Mimi Fox - Arpeggio Studys

37 Pages·2006·2.45 MB·English

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S T U D I E S
G U I T A R A R P E G G I O
N J A Z Z S T A N D A R D S
his book is all about the exciting world of arpeggios!
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Arpeggios are the notes that make up any given chord. They can be played in many ways: with
different emphasiso n each note, in variedorder with different patterns,a nd finally, super-imposedo ver
differentc hordst o createb eautifulc olorsa nd excitinga nd unusualm elodicm otifs'
In conjunction with scales, arpeggios make up the essential building blocks of any musician's
vocabulary.F or improvisors,a rpeggiosi nitially form a "safety net" becauset hey spell out the exact notes
in the chord being ptayeo.M astery of arpeggiosw ill mean that you can outline the correct chord changes
for any song.A s you developy our ear,i ibecomes clear that arpeggiosc an later be usedt o createa ll kinds
of amazingt onal clustersa nd we will covert hesec onceptsa s well'
Remembert oo that arpeggiosa re greatf or building your techniquea s they force you to play positions
and fingerings that may be new to you. Ttre fingerings that are written here are only some of the
possibilities.Tryp layingt heseu singd ifferentf ingeringso n differentf rets.P ractices lowly,a nde ventually
you will be able to play through tunes with more confidence and musicality becauset hese studiesw ill
developy our fingersa nd your ears.
Havef un!
3
et'sb egin very simply with a G triad. This is, as the namei mplies, a three-notec hord: G, B antl D
(i. e., l, 3, 5 of the scaleo f G). If you havea simpleb lueso r songu singt his chord,t his arpeggio
is a naturalc hoice.
"swing"
Note: All the 8ithn ofess houldb e playedw itha feel.
Example 1 3 GTriad@ No.2
G
o J t ' ' i J r ' ti t -bl,t -bl,t -yl t J.
v v v v
?
t
A f r E
- F - 6 ! E 4
E a -
Notice in measure3 how the Bb precedest he chord tone B, which createsa nice blues feel.
Now, in examples2 and 3 we add theses hapesf or C and D triads.
IVofe:I hese aret hes amea s shapel V (IUh ftet) ands hapel ll of theG triads( page1 1).
3fr.
Example2 3G, C,DTriad@s No.3
c
G D G
- t i - l
o -
J t ' i' J - J
?
I a - - a
tl t - - l
a -
E r ' v
4
v t r i o do r p e q q i o s
Example 3 3 G,C ,D Triads@ No4.
c
G D G
- ^
, , - - l -
'
a J J t ' J' J - J E JJ JJ' -t
t
? ^
I
A r---
h . - a ? w w ? q - ?^t
E r e ' ! { L .,
E A
"D"
Notice in Example 3 that I reversedt he order of the arpeggio( descendingin steado f ascending)
and this madef or anotherv ariation.
Now begin to play the arpeggiosi n different patterns:
Example 3.{ 3 TriadA rpeggio@s No5.
u J i
J
f
? q
a t I
A 2 E E
A t 6 E E
9 a
Example 3.2 3 TriadA rpeggio@s No.6
3
Example 3.3 3 TriadA rpeggio@s No.7
q
t r i o do r p e g g i ovs
- l r
f-:l hesea rpeggioss tart by descendings o they are a little hardera t first.
t l
LI
Example 34 3 Descned ingT riadA rpeggio@s No8.
rl T - a T a i f
? - a q
I t t t
- e E
[ - e ' E
E E t
ET q
Example 3.5 3 Descned ingT riadA rpeggio@s No.9
I
I
' t J
a) t
I
q
I
8 E E E
E O E
E J ' q
Next, beginm ixing the threet riad shapesw e've coveredt hus far in a musicale tude.
Example 4 J MusicaTl riadE tude@ No.1 0
c
G D G
l_l_r I_l I
d t-.t-# ' - J - - J t t t l t t t l
. | F a - q
t - - l E a - - . t
- t I A 6 e - E 6 t - - l
- e 3 q q t -
E'
A
v 0 r p e q q i os h 0 p e s
ow we arer eadyt o play the differentt riadic shapes( grips) and move them vertically up and down
the necko f theg uitar.P leases eep age1 0-12f or all thet riad shapes(.T he4 th fingera lwaysm oves
you up to anotherp ositiona nd the lst finger movesy ou down the neckt o a lower position).
Exampfe 5 3 VerticaMl ovemen@t No.1 1
G C G
a J r L | | | t t
A
I
c
G D G
T-
u 1 - J e ' l l l t J '
I
A
I o o
"jazzy"
Now let'sm oveo n to the threem ore arpeggiog roups:M inTth, DomTtha ndM ajTth.O ncey ou
"grip",
memorizea given practicet hesea rpeggiosin the samem annera s your triad arpeggiosu sing the
patternso utlinedo n pages5 -6 andp racticem oving the shapesv erticallyu p andd own the neck asw e have
just donei n Example5 .
[rt's put theseg rips to usei n one of the mostc ommonj azz progressionsa, II-V-I:
'C'
Example 6 e il-V-lA rpeggioS tudyin Q No.1 2
7
DmiT Curu
o r p e g q isoh o p e sv
"F"
Example 7 A il-V-lA rpeggiSo fudyin @ No.1 3
GmiT 97 Fun,l7
- -
d JJ' t-l-J-J Ll I ||||||||||e|| |||l|e = r t l t l
q e E - n E
l 6 A E
A . E t 4 6 a
' o
a a t
E r r c
'Bb"
Example 8 3 ll-V-lA rpeggioS tudyin @ No.1 4
p7 Bburu7
CmiT
a) C -
a E
l 2 o ' - o E
' o a
A 1 6
_ A e - t a a a E E o t o E o
IJ - a
n
"outline"
ny time you are learninga new piece,i t's a good idea to be able to the chord changes
with arpeggiosS. tarts lowly with a metronomem arkingo f J = 48 andw ork up to brightert empos
as you becomem ore comfortablew ith the processG. uitaristss houlda lwaysv ary the fingerings
andp ositionsw heret hey arep laying to facilitatet he greatesftr eedom.
Takec aret o play theses tudiesi n all registers/octaveasn d throughoutt he full rangeo f the instrument.
"2" "4"
Eventually,it 's a good ideat o havet he metronomec licking on and sincet hesea ret he strongb eats
of jazz. This will help with your senseo f swing, too. Pleasea dheret o the continual8 th-noter hythms
becauseth is will train you to develops trongl ines and rely on your ear.A dvanceds tudentsc ould begint o
makeu p their own arpeggios tudiesu ntil the processb ecomess econdn ature.
In-deptha nalysiso f theses tudiesw ill revealm any techniquesfo r solo developmentT. herea rem any
patternus sedi n theses tudies(l -3-5-7,l-7-5-3,3-l-7-5,3-5-7-1,5-3-l-7,7-5-3-e1tc, .)a nda lso,y ou will
"new"
noticet hat on the first beato f the new measurew, heneverp ossible,I haveu seda notet hat is from
"F" "E"
the next arpeggio( i.e, in going from G7 to CMaj7, the of the G7 arpeggiod rops to the of the
CMajT) - this enablest he ear to actually heart he chordsc hangingw ithout actually playing/ strummingt he
actualc hordst hemselvesR. esolutiont o the 3rds (both major and minor) are often selectedf or just this
purpose,t hough often other notesc an signify the chord change,p erhapsn ot as strongly.
The following pagess how different arpeggiog rips. The big black dot is the root of the chord. The
chords hapeis representebdy the big black dot in conjunctionw ith the circledb lack dots.T he hollow dots
played sequentiallym ake up the arpeggio.