 6: Minor ii-V-I-bIII Position 2 As was the case with the major arpeggios that you learned earlier in this eBook, you will now learn a second position for the minor ii-V-I-bIII arpeggios that you are studying in this Chapter. To begin, here are the same four arpeggios, Am7b5-D7b9-Gm6-Bbmaj7, but this time the iim7b5, Im6, and bIIImaj7 shapes start on the 5th string, and the V7b9 shape starts on the 6th string. After you have learned these four shapes in the given key, try moving them to other keys as you expand upon these arpeggios.

68

Audio Example 40 Click here to play audio example 40

69

Arpeggio Practice Pattern 4: Approach Notes Variation You are now going to learn a variation of the approach notes pattern you learned previously, in this case approaching each note in the given arpeggio from a half-step above that note. Here is the reverse approach note pattern applied to an Am7b5 arpeggio, with the chromatic notes in red to help you visualize them on the fretboard.

Audio Example 41 Click here to play audio example 41

A‹7(b5)

° 4 bœ &4 ¢⁄

13

œ bœ

12

16

œ

15

œ bœ b œ

14

13

13

œ

12

bœ

15

œ bœ

œ

14

13

14

œ bœ bœ

œ

12

15

11

16

Moving on, here is the new approach note pattern applied to the D7b9 arpeggio:

Audio Example 42 Click here to play audio example 42

D7(b9)

° 4 & 4 bœ œ œ #œ bœ œ bœ œ ¢⁄

11 10

10 9 13 12

11 10

bœ œ œ bœ œ nœ ™ œ bœ œ œ œ #œ b œ œ J

15 13 13 12

12 11

11 10

14 13

13 11 11 10

70 Here is the reverse approach note pattern applied to a Gm6 arpeggio shape: Audio Example 43 Click here to play audio example 43

G‹6

° 4 & 4 bœ ¢⁄

11

œ

10

œ bœ bœ

14

13

13

œ

œ

12

10

nœ

9

bœ

13

œ

12

œ bœ bœ

œ

œ nœ

11

10

13

12

11

12

Lastly, you can apply the new approach note pattern to a Bbmaj7 arpeggio:

Audio Example 44 Click here to play audio example 44

B¨Œ„Š7

° 4 œ bœ bœ &4 ¢⁄

14

13

13

œ bœ

12

16

œ bœ

15

15

œ

14

œ bœ bœ

16

15

16

œ bœ

15

14

œ bœ

œ

13

17

18

hen you have any, or all, of these patterns under your fingers, try putting on the singlechord backing tracks at first, and later the chord progression backing tracks, and solo over those changes using the new approach note pattern to build your lines and phrases.

71

Sample Licks To finish your study of the minor ii-V-I-bIII progression, here are two sample licks over those changes using the arpeggio shapes you learned in this chapter. The first lick uses only the arpeggio notes on their own to create a line over the progression: Audio Example 45 Click here to play audio example 45

A‹7(b5)

D7(b9) G‹6 bœ œ œ œ œ bœ œ œ œ œ œ œ ° 4 œ bœ œ œ œ œ œ œ #œ &4 œ ¢⁄

12 15

13

15

13

12

13

12

10

11 10

13

11

10

13 10 11 11 11

12 9

12

B¨Œ„Š7 œ œ œ œ œ bœ 14 14 14

15 12

13

The second sample lick uses the new approach note pattern to create a sense of tension and release throughout the phrase.

72

Audio Example 46 Click here to play audio example 46

A‹7(b5)

D7(b9)

° 4 bœ œ Œ œ #œ Œ bœ & 4 ‰ bœJ œ ‰ J œ ¢⁄

13 12

16 15

13 12

12 11

G‹6 B¨Œ„Š7 œ œ bœ œ œ bœ œ œ œ bœ œ œ ‰ J ‰ J Œ 13 12 9

12 11

12

13

15

15 14

15 12

Once you have studied the licks, patterns, and arpeggio positions in this section, make sure to put on various backing tracks and solo over those changes using the material you just learned.

73

Chapter 7 – Autumn Leaves Studies Now that you have worked on playing and soloing with major and minor key arpeggios, you are ready to combine them in exercises and a sample solo. One of the most famous, and best tunes for this kind of mixed key studies, is Autumn Leaves, as it contains both a major ii-V-I-IV progression and a minor ii-V-I progression. Because of this, you will be focusing on this tune during the exercises from this chapter, but feel free to take any of these exercises and apply them to other tunes you are working on.

To help you practice the examples in this chapter, here are two backing tracks for Autumn Leaves at different tempos, which can come in handy when working on the arpeggio and soloing studies on your own.

74 This first backing track is set to a slow tempo, to help you get started with each example in this chapter. Backing Track 19 Click here to play backing track 19

The second backing track is a bit faster, so you can use it once you have the slow tempo for any example secure in your practicing.

Backing Track 20 Click here to play backing track 20

75

Autumn Leaves Arpeggio Study To begin your application of arpeggios to Autumn Leaves, here is an arpeggio study that uses ascending arpeggios throughout the one-chorus duration. n order to give you a full profile of these arpeggios over the entire fretboard, I’ve jumped around a bit between progressions to make sure that you get an even look at 6th and 5th-string arpeggio shapes in this study. Start by playing through the first phrase (the first four bars), and when that is comfortable move on to the second four-bar phrase. Doing so will allow you to learn the study bit by bit, not become overwhelmed, and build up the entire study piece by easy to digest piece.

76

Audio Example 47 Click here to play audio example 47

A‹7

GŒ„Š7 CŒ„Š7 œ œ œ œ œ ° 4 #œ #œ œ œ œ œ œ œ œ œ œ &4 œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ œ ¢⁄

D7

7

5 8

5

5 7

5 8 5

4 7

5 7

7

5 8 3

2 5

4 5

4

3

2 3

2 5

4 5

5

3 7

F©‹7(b5)

B7(b9) E‹6 œ œ 3 œ œ œ œ#œ œ œ#œ ° # œ œ #œ œ œ œ # œ œ œ # œ # œ œ œ & #œ œ œœ œ œœ œ œ #œ #œ 3 ¢⁄

9 12

10

10 9 11

8 12 7

6 9

710 9

8

710

8 7 10

9

6 9

8

7 9 7 10

9

6 9

8

7 9

D7

GŒ„Š7 CŒ„Š7 œ œ œ ° #œ œ # œ œ œ œ œ œ œ œ œ & œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ A‹7

¢⁄

5 8

7

F©‹7(b5)

5 7

5

5 8

œ œœ ° # œ œ & #œ œ œ

5

5 7

4 7

7

5 8 3

B7(b9)

#œ #œ œ œ œ œ #œ 3

œ

2 5

E‹6

4 5

4

3

2

œ œ#œ œ œ # œ œ

3

2 5

4 5

5

3 7

œ œ#œ œ œ # œ œ

¢⁄

5 8

7

5 7

5

5 8 5

F©‹7(b5)

œ œœ ° # œ œ & #œ œ œ ¢⁄

9 12

10

10 9 11

œœ œ ° # œ œ & #œ œ œ

9 12

10

9 11

3

4

4 5

2 5

3

2 3

2 5

4 5

5

3 7 77

E‹6

œ œ œ œ#œ œ œ#œ # œ œ œ # œ œ # œ # œ œ œ #œ œ œ œœ œœ œ #œ 3 3

8 12

F©‹7(b5)

