Arpeggios for Guitar (The Progressive Guitarist Series)

47 Pages·1991·6.47 MB·English

by  Don Latarski

THE
PROGRESSIVE
GUI TARIST
ARPIOOIOS
FOR
GUITAR
,..4N EWA PPROACTHO
ARPEGGIOASN DT HEIR
RELATIONSHTOIP
CHORDSA ND SCALES.
FORT HER OCKB, LUES,
AND JAZZGUITARIST.
by DON LATARSKI
THE
PROGRESSIVE
GUITARIST
ARPIOOIOS
FCR
GUITAR
...AN EWA PPROACTHO
ARPEGGIOASN DT HEIR
RELATIONSTHOIP
CHORDSA NDS CALES.
FORT HER OCKB, LUES,
AND JATZGUITARIST.
by DON LATARSKI
.l990
o Don Lotorski
InternotionolR ightsS ecured
All RightsR eserved
Cover Design:J oonn Correro
WARNING:A ny duplicotion, odoptotion
or orrongement of the compositions
contoined in this collection, without the
wriiien consent of the owner, is on
infringement of U.S.c opyright low ond
srrtrier--t to tha nenoliiaq rrn.l li.'lbili+ioc
INTRODUCTION
An arpeggiois a serieso f chordt onesp layedo ne notea t a time. Everys erious
guitarismt usta t some pointm asterm anyo f the primarya rpeggiofo rmss uch as
majTthm, inTtha, ugTthe, tc.
Arpeggioas ref requentluys edi n constructinmge lodiesA. quicka nalysiso f melodies
fromm usico f nearlya lla gesa nds tylesw illd emonstratteh isf act.T heya rea lsou sed
as accompanimednet vices.
In contemporarmy usic,s uch as rock,b luesa nd jazz, arpeggiosa re used as
improvisationtaolo lsa longw iths cales.l t is for musicianws ho playi n theses tyles
thatt hisb ooki s intended.
In any giveni mprovisationsailt uationt,h e "safest"s oundingp itchw ill alwaysb e a
chordt one.H oweveri,f yours oloi s madeu p onlyo f chordt ones,y our unt he risko f
boringy ourl istenelsG. oods olosa re madeu p of a varietyo f rhythmicm, elodica nd
harmonicd evicesl.t 'su p to eachp ersonto findt he properb alanceb etweenp laying
it safea ndt akingc hances.
Arpeggiosa re very usefuli n particulatro the jazz musicianb ecauset his styleo f
musico ftenr equiresth e improvisotro makeq uickk ey shiftsw hens oloingM. any
guitaristsu se arpeggiosto facilitateth esek indo f changesT. he arpeggioh as the
benefiot f outlinintgh e harmontyh at'sh appeninagt the momentl,e ttingth e listener
knowt hatt he improvisohra s a firmg raspo f the harmonicm ovemenitn the piece.
Also,t he useo f arpeggiohsa st hee ffecot f breakingu pt hef lowo f the musicalli neb y
interspersiningt ervallilce apsi ntot he solo.S olosm adeu p of justs calep assages
tendt o sounds mootha ndv ocal-likeW. idei ntervalle apsp rovidec ontrasitn the line.
Learninga rpeggioos n the guitari s moret hanj ust learningc hordf orms.C hordsa re
usuallyp layedo ne notep er string.I n somec ases,i t'sp ossibleto playo ne,t wo or
threen otesp er stringi n an arpeggioT. hisw ill becomev eryo bviouso ncey ou get
intot he book.
The formato f this booki s simple.E achp agec ontainsa particulatry pe of chord,
whichi s showni n fived ifferenfto rmsT. her ooto f eachc hordf ormi s showna s a solid
blackd ot.T hed oti s yourr eferencneo te.B y usingt hisn ote,y ouc anm ovet hec hord
formu p andd ownt hef ingerboartdo playt hisc hordo n anyf reta ndi n anyk ey.
