Jazz Guitar 101: Arpeggios

[Ben]

Originally Posted by skei

Saw your post, and felt I was exactly where you're at, only a few weeks ago. It's discouraging and feels like dark matter, as DNA would perhaps have said.
Now, only a few weeks after having been in the 'limbo' state for what seems like an eternity of running up and down shapes and stuff, one morning, after listening to Parker, can't recall what tune, it just 'clicked', much like you said, and I could just play and follow the music without thinking about what I was doing. Much like a shadow following a body, or so it seems. I just followed the discussions here, sucking up all pieces of knowhow that might surface. And started playing off of the third. That was the key for me. Now it feels natural, and lots of those things I hear when listening to the pros, here and elsewhere, started making sense when I thought of the third degree.
But you should know, I've been at it every day for some 7-10 hours since christmas. I'm unemployed, probably due to my being an artist and enjoying only jazz. It comes if you keep at it. It does, and it feels super when it finally does. But there's no end, now the goal is understanding Coltrane, and of course acquiring the speed necessary to do his stuff without making it sound too bad. So there's no end.
Peace
&
The third...
Skei (the third one)

Skei you sound kind of like me. I don't even work full time at the moment and dropped out of university while I 'sort things out'. I was playing guitar everyday all day but lately I have been trying to limit myself to about 3-4 hours as I find I take more in instead of noodling.

Oh well... I'm getting there.

[bluesybruce]

Thank you for the arpeggio lesson Dirk - as an absolute beginner to theory (and jazz) - I find it understandable, and now I just need to practice until it sinks in. I have been put off by theory before, and I have always relied on my ears - making lots of mistakes on the way. Now I'm retired I have more time to try and understand what makes good music. Keep up the good work.

[geezer]

This lesson is so good, just what I've been looking for!


One prob though: how do I know what fingering to use for each arpeggio?

It seems that sometimes one way of playing the arpeggio is good when playing it UP the neck, whereas I'm more comfortable using a different fingering on the way back. Hope u understand what I mean...

[Stringbean]

Originally Posted by geezer

This lesson is so good, just what I've been looking for!


One prob though: how do I know what fingering to use for each arpeggio?

It seems that sometimes one way of playing the arpeggio is good when playing it UP the neck, whereas I'm more comfortable using a different fingering on the way back. Hope u understand what I mean...

Initially I was wanting some fingerings to copy as well. but, I think it's best to explore fingerings on your own, develop stuff that works for you. More fun that way.

[drboat]

Originally Posted by dirkji

Discussion about this beginner lesson about arpeggios: Jazz Guitar 101: Arpeggios

You can post all questions or general feedback about this tutorial in this thread.

- Dirk

Dear Dirk,

I am not sure if I am going this right but he goes.

I realize that to play Jazz guitar, learning arps is a must. My question is "What is the best way to approach learning?"

1. should I approach this by trying to learn each arp individually? For ex. learn a shape for the minor7th chord?

2. should I try to learn a different shape for each chord voicing of the same chord? For example, I would play the voicing I commonly use and play the arp for each, trying to see the arp within the chord?

3. should I simply try to memorize the notes of each type of arp. (Maj7, m7, 7th, m7b5 and dim7) and forget about trying to memorize shapes?

4. should I try to memorize the arp for each chord in a given progression. For example, I might play a ii V I progression in a particular position on the neck and learn the arp for each chord in that position.

5. should I try to memorize (and see) the arps in the same position for each of the chords in the progression. That is, trying to learn the "arp of the progression" instead of chord by chord?

Thanks for a great site.

Doug

[dirkji]

Hi Doug, you should practice all of the thing you listed...

[Gabe2099]

i have a couple of questions concerning the use (and maybe abuse) of arpeggios...

i am new to arpeggios, so i have to ask: arpeggios can be treated as box patterns (like pentatonic patterns or scale patterns) to create licks or is it recommended to play the whole pattern while improvising?

also, i'm a metal guy at heart so, i need to know... arpeggios do not have to be played with "sweep picking" all the time right? you can play them over chords slow and with some kind of groove?

and, finally, are all of those patterns movable? the ones on the 1st and 2nd lesson.

thanks in advance for any replies

Gabe~

[merseybeat]

If you want maximum benefit from this excellent lesson you should try and start the arpeggio from "any" note/point, up or down! All the notes belong to the accompanying chord so they will all work. To start try target the 7th note first (Gmaj7 go from a lo F# to High F# and back down etc). Also and I cant stress this enough, add some rhythmic quality to your runs.

Ed

[m78w]

You don't need to sweep arpeggios in a jazz setting, you certainly can, but picking the whole or part of the arpeggio works well too. At first you might try learning them in box patterns like pentatonics to get them under your fingers, then try playing them on one string, or two strings only.

The most important thing is to be able to improvise with these arpeggios, so once you know a fingiering try soloing with it right away. Just noodle a bit to see what you come up with. Put a one chord vamp in band in a box, or other looping program and start to create some music with these patterns/shapes.

MW

[Gabe2099]

Originally Posted by m78w

You don't need to sweep arpeggios in a jazz setting, you certainly can, but picking the whole or part of the arpeggio works well too. At first you might try learning them in box patterns like pentatonics to get them under your fingers, then try playing them on one string, or two strings only.

The most important thing is to be able to improvise with these arpeggios, so once you know a fingiering try soloing with it right away. Just noodle a bit to see what you come up with. Put a one chord vamp in band in a box, or other looping program and start to create some music with these patterns/shapes.