¢⁄

5 7

5 8

B7(b9)

7

10

4 7

7

6 9

710 9

8

710

8 7 10

8

6 9

9

7 9 7 10

9

6 9

8

7 9

B7(b9)

E‹6 œ 3 œ œ œ#œ œ œ#œ # œ œ œ # œ œ œ #œ œ œ #œ #œ œ œ œ œ œ # œ œ 3

8 12 7

6 9

7 10 9

8

7 10

8 7 10

9

8

6 9

7 9 7 10

9

6 9

8

7 9

D7

GŒ„Š7 CŒ„Š7 œ œ œ ° #œ œ # œ œ œ œ œ œ œ œ œ & œ œ œ œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ A‹7

¢⁄

5 8

7

5 7

5

5 8 5

4 7

5 7

7

5 8 3

2 5

4 5

4

3

2 3

2 5

4 5

5

3 7

F©‹7(b5)

B7(b9) E‹7 A7 D‹7 G7 œ œ 3 œ œ ° # œ œ #œ œ œœ # œ œ œ œ # œ œœœœœ œ œ œ œ œ œ & #œ œ # œ œ œ œ œ #œ 3

10

9 11

10

8 12 7 10 9

8

7 10

8 9

7

7

6 9

8

7

5

5

4 7

6

¢⁄

7

5 8

5 7

5

5 8 5

4 7

7

5 7

5 8 3

2 5

4 5

4

3

2 3

5

4 5

2 5

3 7 78

F©‹7(b5)

B7(b9) E‹7 A7 D‹7 G7 œ œ œ 3 ° #œ œ #œ œ œ # œ œ œ #œ œ œ œ œ œœœœœ œ œ œ œ œ & #œ œ # œ œ œ œ œ #œ 3 ¢⁄

9 12

10

9 11

10

8 12 7

6 9

7 10 9

8

7 10

8 7 10

9

7

7

6 9

8 5 8

7

5

5

4 7

CŒ„Š7

6

F©‹7(b5) B7(b9) E‹6 œ œ œœ œ œ#œ œ œ#œ ° # œ œ œ œ œ # œ œ œ # œ # œ œ & œœœ #œ œ œœ œ œœ œ œ 3 ¢⁄

3

2 5

4 5

5

3 7 9 12

10

9

9

10 8 11

8 7 10

9

6 9

8

7 9 7 10

9

6 9

8

7 9

79

Arpeggio Study Variation 1 Now that you have worked on the ascending arpeggio study, here is the fi st a iati n that you can use to take this study further. Here, you will play each arpeggio descending throughout the changes to Autumn Leaves. To get you started, here are the fi st

a st

t

n ea es with each arpeggio shape

descending from the top note down to the root note, and you can continue this variation over the rest of the tune from there.

Audio Example 48 Click here to play audio example 48

A‹7 D7 GŒ„Š7 CŒ„Š7 œ œ œ œ #œ ° 4œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ &4 œ #œ œ œ œ œ œ œ œ œ ¢⁄

8 5

5

8 5 7 5

7

7

8 5

7 5

2 7 4

3

5

4

7 3 5 4

5 2

5

5 4

3

5 2

3

F©‹7(b5) B7(b9) E‹6 œ œœ œ œ #œ #œ œ œ #œ œ œ 3 ° #œ œ œ œ œ #œ œ # œ œ # œ œ œ #œ œœ œ #œ & œ œ œ #œ œ 3 ¢⁄

12 8

10

11 9

8 10

12 9

10 7

8

9 7 9 10 7

9 6

7

8

9 6

9 7 9

10 7

8

9 6

9

10 7

80

Arpeggio Study Variation 2 The next variation features an alternating approach to the arpeggios, where you play the first arpeggio ascending and the second arpeggio descending. Again, here are the first

bars to get you start with this alternating variation.

Audio Example 49 Click here to play audio example 49

A‹7

D7 GŒ„Š7 CŒ„Š7 œ œ œ œ #œ œ ° 4 # œ œ œ œ œ œ œ œ œ œ œ œ &4 œ œ œ œ # œ # œ œ œ œ œ œ œ œ œ ¢⁄

5 8

7

5 7

5

5 8

8 5

7

7 5

7 4

5

3

2 5

4 5

4

3

2

7 3

5

5 4

5 2

3

F©‹7(b5)

B7(b9) E‹6 œ œ œ œ #œ 3 œ œ # œ # œ œ œ œ #œ ° œ #œ œ œ # œ œ œ # œ œ œ #œ œ œœ œ & #œ œ #œ œ œ œ 3 ¢⁄

9 12

10

9 11

10

8 12 8

10 7

8

910 7

9 6

7

7 10

9

6 9

8

7 9

9 7

8

9 6

9

10 7

81

Arpeggio Study Variation 3 The final variation in this Chapter is the reverse of the one you just learned, where here you are alternating arpeggios through the changes of Autumn Leaved, but now you are playing the fi st a peggi

es en ing and the second arpeggio ascending.

Audio Example 50 Click here to play audio example 50

A‹7 D7 GŒ„Š7 CŒ„Š7 œ œ œ œ ° 4œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ œ &4 œ #œ œ œ œ œ œ #œ œ œ œ œ ¢⁄

8 5

5

7 5

7

5

8 5

4 7

5 7

7

5 8

2

3

4

5 4

5 2

3

3

2 5

4 5

5

3 7

F©‹7(b5) B7(b9) E‹6 œ œœ œ # œœœ œ#œ 3 œ œ ° #œ œ œ # œ œ œ # œ #œ œ œ œ #œ #œ #œ œ œ œ & œ œ #œ œ œ œ 3 ¢⁄

12 8

10

11 9

10

12 9

7

6 9

710 9

8

710

8 9 7

8

9 6

9

10 7

7 10

9

6 9

8

7 9

Once you have any one of these variations under your fingers, try putting on the Autumn Leaves backing tracks and soloing over those changes while applying these variations to your lines. Focussing on descending arpeggios in your solos might seem like a small item, but it can bring big dividends to your creative output.

82

Autumn Leaves Arpeggio Solo The final section of this Chapter features a sample solo written out over the chord changes of Autumn Leaves, using arpeggio shapes, approach notes, and enclosures from your studies up to this point. Again, go slow with this study, learning it phrase by phrase as you work your way through the entire 32-bar chorus of soloing.

