S8rI8 Guitar ARPEGGIO STUDIES ON JAZZ STANDARDS Mimi CJ contents- Liii Tuning Example9 Example20 Example I Example 10 Example21 Li Example2 Example 11 Example22 Example 3 Day and Night Example23 IJ Example 3.1 AlltheThingsYouAin’t Example24 jII Example 3.2 WinterLeaves Example25 Example 3.3 Example 12 Example26 Example3.4 Example 13 Example27 Example 3.5 Example 14 Example28 fJJ Example4 Example 15 Example30 ftjj Example 5 Example 16 Example31 jJ Example6 Example 17 Example 32 UII1 Example 7 Example 18 Example33 LiI1 Example 8 Example 19 234567890 '2004BY MELBAYPUBLICATIONS,INC.,PACIFIC, MO63069. ALL RIGHTS RESERVED.INTERNATIONALCOPYRIGHTSECURED.B.M.I.MADEAND PRINTED IN U.S.A. Nopartofthis publicationmaybe reproducedinwholeorin part, orstoredin aretrievalsystem,ortransmittedinanyform orbyany means, electronic, mechanical, photocopy, recording,orotherwise,withoutwrittenpermissionofthe publisher. Visit us on the Web at www.melbay.com E-mail us at [email protected] - GUITAR ARPEGGIO STUDIES ON JAZZ STANDARDS introduction L,1 his book is all about the exciting world of arpeggios! Arpeggios are the notes that make up any given chord. They can be played in many ways: with different emphasis on each note, in varied order with different patterns, and finally, super-imposed over different chords to create beautiful colors and exciting and unusual melodic motifs. In conjunction with scales, arpeggios make up the essential building blocks of any musician’s vocabulary. For improvisors, arpeggios initially form a "safety net" because they spell out the exact notes in the chord being played. Mastery of arpeggios will mean that you can outline the correct chord changes for any song. As you develop your ear, it becomes clear that arpeggios can later be used to create all kinds of amazing tonal clusters and we will cover these concepts as well. Remember too that arpeggios are great for building your technique as they force you to play positions and fingerings that may be new to you. The fingerings that are written here are only some of the possibilities. Try playing these using different fingerings on different frets. Practice slowly, and eventually you will be able to play through tunes with more confidence and musicality because these studies will develop your fingers and your ears. Have fun! 2 leof Introduction .2 Triad Shapes 4 II V I Studies 7 Arpeggio Studies Through a Piece of Music 9 Chord/Arpeggio Shapes 10 "SummertimeArpeggios" 13 Arpeggio Studies Over Standards 18 "Day and Nighf’ 18 "All the Things You Ain’t" 21 "Winter Leaves" 24 AdvancedArpeggio Concepts 26 Epilogue 31 About theAuthor 34 3 ______ et’s begin very simply with a G triad. This is, as the name implies, a three-note chord: G, B and D i. e., 1, 3, 5 ofthe scale of G. If you have a simple blues or song using this chord, this arpeggio PL is a natural choice. Note: All the 8th notes shouldbe played with a "swing" feel. Example I G Triad fi No. 2 G - t4 ¶! 4 I I I I I I II ii iT iT a * a * * -:_*------_--- A 55 5 5 B ,25 52 25 25252525 ,, 1 Notice in measure 3 how the B precedes the chord tone B, which creates a nice blues feel. Now, in examples 2 and 3 we add these shapes for C and D triads. Note: These are the same as shape IV10th fret andshape Ill ofthe G triads page 11. L 12 Example 2 G, C, D Triads fi No. 3 G C D G rn - jj j JJ - T 542 2 325 B 255 2 ‘a S 4 ________ ________________________________ triad arpeqqios Example 3 G, C, D Triads fi No. 4 G C D___ G ri i *1 liii 1, Notice in Example 3 that I reversed the order of the "D" arpeggio descending instead of ascending and this made for another variation. Now begin to play the arpeggios