MW

that was the answer i was looking for.

i actually do improvise with every new pattern i learn, i find it easier for me to learn the patterns if i play them with a certain groove or rhythm and not like a mechanical thing.

thanks for the reply, it really helped.

[pierre richard]

don't for get rhythmic articulation and the use of dynamics when playing arpeggios....yes first get them under your fingers then....use the forementioned rhythmic articulation...train your right hand....
time spent playing your guitar is wonderful........pierre..........

[mauricetd]

Hi Hicksy,
It depends on what is your intention. If you just want to learn the arpps it's is easier to start with the key /root note but if you want to learn about the variations of the arpegio you're playing you can start on the highest or lowest note. Another good way to practise the hole arps is to make sure on which positions the notes of each arpegio are on each string and to combine them
G maj
e-2-3-7-10
B-0-3-7-8
G-0-4-7-11
D-0-4-5-9
A-2-5-9-10
E-2-3-7-10
So that you're able to use the hole neck and to creat a rising or falling action in your solo

[mauricetd]

Hi Hicksy,
It depends on what is your intention. If you just want to learn the arpps it's is easier to start with the key /root note but if you want to learn about the variations of the arpegio you're playing you can start on the highest or lowest note. Another good way to practise the hole arps is to make sure on which positions the notes of each arpegio are on each string and to combine them
G maj
e-2-3-7-10
B-0-3-7-8
G-0-4-7-11
D-0-4-5-9
A-2-5-9-10
E-2-3-7-10
So that you're able to use the hole neck and to creat a rising or falling action in your solo

[604bourne123]

that conversation cleared the way for some/confident riffs/relating to arps 101/meaning its such a used part of the fret board

[John Canton]

Hi I'm new at the forum and it is great to have a site like this . thank you dirk for all the work and education you give us all.
About arpeggios , it's important to be able to play arpeggios starting on any note of the arp, on all five positions as well as on any given string.
for a Jazzier sound I like to start a note below or above the target note of the Arpeggio. I also practice every arp very slow. first, starting with the Root , then the 3rd , 5th, 7th,etc. when you practice this way after awhile as you move across the neck with the arpeggios you begin to see the chromatic notes. I also always practice slowly, with a backing track playing a II V I progression, making melodies using different rhythms with arpeggios. because thats what it's all about , making music.

[Stringbean]

Originally Posted by John Canton

for a Jazzier sound I like to start a note below or above the target note of the Arpeggio.

What do you mean by "target note"? When you say "start a note below", is that a note from the arpeggio itself, or what?

Thanks!

[John Canton]

Good Question Stringbean. a Arpeggio has four notes. take the Cmaj Arp. the notes are C,E,G,B. C is the 1, E is the 3rd, G is the 5, B is the Maj 7th.
example. if we begin a line with the E note of the Arp, that, is the target note. now, if you start the line one half step below that E note you would begin the line with Eb. now you have a 5 note riff like this, Eb E G B C. in the beginning, count it like this , And 1 2 3 4 and you'll always be in time. Experiment using this concept on all of the notes in any order of the arpeggio. and before you know it you'll be making up your own riffs. Have fun.

[Stringbean]

I got yah. Thanks for those definitions. I'm studying some gypsy jazz and many of their licks illustrate that halfstep target approach beautifully.

Like this one: played over G-6



-------------3-6----------------------------
-----------3-----5--------------------------
---------3-----------------------------------
-------5-------------------------------------
-----5---------------------------------------
5-6------------------------------------------

[John Canton]

Very Cool

[Stringbean]

Originally Posted by John Canton

Experiment using this concept on all of the notes in any order of the arpeggio. and before you know it you'll be making up your own riffs. Have fun.

Thanks again. Magic stuff here this concept. It's like shining a light on the notes. Has given me a way to understand a bunch of the licks and tricks I've been studying.

In one lick, the guy targets every note of the arpeggio from a halfstep below....twisted!

[darlington1]

Hello everyone! I'm kinda new here (the community) and it's a privilege to share ideas with other guitarists like me. Every contribution will be greatly valued. Thank you.

[jeffrey]

Originally Posted by dirkji

Discussion about this beginner lesson about arpeggios: Jazz Guitar 101: Arpeggios

You can post all questions or general feedback about this tutorial in this thread.

- Dirk

thanks very much for such a clear and concise lesson plan..i expect to spend time on it over the next week, as my work schedule allows...it is much appreciated....jeffrey

[syllerud]

(newbie jazzguitartist) are improvisations made of 100% arpeggios? or do i have to mix scales with it to?

[davidblair]

Hi everyone. I think arpeggios are a great thing to study. My piano teacher practically knocked me over one day, he handed me a blank sheet of staff paper and told me to write out major triad arpeggios for all twelve keys. (Staff paper comes with 12 lines of staffs). Four octaves for each key/line across, with an overlapping pattern. By overlapping I mean that the third note (playing triads) would be followed by it's previous note which becomes the first of the next three. Sorry if I'm confusing you! It looks like -1-2-3, 2-3-1, 3-2-1, etc. Each line/key we play back and forth, (up and down), either moving across the strings or the length of the fingerboard. Left hand shifting and fingering can be practiced with many variations. After "finding" all these patterns and being able to play them fluidly then STOP!!!
The idea is to practice variations, in new patterns.
A page of 12 keys can be made for the name of any chord shape.