Audio Example 51 Click here to play audio example 51

A‹7 D7 GŒ„Š7 CŒ„Š7 œ ° 4‰ j #œ œ #œ œ œ œ Œ œ œ œ #œ œ œ #œ œ Œ ‰ j œ œ œ œ œ œ œ &4 #œ œ #œ œ 3

¢⁄

7 6 7

5

5

3

5

7

5 8

7 7

6 7

F©‹7(b5) B7(b9) ° Ó œ #œ #œ œ œ nœ #œ Œ œ œ & #œ ¢⁄ A‹7 ° & Œ™

4 7

5

5

8

7

8 5 7 8

D7 œ œ #œ œ œ œ œ œ œ Ó J

5 4 5

4 7 4 7

E‹6 Œ #œ œ #œ œ Œ

4 5

6 4

7

8

4 5

#œ œ #œ

3 4

2

œ

4 5

Ó

3

GŒ„Š7 CŒ„Š7 œ œ œ Œ ™ #œj œ œ #œ œ œ Ó

¢⁄

4 7

5

5

8

4 5

8 5 7 8

6 4

3 4

2

3 83

A‹7 ° Œ™ &

¢⁄

D7 œ œ #œ œ œ œ œ œ œ Ó J

4 5

5 8 5

10

11 9

F©‹7(b5)

° Ó &

¢⁄

7 10

8

8 10 6 7

10 7

8

œ œ Œ

5 3 4 7

E‹6 Œ™

E‹6 Ó

7

5 8

7

7

8

œ œ #œ œ œ œ œ #œ œ #œ Ó J 3

5 6

9 10

B7(b9) #œ b œ #œ œ Œ # œ œ œ œ #œ œ

5

Ϊ

CŒ„Š7 j œ œ #œ œ œ œ œ œ Ó #œ

3 4 7

3

4 7

GŒ„Š7

10

B7(b9) œ œ #œ #œ

F©‹7(b5) ° œ #œ œ œ & #œ œ Œ

¢⁄

7

5 8

7 9

7

8 5

6

œ b œ #œ œ Œ # œ œ œ #œ œ œ 3

6 4 5 8 6 7

5

4

6

5 9 7 8

A‹7 D7 GŒ„Š7 CŒ„Š7 œ œ œ b œ #œ œ ° œ #œ œ œ bœ #œ œ œ ‰ œ œ Œ bœ œ œ œ œ Ó & J ¢⁄

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¢⁄

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5 9 7 8 84

A‹7 D7 GŒ„Š7 CŒ„Š7 œ œ œ b œ #œ œ ° œ #œ œ œ bœ #œ œ œ Œ bœ œ œ œ œ Ó ‰ œ œ & J ¢⁄

8

8 8 6 4 5

7

5

7 7

8 6 7

4 7

7

6 4

5 8

5

F©‹7(b5) B7(b9) E‹7 A7 D‹7 G7 œ œ œ œ œ œ œ œ œ #œ ° ‰ œJ #œ œ œ œ Œ ‰ J œ #œ œ Œ ‰ œJ œ œ œ œ œ Œ & 3

¢⁄

5

7 5 7

5

8 5

7

5 8

10 7

8

9

10 8

F©‹7(b5) B¨7(b9) E‹6 œ œ œ ° œ #œ œ ‰ J œ #œ œ œ #œ œ œ œ b œ & #œ œ CŒ„Š7

¢⁄

6 4 5

4 5

8 5

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9

9

6

9 6

6

œ

6

7 5

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9

7

4

Ó

5

85 After you have worked out this solo in your studies, try writing out a solo over Autumn Leaves using the arpeggio shapes and patterns that you’ve internalized up until this point. Writing out solos can be a great way to organize your thoughts before improvising over a given tune. It also helps you bring a compositional viewpoint to your improvisations, which can help keep things organized and from sounding like rambling when it comes time to solo over a jazz tune.

86

Chapter 8 – Major Turnaround Arpeggios Position 1 As well as being useful for soloing over changes with longer harmonic rhythms, arpeggios are highly effective for outlining chords that move quickly, such as when you have two chords per bar. The focus of the next three chapters will be to introduce you to one-octave arpeggios, which are easy to move around the fretboard and effective when soloing over two chords per bar.

3 To 9 Arpeggios To begin, let’s take a look at one-octave arpeggios for a major turnaround in the key of C:

The first position you will learn begins with the first finger on the root of Cmaj7 on the 3rd string, then moves to the closest arpeggios from that starting point as you move through the progression. This will allow you to outline each chord change, but not have to move your hand very far between arpeggios, which will come in handy when you have two chords per bar, especially at faster tempos.

7 To keep things rhythmically in sync, and to make it easier for you to run these changes without having to use the -note 7b arpeggio you learned earlier, you will now learn how to apply dim7 arpeggios to 7b9 chords.

When soloing over 7b9 chords, you can play a dim7 arpeggio from the 3rd of that chord, which then outlines the 3-5-b7-b9 intervals of the underlying chord change. n the key of our example, that would mean playing C#dim7 over A7b9:

n each example in this, and the next chapter, you will be applying a C#dim7 arpeggio to the A7b9 chord on the page, which will help introduce you to this rootless arpeggio concept, which is also referred to as a th intervals of the underlying chord.

to

arpeggio, as it outlines the rd, th, 7th, and

88 Here is the fi st finge ing for the major turnaround in C major to study, memorize, and when you’re ready, take to other keys around the fretboard.

Audio Example 2 Click here to play audio example 2

You will now learn the same notes but starting the Cmaj7 arpeggio from your third finge and moving to each subse uent arpeggio from that starting point.

Audio Example Click here to play audio example

Once you have one or both of these turnaround fingerings down in your playing, try putting on the following slow-tempo backing track and play those arpeggios over these changes. rom there, when you can play each arpeggio along to the backing track from memory, start to improvise with those arpeggio shapes over the backing track and you take these fingerings from your technical practice to your improvisational practice.

Backing Track 21 Click here to play backing track 21

CŒ„Š7 4 &4 ?

?

A7(b9) ?

?

D‹7 ?

?

G7 ?

?

1

Arpeggio Practice Pattern 5: 7-1-3-5 You can now add a practice pattern to these turnaround arpeggio shapes in order to build dexterity with these arpeggios, as well as provide material to use when applying these arpeggios to a soloing situation. Because they move by so fast, these arpeggios are perfect for working on diatonic patterns, as compared to the chromatic-based patterns you learned with the two-octave shapes, where you had more time to stretch out on the fretboard. This first practice pattern is based on the interval structure 7-1-3-5, which is commonly used my many great jazz improvisers, including ohn Coltrane. hen thinking of the intervals for this, and any turnaround pattern that has a 7b chord in it, think of the intervals from the 3 to 9 arpeggio. So, for A7b , you are thinking 7-1- of the C dim7 arpeggio. ere is that pattern applied to the fi st finge ing of the major turnaround arpeggios you learned in the previous section, which you can then take to other keys as you work this pattern around the fretboard.

Audio Example Click here to play audio example

CŒ„Š7 ° 4œ œ &4 ¢⁄

7

5

œ

A7(b9) œ b œ #œ

5

8

6

6

œ

œ

5

8

D‹7 œ 8

œ

7

œ 6

œ 5

G7 nœ 6

œ

5

œ

œ

4

7

2 oving on, you can now apply that same pattern to the second major turnaround a peggi finge ing that you learned in the previous section.

Audio Example Click here to play audio example

CŒ„Š7 ° 4œ œ &4 ¢⁄

7

5

œ 5

A7(b9) œ bœ #œ 3

6

6

œ 5

œ 3

D‹7 œ

5

œ

5

œ

3

œ 2

G7 nœ 6

œ

5

œ 4

œ 3

Once you have these pattern memorized in the key of C, try putting on this backing track and running that pattern over the chord changes to hear and feel how they sound when applied to a musical situation. rom there, you can begin to improvise over this backing track, mixing the plain arpeggio notes in your lines with the 7-1-3-5 pattern. Backing Track 21 Click here to play backing track 21

CŒ„Š7 4 &4 ?

?

A7(b9) ?

?

D‹7 ?

?

G7 ?

?