The middlec olumns howst he arpeggioo f the chordt o its left.T he rightc olumn
showst he largers calep atternw hichg oesw itht hisa rpeggioa ndc hord.Y oug ett he
wholep icturef,r omt he chordt o its arpeggioto the completesc ale.A n X abovea
stringm eansy oum uste ithemr utet hes tringo r stringso r simplyn otp luckit if youa re
usingy ourf ingers.(Maonfy t hesec hordsw illb e easietro playi f youp luckth es trings
withy our fingersin steado f tryingt o strumt hemw itha pick.)
On someo f the morec omplicatecdh ordss ucha s Dom9b5I,' ves hadedin someo f
the notesi n ana ttemptto maket hingsa littlec learera s to whata re importannt otes
and what are not. In somec ases,t he rootw ill be shaded,b ecauseth e rooti s not
reallya necessarny otei n an arpeggioF. ort he mostp art,t he chordsa re in root
positionw, itht he bassn oteb eingt he lowestn oteo f the chord.l n somec ases,t his
was notp ossibleA. t any rate,a ll chordv oicingsa res hown.( Thesea ret he numbers
insidet he circlesin eachc hordf orm.)F ived ifferenfto rmso f eachc hordt ypea re
given.T hisa pproache ffectivelcyo versth ee ntirele ngtho f thef ingerboard.
The scalesI choset o showw ith eachc hordt ype are whaty our" averageg" arden
varietyja zzm usiciamn ighth avec hosenH. oweverd,o n'tb e fooledin tot hinkingth at
thesea re the onlyp ossibilitiebse, causeth eya ren't.I encouragyeo ut o seeko ut
otherb ookso nt he subjecot f improvisatioonr c hecko ut my booke ntitledS, CALE
PATTERNSFO RG UITARS. calec hoiceis dependanutp onh owa nyg ivenc hordi s
functioninign a song.A goodj azzl heoryt exta ndq ualifiedin structocra n putt his
subjecitn perspectivfeo ry ou.
It'su p to you to choosew hato rdert o playt he notesw hichm akeu p any arpeggio.
Youd on'th avet o startf romt he lowesnt otea ndg o rightu p fromt here.Y ouc ans tart
anywherey ou likea ndp layt he notesi n anyo rder.A lso,y ou'llh avet o worko uty our
ownf ingeringfso r the chordf orms,a rpeggioasn ds calesT. he numbersw hicha re
includedin eachc hord,s calea nda rpeggioa,r et he scaled egreesy oua rep laying.
Eventuallyyo, um ustk noww haty ou'red oingw heny oua rep layingth eset hingss, o
startn owt o knoww hat'sg oingo n withy ourp laying.
Practiceth esea rpeggiobsy firsth ittinga chordt,h ent hea rpeggiow hichg oesw ithi t,
andt hent he largers caleT. hisw illt akey oua crossth e pagef roml eftt o rightY. ou
needt o havet hea rpeggiion yourf ingersa s fluentlay s thec hordsa nds calesT. hink
of the arpeggioass the bridgeb etweenc hordsa nds cales.
Mostg uitaristws ho'veg rownu p playingro cka ndb luess tylesa reo ftent rappedb y a
mono-scalaarp proachto soloingT. hati s,t heyt ryt o useo nes cale,u suallyth e minor
pentatoniocr blues,a s it'so ftenc alledt,o playo vera serieso f changingc hords.I n
manyc ases,t hisw orksw ellb ecausew hatt heyc allc hordsa re reallyn ot.T heya re
intervalosf a perfecSt th,a lsok nowna s powerc hordsT. hist ypeo f approachd oesn't
workt o wellw hent he harmonyc onsistso f movingtr iadsa ndf ourn otec hords( 7th's).
Thist ypeo f harmonicm ovemenmt akesy ours cales eemi nadequataen d out of
placeY. oun eedd ifferentto nalr esourcesi.,e .,n ews calest,o effectivelsyo loo vert he
changesA. ll guitaristrsu nu p againstth isp roblems oonero f later,e specialliyf t hey
wantt o movei ntos ongsw hichh avea )azzl eaning.
