Mel Bay Guitar Arpeggio Studies on Jazz Standards

35 Pages·2004·25.55 MB·English

by  Mimi Fox

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
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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
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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
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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
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Example 2 G, C, D Triads fi No. 3
G C D G
rn
- jj j
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-
T
542 2
325
B 255 2
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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
,
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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
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- 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
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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
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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
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with arpeggios. Start slowly with a metronomemarking of 48 and work up to brighter tempos
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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
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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.
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