Sample Licks To help you get started in taking these arpeggios and the practice pattern to a musical situation, here are two sample licks, each with two fingerings. This first lick uses only notes from the arpeggios themselves, no practice pattern, which you can see playing in the first fingering here. Audio Example Click here to play audio example

CŒ„Š7 ° 4œ œ &4

œ

5

8

¢⁄

5

A7(b9) œ bœ œ 7

6

8

œ 5

#œ

6

D‹7 œ œ

7

6

œ

œ

5

8

G7 œ

7

œ

Œ

6

Here is that exact same lick, though this time you will play it in the second arpeggio finge ing that you learned earlier in this Chapter. Audio Example 7 Click here to play audio example 7

CŒ„Š7 ° 4œ œ &4 ¢⁄

5

5

œ

A7(b9) œ bœ œ

3

7

6

3

œ 5

#œ

6

D‹7 œ

5

œ

3

œ

œ

2

5

G7 œ

œ

3

6

Œ

The second major turnaround lick mixes arpeggio notes with the 7-1-3-5 arpeggio pattern: Audio Example Click here to play audio example

CŒ„Š7 œ ° 4 œ &4 ¢⁄

7

5

œ

œ

5

8

A7(b9) œ bœ 6

œ #œ 5

6

D‹7 œ œ

œ

8

5

7

œ

G7 œ

6

œ

5

œ

œ

4

7

eeping our study theme going, here is that same second lick but written out in the se

n finge ing for this position.

Audio Example Click here to play audio example

CŒ„Š7 œ ° 4 œ &4 ¢⁄

7

5

œ 5

œ

A7(b9) œ bœ

3

6

œ #œ 5

6

D‹7 œ

5

G7

œ

œ

5

2

œ

3

œ

œ

5

œ 4

œ 3

Once you have worked on these licks in the given key, and taken them to other keys around the fretboard, try soloing with them over the slow major turnaround backing track. And, if you’re looking for an extra challenge, here is a medium-tempo backing track that you can use to work these licks in your studies.

Backing Track 22 Click here to play backing track 22

CŒ„Š7 4 &4 ?

?

A7(b9) ?

?

D‹7 ?

?

G7 ?

?

96

Chapter 9 – Major Turnaround Arpeggios Position 2 ow that you have worked through the first position of the major turnaround arpeggios in two fingerings, here are two new fingerings for the same arpeggios, this time beginning with the root note of Cmaj7 on the th string of the guitar, moving to the closest next arpeggio shape from there.

7 The first fingering will start with your

i

le finge on the root note C, and continue

through the changes from that initial starting arpeggio.

Audio Example Click here to play audio example

98 ere is that same group of arpeggios, though this time you will start the Cmaj7 arpeggio shape from your thi

finge and move through each chord change from that starting

position.

Audio Example 1 Click here to play audio example 1

99 Once you have these shapes under your fingers, try soloing over this slow backing track and use those shapes to create your lines. rom there, you can move between the first position and second position fingerings that you have learned so far in order to see and hea h

th p siti ns lie on the fretboard when applied to a soloing situation.

Backing Track 21 Click here to play backing track 21

CŒ„Š7 4 &4 ?

?

A7(b9) ?

?

D‹7 ?

?

G7 ?

?

1

Arpeggio Practice Pattern 6: 5-7-1-3 oving on in your studies of this second arpeggio position, here is a practice pattern that you can use to build dexterity over these changes, as well as add inspiration when soloing over major turnarounds and other fast-moving chord changes. This pattern is based on the interval structure, 5-7-1-3 for each change in the progression. ere is the new arpeggio pattern applied to the first th st ing p siti n.

Audio Example 2 Click here to play audio example 2

CŒ„Š7 ° 4œ œ &4 ¢⁄

12

12

œ

10

œ

9

A7(b9) œ bœ

12

11

#œ

11

œ

9

D‹7 œ œ

10

13

œ

12

œ

10

G7 œ

œ

10

13

œ

12

œ

12

1 1 You can also apply this pattern to the se

n

finge ing for the

th-string arpeggio

position, which you can see and hear in this example.

Audio Example Click here to play audio example

CŒ„Š7 ° 4œ œ &4 ¢⁄

8

12

œ

10

œ

9

A7(b9) œ bœ

8

11

œ

#œ

10

9

11

D‹7 œ œ 8

œ

œ

7

10

G7 œ

œ

7

10

œ

10

œ

9

Try working this pattern in the given key, C major, before moving on to other keys around the fretboard. As well, here is a sl

a

ing t a

that you can use to run this pattern

with some harmony, to hear how they sound over the changes, as well as begin to apply this pattern to your soloing lines and phrases.

Backing Track 21 Click here to play backing track 21

CŒ„Š7 & 44 ?

?

A7(b9) ?

?

D‹7 ?

?

G7 ?

?

1 2

Sample Licks To finish your studies of this second arpeggio position for major turnaround changes, here are two licks that you can work on in the practice room and apply to your jazz guitar improvisations. ere is the first lick, which uses only the plain a peggi n tes, written out in the first position that you learned from the th-string starting point. Audio Example Click here to play audio example

CŒ„Š7

° 4œ &4

œ

¢⁄

12

9

œ

12

œ

10

A7(b9) bœ #œ

11

11

œ

12

ere is that same lick applied to the se

D‹7 œ

9

œ

10

œ

12

œ

10

œ

10

G7 œ

œ

13

10

œ

12

n finge ing for the th-string arpeggios.

Audio Example Click here to play audio example

CŒ„Š7 ° 4œ œ &4

œ

12

8

¢⁄

9

œ

10

A7(b9) bœ #œ

œ

11

8

11

œ

D‹7 œ œ

œ

9

10

7

10

œ

10

G7 œ

œ

10

7

œ

9

1 This second sample lick mixes notes from the arpeggios with the

p a ti e patte n:

Audio Example Click here to play audio example

CŒ„Š7 ° 4œ œ &4 ¢⁄

12

12

œ

10

œ

9

A7(b9) bœ œ #œ

11

11

œ

12

And here is that second lick applied to the se

D‹7 œ œ

10

13

œ

12

œ

G7 œ

œ

10

10

œ

12

n a peggi finge ing in the th-string

starting position.

Audio Example 7 Click here to play audio example 7

CŒ„Š7 ° 4œ œ &4 ¢⁄

8

12

œ

10

œ

9

A7(b9) bœ œ #œ

œ

D‹7 œ œ

11

8

10

11

8

œ

œ

7

10

G7 œ

œ

7

œ

9

1 To finish your studies of these arpeggio licks, here is a

e i

te p

a

ing t a

that you can use to practice applying these licks to your soloing lines and phrases over major turnarounds.

Backing Track 22 Click here to play backing track 22

CŒ„Š7 4 &4 ?

?

A7(b9) ?

?

D‹7 ?

?

G7 ?

?

105

Chapter 10 – Minor Turnaround Arpeggios Position 1 The second chord progression that you will use to study one-octave arpeggio shapes is the minor-key turnaround:

Again, you will be using the 3 to 9 arpeggio over the V7b9 chord, which means that you are using F#dim7 in place of D7b9.

106 To begin, here is the fi st p siti n for these arpeggios, starting with your first finger on the root note for Gm6 on the 3rd string, and moving to the closest arpeggio shape in each chord change from that starting point.

Audio Example 68 Click here to play audio example 68

107 As was the case with the major turnarounds that you studies, you can now learn a se

n

finge ing in this same position for the minor-key turnarounds, in this case beginning with your third finger on the root of the Gm arpeggio and moving around the changes from there.