in different patterns: Example 3.1 Triad Arpeggios fi No. 5 , 5 2 5 5 2 3 ‘ ‘ Example 3.2 Triad Arpeggios fi No. 6 __ r1 T 3 A 5 555 B 2525 552 Example 3.3 Triad Arpeggios fi No. 7 A 5 5 B 2 5 2 5 , S 5 triad arpeqqios v LJ hese arpeggios start by descending so they are a little harder at first. Example 3.4 Descending Triad Arpeggios fi No. 8 I’ A 4 4 4 5 5 5 B 5 5 2 5 2 Example 3.5 Descending Triad Arpeggios fi No. 9 3 S - L_1J 3 4 4 A 5 5 5 B------5 2 5 2 5 Next, begin mixing the three triad shapes we’ve covered thus far in a musical etude. Example 4 Musical Triad Etude fi No. 10 G C D G G C D G a - I I I -I- I ‘J U 4555 "24 5445 A 2325523 4 B 6 arpeqq io shapes ow we are ready to play the differenttriadic shapes grips and move them vertically up and down the neckofthe guitar. Please see page 10-12 forall the triad shapes. The 4th finger always moves you up to another position and the 1st finger moves you down the neck to a lower position. Example 5 Vertical Movement fi No. 11 G C 0 G G C D G Now let’s move on to the three more "jazzy" arpeggiogroups: Min7th, Dom7th and Maj7th. Once you memorize a given "grip", practice these arpeggios in the same manner as your triad arpeggios using the patterns outlined on pages 5-6 and practice moving the shapes vertically up and down the neck as we have just done in Example 5. Let’s put these grips to use in one of the most commonjazz progressions, a 11-V-I: Example 6 Il-V-I Arpeggio Study in "C" fi No. 12 Dmi7 G7 CMAJ7 - Jnr JL Lrflm a J 53 4-3---------------------- 658 63 4535 2325 58 S 7 arpeqqio shapes Example 7 No. Il-V-i Arpeggio Study in "F" fi 13 Gm17 C7 FMAJ7 Example 8 Il-V-I Study "Ba" No. 14 Arpeggio in Cm17 F7 BMAJ7 0 I I fl I LT1 4.H LLLJ L_i_ I a a aLIH -LILJ a a , - - r u6 8 6 6 A 558 87 55878 B 868 858 8 arpeggio studies through a piece of music ny time you are learning a new piece, it’s a good idea to be able to "outline" the chord changes A J with arpeggios. Start slowly with a metronomemarking of 48 and work up to brighter tempos = as you become more comfortable with the process. Guitarists should always vary the fingerings and positions where they are playing to facilitate the greatest freedom. Take care to play these studies in all registers/octaves and throughout the full range ofthe instrument. Eventually, it’s a good idea to have the metronome clicking on "2" and "4" since these are the strong beats of jazz. This will help with your sense of swing, too. Please adhere to the continual 8th-note rhythms because this will train you to develop strong lines and rely on your ear. Advanced students could begin to make up their own arpeggio studies until the process becomes second nature. In-depth analysis of these studies will reveal many techniques for solo development. There are many patterns used in these studies 1-3-5-7, 1-7-5-3, 3-1-7-5, 3-5-7-1, 5-3-1-7, 7-5-3-1, etc. and also, you will notice that on the first beat ofthe new measure, wheneverpossible, I have used a "new" note that is from the next arpeggio i.e, in going from G7 to CMaj7, the "F" of the G7 arpeggio drops to the "E" of the CMaj7 this enables the ear to actually hear the chords changing without actually playing! strumming the - actual chords themselves. Resolution to the 3rds both major and minor are often selected for just this purpose, though often other notes can signify the chord change, perhaps not as strongly. The following pages show different arpeggio grips. The big black dot is the root of the chord. The chord shape is represented by the big black dot in conjunction with the circled black dots. The hollow dots played sequentially make up the arpeggio. S 9