Printable Arpeggio Chart

[aPAULo]

Hey Dirk,

i have a request. could you put up a printable version of the arpeggio notes on the fretboard so that i can keep a copy of it with me when i am near my guitar? thanks this would help me out alot.

paul

[aPAULo]

Ummm does anybody know where i can find a printable arpeggio neck?

[mr. beaumont]

aPAULo,

arpeggios are the notes of the chords, depending on how you want to move on the guitar neck, there's a ton of different ways to play them...

here's what i'd do

get some graph paper or at least a ruler and some white paper and make a fretboard chart. yeah, you can get one already made or print one out, but doing it yourself is helpful. write in the name of every note on the guitar neck...then go to kinkos and make a bunch of copies.

if you don't know the names of all the notes on the guitar it's time to learn...your open strings from low to high are E A D G B and E, right? each fret moves the note up 1 half step chromatically...

here's the chromatic "scale" from E to E

E F Gb G Ab A Bb B C Db D Eb E (Gb=F#)

so 1st fret on the low E is an F, fifth fret on the G string is a C...just count up.

the next thing to learn is chord formulas. chords come from harmonizig the major scale, but i'll give you a shortcut here if you PROMISE to actually learn the major scale and it's harmony in the future.

here's some basic chord formulas that will get you through a lot of tunes...

maj7: R, 3, 5, 7

m7: R, b3, 5, b7

dom7: R, 3, 5, b7

m7b5: R, b3, b5, b7

using your chart, find a C on the sixth string. (8th fret)
to find the "third" (often called a major third) go over one string to the fifth string, and back one fret to the 7th fret...that's an E.

to find the fifth, make a power chord using your 8th fret C as the lower note. that note on the fifth string at the 10th fret is your fifth. it's a G.

lastly, to find the major seventh, simply go back one fret from the root (C). that note at the 7th fret on the sixth string is a B. that's your seventh (major seventh.)

so lets get that out there...C, E, G, B...thats a C major seventh chord. grab a copy of that fretboard and highlight all your C's, E's, G's, and B's. any way you can connect them in order is an arpeggio. when starting, play them in order from low to high to get them in your head, but when you actually start using them in improvising, you won't really play them that way. come up with a usuable shape that allows you to start your arpeggio on the ixth string, on the fifth string, and the fourth string. go as far as you can, so C E G B and then the next C E G B, work your way up.

keep in mind here that moving these arpeggio shapes up or down will change the name of the notes (and hence, the arpeggio) but it will not change the relationship between notes (R, 3, 5, 7)

now you can check out the m7 chord. the flat symbol means "1/2 step lower," so taking your C maj 7 chord

C, E, G, B

take the third and the seventh note and move them down one fret

C, Eb, G, Bb

that's your minor seven chord. rinse and repeat.

a lot of work, but this is in my opinion the way to learn it...learn the names of the notes and the formulas, not just "shapes." plus, you got a few more days off of school, right? get on it!

enjoy, and i'll be happy to answer any questions.

[aPAULo]

ok your right mr.b. this is probably the best way to learn so thanks a ton.

i can probably find the notes of the guitar on the internet and ill be sure to post it up here.

should i only do the 4 main notes of the arpeggio or should i do all 7?

thanks again mr.b i appreciate your time.

oh and everybody, i found one that works perfectly. http://www.studybass.com/tools/chord...-note-printer/

[mr. beaumont]

arpeggios ARE those 4 notes...all seven notes is a scale.

and using the chromatic "scale" you can find the notes on the fretboard yourself...

1st string E
2nd string B
3rd string G
4th string D
5th string A
6th string E

chromatic scale from E

E F F# (or Gb) G Ab A Bb B C Db D Eb

the note on each string moves up one notch in the chromatic scale at each fret. so for example, the third string is a G, right?

so at the first fret, the third string is an Ab. second fret, A. third fret Bb. when you get to the Eb at the 8th fret, come back around to the beginning and you'll have an E at the ninth fret. you can do it, man!