Audio Example 69 Click here to play audio example 69

108 Once you have one or both of these fingerings under your belt, try putting on this sl in

t

na

n

a

ing t a

and playing those shapes over these changes. From

there, you can begin to solo over this backing track, using one or both of the shapes in this section to create your lines and phrases.

Backing Track 23 Click here to play backing track 23

G‹6 4 &4 ?

?

B¨Œ„Š7 ?

?

A‹7(b5) ?

?

D7(b9) ?

?

109

Arpeggio Practice Pattern 7: 3-5-7-1 You can now begin to apply a practice pattern to your minor turnaround arpeggio shapes in your studies. This pattern uses the intervals 3-5-7-1 for each arpeggio shape in the progression. Because the Gm6 arpeggio has a 6 and no 7th in its interval construction, the interval pattern for that chord will be 3-5-6-1. Here is that arpeggio pattern applied to the fi st finge ing from the previous section.

Audio Example 70 Click here to play audio example 70

G‹6 œ ° 4bœ &4 ¢⁄

15

15

œ

12

œ

12

B¨Œ„Š7 œ œ

12

15

œ

14

A‹7(b5) bœ

13

œ bœ

15

13

œ

12

œ

12

D7(b9) œ œ b œ #œ

14

13

16

16

110 Here is that same arpeggio pattern applied to the se

n finge ing that you learned

before.

Audio Example 71 Click here to play audio example 71

G‹6 œ ° 4bœ &4 ¢⁄

11

10

œ

12

œ

12

B¨Œ„Š7 œ œ

12

10

œ

14

bœ

13

A‹7(b5) œ bœ

10

œ

12

13

D7(b9) bœ œ œ #œ

œ

10

13

11

12

11

Once you have this pattern under your fingers over these changes, try applying it to the

a

t

na

n

finge ings you learned previous. As well, you can also bring

the major turnaround practice patterns, 7-1-3-5 and 5-7-1-3 to these changes in your practice routine as well. To help you work on this pattern, here is a sl

in

t

na

n

a

ing t a

in the woodshed.

Backing Track 23 Click here to play backing track 23

G‹6 4 &4 ?

?

B¨Œ„Š7 ?

?

A‹7(b5) ?

?

D7(b9) ?

?

to use

111

Sample Licks ere are two sample licks that use the first position fingerings that you can study and apply to your jazz guitar solos. The first lick uses only the notes from ea h a peggi , without the practice pattern, which you can see and hear here as played in the first fingering position.

Audio Example 72 Click here to play audio example 72

G‹6 ° 4bœ œ &4 ¢⁄

15

12

œ

15

œ

15

B¨Œ„Š7 œ œ

14

12

œ bœ

15

13

A‹7(b5) œ

15

œ

12

D7(b9) bœ # œ b œ œ

œ

16

13

15

13

16

œ

14

112 Here is that same lick applied to the se

n

finge ing for the first position of minor

turnaround arpeggios.

Audio Example 73 Click here to play audio example 73

G‹6 ° 4bœ œ &4 ¢⁄

11

12

œ

11

œ

10

B¨Œ„Š7 œ œ

14

12

œ bœ 10

This second sample lick uses the

13

A‹7(b5) œ

10

œ

12

D7(b9) bœ # œ œ bœ

10

13

11

11

œ

13

œ

14

p a ti e patte n mixed with arpeggio notes to

create a line over the minor turnaround in the key of G.

Audio Example 74 Click here to play audio example 74

G‹6 œ ° 4bœ &4 ¢⁄

15

15

œ

12

œ

B¨Œ„Š7 œ œ

12

14

15

œ bœ

12

13

A‹7(b5) œ bœ

15

13

œ

12

œ

12

D7(b9) œ #œ

16

13

œ

14

œ

16

113 Lastly, here is that same se

n li

, but now applied to the second fingering in this

position.

Audio Example 75 Click here to play audio example 75

G‹6 œ ° 4bœ &4 ¢⁄

11

10

œ

12

œ

B¨Œ„Š7 œ œ

12

14

10

œ bœ

12

13

A‹7(b5) œ bœ

10

13

œ

12

œ

12

D7(b9) œ #œ

11

13

œ

œ

14

11

hen you have these licks under your fingers, try soloing with them over the slow minorturnaround backing track. If you are looking for a further challenge in the practice room, here is a

e i

te p

a

ing t a

:

Backing Track 24 Click here to play backing track 24

G‹6 & 44 ?

?

B¨Œ„Š7 ?

?

A‹7(b5) ?

?

D7(b9) ?

?

114

Chapter 11 – Minor Turnaround Arpeggios Position 2 ow you’ll learn how to play these minor turnaround arpeggios with your starting finger on the 4th string, moving to the closest subsequent arpeggio in the progression from that starting point. ere is the first fingering for this new position, which begins with your first finger on the root note for Gm6 on the 4th string, and moves through the changes with minimal hand movement from that starting point. Audio Example 76 Click here to play audio example 76

115 Now work this same arpeggio position, but now you will play the root note for Gm6 ith

thi

finge and move through the changes with minimal movement from

that starting point.

Audio Example 77 Click here to play audio example 77

116 hen you have one or both of these fingerings under your belt, try putting on this slow backing track and running those shapes over the changes.

Backing Track 23 Click here to play backing track 23

G‹6 4 &4 ?

?

B¨Œ„Š7 ?

?

A‹7(b5) ?

?

D7(b9) ?

?

117

Arpeggio Practice Pattern 8: 5-7-3-1 You can now add a new practice pattern to this new arpeggio position, which uses the interval structure 5-7-3-1 for each arpeggio in the progression, with Gm6 being 5-6-3-1. As was mentioned earlier, you can apply any of the diatonic patterns that you have learned up until this point over any fingering for the minor turnaround arpeggios. To refresh your memory, here are all four diatonic patterns in one list that you can use as a reference when applying any or all of these practice patterns to any of the four minor or major turnaround positions you’ve learned in this book.

• 7-1-3-5 • 5-7-1-3 • 3-5-7-1 • 5-7-3-1

Here is that new practice pattern applied to the fi st finge ing for the minor turnaround arpeggios that you learned in this section.

Audio Example 78 Click here to play audio example 78

G‹6 ° 4 œ œ bœ &4 ¢⁄

7

5

8

œ

5

B¨Œ„Š7 œ œ 6

5

œ

7

œ

8

A‹7(b5) bœ œ

8

8

œ

5

œ

7

D7(b9) œ œ

5

4

œ #œ

7

4

118 You can now apply this pattern to the se

n

finge ing for the 4th-string starting

arpeggios in this key.

Audio Example 79 Click here to play audio example 79

G‹6 ° 4 œ œ bœ &4 ¢⁄

3

5

3

œ

5

B¨Œ„Š7 œ œ 6

5

œ 3

œ 3

A‹7(b5) bœ œ 4

3

œ

œ

D7(b9) œ œ

5

2

5

4

œ #œ 2

4

When these patterns are comfortable, you can begin applying them to a backing track, both as written and in an improvisational setting:

Backing Track 23 Click here to play backing track 23

G‹6 4 &4 ?

?

B¨Œ„Š7 ?

?

A‹7(b5) ?

?

D7(b9) ?

?