Two of the earliesita zz guitariststh at reliedh eavilyo n arpeggiosa re Django
Reinhardatn d CharlieC hristianL.i stent o howt heyu seda rpeggiotso followt he
contouro f the movingc hordp rogressionYso. u'lls oons eet he art involvedin this
typeo f approachF. ora morem oderna pproachl,is tent o guitaristlsik ep at Metheny,
JohnS cofielda nd MikeS tern.
Experimentatioisn t he key to becominga n accomplisheidm provisoTr.h ere,sn o
substituteT.h et hinEsin thisb ooka rem eantt o gety ous tartedd ownt hisp ath.A ndi f
youf indt hesea rpeggiohs elpfulp, leasec hecko ut my otherb ooks.l n additionto the
SCALEP ATTERNSFO RG UITARm, entioneeda rlierI,' vea lsow rittenM: OVEABLE
GUITARC HORDSI,N TRODUCTIOTNO CHORDT HEORYC, HORDE MBELLISH-
MENTa ndC HORDO RB|TS.
DonL atarski

Aboutt he author..,
DonL atarskhi asb eenp layingth eg uitars ince1 963.H e'sa n adjuncfta cultym ember
at the Universitoyf Oregon'sM usicS chool.ln additionto thisb ook,h e'sw rittena
numbero f otherso n guitari nstruction lntroductionto ChordT heory,M oveableG uitar
Chords,S cale Patternsf or Guitar,A rpeggiosf or Guitar andC hord Embettishment.
Knownn ationallay s a a giftedg uitarisat nd composerD; onp erformsfr equentlwy ith
hisg roupa t JazzF estivalsa nd Clubsi n the PacificN orthwestH. ism usicc an be heard
on "HAVEN"l,n nerc ity Recordas nd'LIFELINEP', AUSAR ecordso.r iginallya
Michigann ativeD, onh asm adeE ugeneO, regonh ish omes ince1 973w hereh e
buildsa ndr idesr ecumbanbti cyclesw heni t'sn otr aining.
TABLEO FC ONTENTS
MajorTriad. ......10
Major6th.. ...... 11
Majo7r th 12
Majo6r /9. .. 13
Major7 b5( akaM 47#11). . . 14
MajorT#s.. 15
Majo(re dd9 ) 16
Majorg.... 17
MinorTriad. ......18
Minor6th.. ......19
Minor6/9.. ......20
Minor7lh.. ......21
Minor#7.. ......22
Minor7 b5( akaH alf-Diminished) . . 23
Minor(addg) .....24
Minorg.... ......25
Minor11... ......26
Dominan7tl h. .
27
Dominan7tb 5( akaD ominan7t# 11) 28
Dominant7b9....
29
Dominan7t #9. .
30
Dominan7tb 5b9..
31
Dominan7t# 5#9..
32
Dominan7t# 5bg. .
33
Dominan7t b5#9. .
34
Dominangtt h. .
35
Dominan9tb 5( akaD ominan9t# 11 ). 36
Dominan9t# 5( akaA ugmentegdt h). 37
Dominan1t3 th.. .
38
Dominan1t3 b5( akaD ominan1t3 #11 ). 39
't "'
Dominan1t3 b9.. .
40
Dominan1t3 #9.. .
41
Suspende7dt h.
42
Suspendegdt h.
43
AugmenteTdr iad.
44
Augmente7dt h.
45
Diminishe7dth
46
l0
ChordT ype: Majort riad
Scale/Mode:
'Form -+
Chord Arpeggio# lonian
e 3I6I2 1
5 4 5
J 713
5) zIsf|fqYaYz
e
5 e 3
2Is z l3
A
I
J sl6
4 215
3Io
I+ 215
-Ls2J-
5I3 5I3 2I5I3Y6
4
7
513 5I3 2I5I3I6
4
3 edodz
b A