119

Sample Licks Moving on, here are two sample licks using the second minor-turnaround position. This first lick uses only the notes in the arpeggios, no practice pattern. Audio Example 80 Click here to play audio example 80

G‹6 ° 4œ œ &4 ¢⁄

7

5

œ

B¨Œ„Š7 œ œ œ œ bœ

A‹7(b5) bœ œ

3

7

6

7

œ

D7(b9) œ œ œ œ #œ 3

6

7

8

You can now apply this same lick to the se

8

8

5

5

7

5

7

4

n finge ing for this arpeggio position.

Audio Example 81 Click here to play audio example 81

G‹6 ° 4œ œ &4

œ

3

3

¢⁄

5

B¨Œ„Š7 œ œ œ œ bœ

A‹7(b5) bœ œ

3

6

3

œ

D7(b9) œ œ œ œ #œ 3

6

3

3

4

3

5

5

2

5

2

4

120 This second lick uses the notes of the arpeggios mixed with the 5-7-3-1 practice pattern to construct a line over the minor turnaround changes.

Audio Example 82 Click here to play audio example 82

G‹6 ° 4 œ œ bœ &4 ¢⁄

3

5

3

œ

5

B¨Œ„Š7 œ œ œ œ 3

3

3

6

3

œ 3

A‹7(b5) bœ œ

œ

D7(b9) bœ œ œ œ #œ 3

4

3

5

Lastly, here is the same second lick as applied to the se

2

5

4

5

4

œ 2

n finge ing in this position.

Audio Example 83 Click here to play audio example 83

G‹6 ° 4 œ œ bœ &4 ¢⁄

3

5

3

œ

5

B¨Œ„Š7 œ œ œ œ 3

3

3

6

3

œ 3

A‹7(b5) bœ œ

œ

D7(b9) œ œ bœ œ #œ 3

4

3

5

2

5

4

5

4

œ 2

121 As has been the case with any lick you learned in this eBook, once you have these licks under your fingers, try applying them to the slow minor-turnaround backing track, and to the medium track below.

Backing Track 24 Click here to play backing track 24

G‹6 4 &4 ?

?

B¨Œ„Š7 ?

?

A‹7(b5) ?

?

D7(b9) ?

?

122

Chapter 12 – Rhythm Changes Studies ith the one-octave shapes under our fingers in both major and minor keys, you are now ready to apply those shapes to a tune, in this case Rhythm Changes. hythm Changes is a great form for studying one-octave scale shapes, as it contains two chords per bar in each A section, which are perfect for one-octave arpeggios, and it is one of the most commonly called forms on jazz jams and gigs. These studies will use the one-octave fingerings that you learned in the previous few chapters, as well as introduce a few more as you expand your knowledge of one-octave arpeggio shapes on the fretboard.

To help you work on the arpeggio studies and sample solo in this chapter, here are two backing tracks at different tempos. The first backing track is at a slower tempo, and it should be used when first attempting any study in this Chapter. Backing Track 2 Click here to play backing track 2 The second backing track is at a more medium tempo, which you can use as a longerterm goal for any of the studies in this Chapter, as it might take some practice time to build up these studies to a medium tempo.

Backing Track 2 Click here to play backing track 2

123

Rhythm Changes Arpeggio Study To begin your study of hythm Changes arpeggios, here is a sample study that uses all ascending versions of each arpeggio in the tune. As always, go slow with this at first, and feel free to learn it in 4-bar phrases in order to break down the longer form into smaller, easier to digest chunks of music. There are one-octave arpeggios, in three positions, over the three different A sections of the tune, with two-octave shapes used over the bridge as the chords in that section are more spread out. Audio Example

B¨Œ„Š7 G7(b9) ° 4 œ œ nœ œ œ & 4 bœ

C‹7 œ bœ œ

C‹7 F7 b œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B¨Œ„Š7 G7(b9) C‹7 F7 D‹7 G7 C‹7 F7 b œ b œ ° 4 bœ œ œ œ nœ œ œ b œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ œ 5 4 3 6 3 6 œ œ œ &4 3 6 œ œ œ 3 6 4 4 œ 3 6 4 4 3 4 5 2 5 2 5 4 5 2 5 3 3 5 3 5 ¢⁄

Click here to play œ audiob œexample b œ

¢⁄

3

3 6

F‹7

5

3 6

4

B¨7

4

5

4

F7

3 6

3

4

2 5

3

5

3

1 4

E¨‹7

G7

2 5

3

¢⁄ B¨Œ„Š7 G7(b9) C‹7 F7 b œ ° œ œ œ œ œ b œ œ bœ œ 3

1

3

1

0 3

1 4

D‹7

5

4

3 6

5

4

3 6

3

2 5

4

C‹7 F7 b œ ° œ œ bœ œ bœ bœ œ œ b œ œ b œ œ œ œ œ œ b œ œ œ b œ œ œ & œ œ b œ œ œ œ bœ œ œ F‹7 B¨7 E¨Œ„Š7 E¨‹7 D‹7 G7 C‹7 F7 b œ b œ ° bœ œ œ œ œ bœ œ œ bœ œ & œ bœ 1œ 4 bœ 3 1 4 bœ œ bœ 3 œ bœ œ 2 œ œ œ œ œ œ 3 6 œ 4 3 6 œ œ œ 4 1 3 0 3 3 2 5 4 5 2 5 3 1 1 4 3 5 3 ⁄ 5 ¢ 1 4

E¨Œ„Š7

D‹7

3

2

œ œ

3

5 D‹7

G7

2 5

œ

5

G7

4

3 6

5

4

3 6

3

C‹7 F7 b œ œ œ œ bœ œ

2 5

4

œ œ

¢⁄

3

1

1 4

3

3

1 4 1

0 3

3

1 4

2

3

3

5

2 5

5

4

3 6

5

3 6

4

4 2 5 12 3

C‹7 F7 D‹7 G7 C‹7 F7 B¨Œ„Š7 G7(b9) b œ b œ ° bœ œ œ œ nœ œ œ b œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ ¢⁄

8

7 10

10

F‹7

9

7 10

9

8 11

7 10

8

8

6

5 8

D7

° & œ #œ ¢⁄ ° &

¢⁄

8

10

9

C7 œ

8

œ

7

œ

12

E¨Œ„Š7

8 10

8

7 10

10

9

7 10

10

8

8 11 8

7 10

C‹7 F7 B¨Œ„Š7 b œ ° bœ bœ œ œ b œ bœ œ œ bœ œ œ œ Ó œ b œ œ œ œ b œ œ b œ œ & œ œ bœ œ œ bœ ¢⁄

B¨7

10

8

7

6 9 6

œ

10

œ bœ

10

8

5 8

œ #œ

12

œ

10

11

œ

9

E¨‹7

7

6 9

8

œ

œ

10

13

6

10

G7 œ

10

œ bœ

8

8

œ

11 8

8

œ

7 10

œ

10

9

12

œ

œ bœ

F7 œ

8 11

7

10

8

8

œ

12

œ

10

8

7 10

œ

12

œ

10

10

œ

œ

10

13

œ bœ

8

11

8

¢⁄

9

10

12

C7

° & œ ¢⁄

7

9

8

10

12

10

12

12

13 12

F7

œ bœ

9

10

13 10

œ

œ

8

10

11

12

œ bœ

œ

8

10

10

œ bœ

œ

œ

11

7

8

8

10

10

œ bœ

œ

œ

10

8

11

B¨Œ„Š7 G7(b9) C‹7 F7 D‹7 G7 C‹7 F7 b œ b œ œ b œ œ ° œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ nœ œ œ œ œ œ & bœ œ œ œ œ œ œ ¢⁄

13

12 15

14

F‹7

14

12 15

13

15

13

1215 13

12 15

13

1013

12

10

10

9 12

10

15

13

1215 13

12 15

E¨Œ„Š7 E¨‹7 C‹7 F7 B¨Œ„Š7 b œ b œ œ ° œ œ œ Ó b œ b œ œ œ œ b œ œ œ œ œ b œ b œ œ b œ & œ bœ œ œ bœ œ œ bœ ¢⁄

13 16

B¨7

15

13

13

12 15

13 11

10 13

12

11 14

13

11

15

13

12 15 13

12 15

13

13

12 15

14

13

12

Arpeggio Study Variations As was the case with the Autumn Leaves study you learned earlier, you can also practice three variations of this initial, ascending only study. To keep things simple on the page, each variation is written out over the fi st

a st

Rhythm Changes, and you can take those variations to the rest of the tune from that starting point. The first variation will use all ascending arpeggios over the chord changes to hythm Changes.

Audio Example Click here to play audio example

B¨Œ„Š7 G7(b9) C‹7 F7 D‹7 G7 C‹7 F7 b œ b œ œ bœ œ œ bœ œ ° 4 œ œ œ bœ b œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ &4 œ œ œ œ ¢⁄

5

6 3

3

4

6 3

6 3

4

4

5

4

5 2

3

5 2

3

6 3

6 3

4

5

4

5

4

5

5 2

3

F‹7 B¨7 E¨Œ„Š7 E¨‹7 D‹7 G7 C‹7 F7 b œ bœ œ œ bœ œ œ œ ° bœ œ œ œ œ œ b œ œ b œ b œ œ œ b œ œ œ œ & œ bœ bœ œ œ œ œ œ ¢⁄

4 1

1

4 1 3

3

3

3

3 0

1

2

3

4 1

5 2

3

6 3 5

4

6 3 5

4

5

4

5 2

3

127 ext, you will alternate between an ascending and descending arpeggio over each chord in the tune.

Audio Example Click here to play audio example

B¨Œ„Š7 G7(b9) C‹7 F7 D‹7 G7 C‹7 F7 b œ b œ ° 4 œ œ œbœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ œ œ œ œ b œ n œ œ œ &4 œ œ œ œ œ ¢⁄

3

F‹7

3 6

° & œ bœ œ ¢⁄

3

1

5 4

B¨7 bœ b œ œ

1 4

4 1

6 3

4

5

4

3 6

4

5 2

3

3

5

2 5

6 3

4

4

5

5

3 6

4

5 2

3

E¨Œ„Š7

E¨‹7 D‹7 G7 C‹7 F7 b œ œ œ bœ œ œ œ œ bœ œ b œ œ œ b œ œ œ œ œ œ bœ œ œ œ œ bœ œ 3

3

1

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3

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6 3

4

5

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4

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12 Lastly, here is an alternating study that begins with a descending arpeggio, followed by an ascending arpeggio, and alternating through the tune from there.

Audio Example 7 Click here to play audio example 7

B¨Œ„Š7 G7(b9) C‹7 F7 D‹7 G7 C‹7 F7 b œ b œ œ bœ œ œ bœ œ ° 4œ œ œ œbœ œ œ œ œ œ œ œ œ œ b œ n œ œ œ &4 œ œ œ œ œ œ ¢⁄

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F‹7 B¨7 E¨Œ„Š7 E¨‹7 D‹7 G7 C‹7 F7 b œ œ bœ œ ° bœ œ œbœ œ œ œ b œ œ œ œ œ b œ b œ œ œ b œ œ & œ bœ œ bœ œ œ œ œ œ œ ¢⁄

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1 1 4

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Once you have any of these variations under your fingers, try putting on a Rhythm Changes backing track, slow tempo at first, and soloing over those changes using any of the variations from this section of the Chapter.

129

Rhythm Changes Arpeggio Solo To help you see and hear how these one-octave arpeggios sound in a musical situation, here is a one-chorus solo over hythm Changes that you can learn and study in your practice routine. Start by learning each four-bar phrase, and then begin to combine those smaller phrases to make up the longer form as you go.

Audio Example Click here to play audio example

B¨Œ„Š7 G7(b9) C‹7 F7 D‹7 G7 C‹7 F7 œ b œ œ b œ œ b œ œ œ œ ° 4 œ œ œ œ œ œ bœ œ bœ œ œ œ Œ œ œ œ b œ n œ Œ Œ &4

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After learning this arpeggio study over

3

3 6

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4

3

2 5

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3

hythm Changes, try writing out a chorus of

your own sample study in order to gain the benefits of a compositional approach to improvisation over this tune.

132

Chapter 13 – Must-Know Arpeggio Shapes To finish off your study of jazz guitar arpeggios, here is an arpeggio dictionary that lays out the most convenient fingerings for all of the arpeggios discussed in this book, plus a few more that weren’t discussed but that you will encounter in your jazz guitar journey. The different fingering positions of the arpeggios are combined with common chord voicings in that same position of the neck. This makes it easier to memorize and apply these arpeggio shapes. ere’s an example:

on’t learn all of these shapes at once, because you will get overwhelmed by the sheer amount of material. t’s better to take some shapes, study them well and try to use them musically. Eventually though, you will need to know most of these arepeggio shapes to avoid getting stuck somewhere on the fretboard during your solos.

133

Practice Example Exercises ere are some examples of how you can practice arpeggios in order to get them in your fingers. This first exercise combines chords and arpeggios. t uses the first from the major type chord section of the dictionary. chord types and in other keys.

Audio Example Click here to play audio example

arpeggio shapes

epeat the exercise with other

134

1 Exercises like this are not very musical, but they are effective when you first start memorizing arpeggio shapes. After a while you can move away from this rather mechanical way of practicing by introducing new elements, such as different rhythms, starting on different notes, string skipping, etc. ere’s a small example:

Audio Example Click here to play audio example

136 The previous exercises stayed within arpeggio shapes of the same chord type. You can also mix chord types, like in this example: Audio Example 1 Click here to play audio example 1

137

Maj7 Arpeggio Shapes n this section you’ll learn the various shapes for maj 7 arpeggios, which are used to solo over maj7 chords (among others, see the arpeggio substitution chart further in this ebook). ere is the interval structure for major chords:

1 The second chord voicing on this page is the fi st in e si n

a . t contains the

same notes as a normal Gmaj7 voicing, but has the rd (B) in the bass.

1

1

141 To finish our section of major 7 arpeggios, here are 2 Gmaj7 arpeggio fingerings that are layed out horizontally and that enable you to go from low to high on the neck (or from high to low).

142

Dominant 7th Arpeggio Shapes n this section you’ll learn the various shapes for dominant 7 arpeggios, which are used to solo over dominant 7 chords (among others, see the arpeggio substitution chart further in this ebook). ere is the interval structure for dominant chords:

143

144

1

146

147 And finally the horizontally layed out version of the G7 arpeggio:

1

Minor 7th Arpeggio Shapes n this section you’ll learn the various shapes for m 7 arpeggios, which are used to solo over m7 chords (among others, see the arpeggio substitution chart further in this ebook). ere is the interval structure for major chords:

1

1

1 1

1 2

1 ere is the horizontally layed out version of the minor arpeggio:

1

Minor 7b5th (Half Diminished) Arpeggio Shapes n this section you’ll learn the various shapes for half diminished arpeggios, which are used to solo over m7b chords (among others, see the arpeggio substitution chart further in this ebook). ere is the interval structure for half diminished chords:

1

1

1 7

1

1 ere is the horizontal version of the half diminished arpeggio:

1

Diminished 7th Arpeggio Shapes ere is the interval structure for diminished 7 chords:

You can use diminished arpeggios to solo over: 1. iminished chords 2. ominant 7 chords

You can play a dim7 arpeggio from the b9, 3, 5 or b7 of any dominant 7th chord. This will result in a 7b9 sound. or example: to improvise over a G7 chord, you can play an Ab 7, B 7, over it:

7 or

7 arpeggio

161 Note that these 4 diminished arpeggios have the same notes (B D F Ab), but in a di erent order

hey are all inversions o the sa e di inished chord the sa e chord,

but with another bass note).

This results in the fact that you can slide diminished chords and arpeggios up or down by 3 frets, while keeping the same chord, as you can hear in the following examples. n the first chord example, slide up the diminshed chord voicing by

frets ( times).

The notes of the chord stay the same, only the order of the notes in the voicing changes:

Audio Example 2 Click here to play audio example 2

The same can be done with arpeggios. n the following example, the same diminished 7 arpeggio shape is each time moved up by same (in a different order).

frets, but the notes of the arpeggio stay the

162

Audio Example Click here to play audio example

ere’s an example of how to use diminished chords over dominant chords on a ii in C major:

• On the G7 play a B diminished arpeggio (B is the of G7) • On the A7 play a C diminished arpeggio (C is the of A7)

163

Audio Example Click here to play audio example

164 n this section you’ll learn the various shapes for diminished 7 arpeggios.

1

166 ere is the horizontal version of the diminished arpeggio

167

Chapter 14 – Some More Useful Arpeggio Shapes This chapter contains some useful variations of arpeggio shapes from the previous chapter. As a beginner you get a long way with the arpeggios from chapter 13, but as you make progress you’ll want to add more color to your arpeggio lines, and that’s where the shapes in this chapter come in...

Maj7#11 Arpeggio Shapes The next group of arpeggios are variations of major arpeggios of chapter 13. You can apply these Maj7#11 arpeggios to a Maj7#11 chord when you see one on a lead sheet, and you can also apply Maj7#11 arpeggios to any Maj7 chord where you want to bring a Lydian sound to your lines over that chord. Here is the interval structure for major #11 chords:

168

169

170

Dominant 7#11 Arpeggio Shapes As was the case with the maj7 arpeggios, you can also alter the 7th arpeggios to form a 7#11 sound in your playing. You can apply these arpeggios to 7#11 chords in your playing, or just to any 7th chord where you want to bring a bit of tension to your lines, which the #11 note accomplishes over these dominant changes. Here is the interval structure for dominant #11 chords:

171

172

Minor 6 Arpeggio Shapes A close relative of the m7 arpeggios, m6 arpeggios are used to solo over m6 chords, or m7 chords when you want to highlight the 6th note of that chord. Here is the interval structure for minor 6 chords:

Note that the arpeggio shapes of Gm6 (G Bb D E) are the same as those of Em7b5 (E G Bb D), but with another tonal center.

173

174

Minor Major 7 Arpeggio Shapes The final set of arpeggios in this section are m aj7 shapes, which are used to solo over mMaj7 chords, or m7 chords where you want to create some tension by using a maj7 interval over a m7 chord. Here is the interval structure for minor major 7 chords:

175

176

Chapter 15: A Brief Look At Arpeggio Substitution Until now we have been playing arpeggios over their matching chord, e.g. playing a Gmaj7 arpeggio over a Gmaj7 chord. In this chapter we’ll have a brief look at arpeggio substitution, which you can use to create more colorful sounds.

Major 7 Arpeggios Used as Substitute • In the fi st

of the below diagram you see the notes of a Gmaj7 arpeggio (G B

D F#).

• In the se n

you see the note functions of the Gmaj7 arpeggio played over

its matching chord: 1 3 5 7. This is how we have used arpeggios so far in this book.

• In the thi

you see what happens when you play a Gmaj7 arpeggio over an E

minor chord. The notes of Gmaj7 sound like b3 5 b7 and 9 over E minor, the sound of an Em9 chord.

• In the

th

you see what happens when you play a Gmaj7 arpeggio over

a C major chord: The notes of Cmaj7 sound like 5 7 9 and #11 over C major and results in a Cmaj9#11 sound.

• And so on...

177 In this example you can hear the i e en e et een the se . 1) Gmaj7 arpeggio over Gmaj7 chord

Audio Example 95 Click here to play audio example 95

2) Gmaj7 arpeggio over Em9 chord

Audio Example 96 Click here to play audio example 96

n

an the thi

178

Minor 7 Arpeggios Used as Substitute In this second diagram you see how minor 7 arpeggio shapes can be used to play over other chord types.

• The se n

shows the normal use of the Gm7 arpeggio played over its

matching chord Gm7.

• The thi

shows you how a Gm7 arpeggio sounds when played over and Eb

major chord. The notes of Gm7 sound like b3 5 7 and 9 over Eb major, resulting in a Ebmaj9 sound.

• And so on...

179

Dominant 7 Arpeggios Used as Substitute This diagram shows how you can use dominant 7 arpeggios to play over other chord types.

180

Half Diminished 7 (m7b5) Arpeggios Used as Substitute This diagram shows how you can use half diminished 7 arpeggios to play over other chord types.

181

About the Author

Canadian guitarist and pedagogue Dr. Matthew Warnock has been awarded Jazz Performance degrees from McGill University and Western Michigan University, culminating in a Doctorate in jazz performance from the University of Illinois. During his Doctoral study, Matt researched the improvisational vocabulary of jazz guitarist Johnny Smith, culminating in a dissertation titled “Johnny Smith: Melodic Interpretation and Improvisational Techniques.” Matt currently maintains a strong focus on high school and collegiate jazz education and has held faculty positions at Western Illinois University, the Interlochen Arts Camp and the Leeds College of Music. He has also given workshops and lectures throughout the US, UK, Canada and Brazil including Carleton University (Ottawa), Concordia University (Montreal), Chicago High School for the Arts, the Wisconsin Conservatory (Milwaukee), the Federal University of Juiz de Fora (Brazil), the Federal Universtiy of Ouro Preto (Brazil)

182 and the Federal University of Sao Joao Del Rei (Brazil). Published by Mel Bay, Just Jazz Guitar Magazine, and All About Jazz, Matt is the author of 3 jazz guitar books and 2 jazz guitar learning apps for the Apple and Android platforms. Having a strong belief that all instrumental teachers should maintain a healthy concert schedule, Matt has performed throughout Europe, the US, Canada and Brazil, including the International Association for Jazz Educators Conference and Lincoln Center in New York, the Savassi Jazz Festival in Belo Horizonte, Brazil and the NuJazz Festival in Curitiba, Brazil. After living in Belo Horizonte, Brazil for 2011, where he toured with Samba Jazz bands and taught Jazz at Universities and Music Academies, Matt currently resides in Chester, UK, where he runs an online guitar teaching website www.mattwarnockguitar.com, is a Lecturer at the University of Chester, gives Guitar exams for the London College of Music (Registry of Guitar Tutors) and continues to perform and give workshops on the international level.

Layout, editing and programming done by Dirk Laukens (www.jazzguitar.be)