[aPAULo]

hahaha. my bad.

i understand the chromatic scale and where all the notes are on the fretboard. lol i guess im just lazy. i am on vacation

but i got them printed out and i really think im gonna basically memorize all the notes on there. how long do you think it takes before you are comfortable with all 4 arpeggios in all 12 keys?

[tehsuperfox]

Here's a chart for some m7b5 arp fingerings because I have it on my computer. I have the other three as well but they're not on my computer - I guess I could scan them if somebody really wanted me to.

[check1]

Sorry to butt in i just feel like a douche posting new threads, but here's the thing with me.
I am familiar with the harmonized major in 7th chords and the corresponding arpeggios going in either direction. Are there any steps i should take next like learning diatonic substitute chord/arpeggios for instance? Today i was working on maj6 and maj6/9 on EAD roots and figuring out the arpeggios by the chord formula. If i'm correct the maj6/9 arpeggio looks like a major pentatonic and the 6 is like a vi minor 7th arpeggio starting on the b3.
I am on the right track here? Any advice would be appeciated. Thanks.

[mr. beaumont]

i'd try not to make too many connections directly between scales and arpeggios other than knowing that a major pentatonic sound will work fine over a major chord, including but not limited to a 6/9

A "6" chord and a chord harmonized from it's relative minor (so think C6 (C E G A ) and Am7 (A C E G )) are the same notes...the relative minor thing is pretty common, and you could easily use a Am type sound over a C major type chord and get good results...

i guess i'd just ask "does this really help me?" or does it go into the "overthinking it" file?

[check1]

Ok, thanks for the reply. The only reason i want to learn arpeggios/patterns for each new chord i am going to learn is to get the chord tones when i play over that chord, it's nothing special but hard to sound "bad" that way, you know? Thanks for advising though i will consider what you have to say being a teacher and all.

[mr. beaumont]

don't get me wrong, i think you're going about it the right way...i'd just not spend too much time relating the arpeggios back to scales or other things and spend more time on the actual names of the notes and their functions. knowing that a C major pentatonic is the same notes as a C6/9 chord can be useful, but i think if you're still just working on the arpeggios it's more beneficial to get them under your belt than to start going elsewhere...

actually, i find it beneficial to look at essentially only 4 different arpeggios: maj7, m7, dom7, and m7b5. then, by simply knowing what the other notes are and where to find them i can include them without having to learn a thousand seperate arpeggios...

for example, ifi'm playing over a C major sound, I know where my A's and D's are at so i can get that 6/9 sound if i want it. chances are the changes are going by too fast for me to really think about the name of every note i play, but i can think about the relationsips, and, based on experience, get the sounds i want.

[check1]

Well, yeah i still kind of have a superficial approach to guitar-i've never really been too serious about guitar until recently. I'm a shapes guy. But i can see what you're saying, instead of thinking right, left, up, down, think deeper. I still got some work to do. Thanks.

[aPAULo]

yes thanks mr.b. im just wondering, after i get my arpeggios down, where should i go next? just the understanding of them or something else?

[derek]

My opinion of what to do next is to take a Real Book and start arpeggiating thru songs. Learn to smoothly connect your arps from one to another.

Since so many songs use repeating progressions, it won't take long to get this down to where it flows more naturally. At this point, making up lines using your arps rather than just running them up and down is a good idea.

From there, you will find me working on substitutions and linking those subs together. So when faced with a ii V progression then 2 bars of I, I think ii or VI over the ii, then maybe a tritone sub or a dim arp for the V, then for filling 2 bars of I, I will link iii, vi, and I arpeggios.

That is where I am living currently, making those substitutions natural, and smoothly connecting them one to another so they don't sound like separate arps, but lines. If this doesn't make sense, let me know, and I will flesh it out.

[Richard Gangi]

hello all...i am aspiring to learn jazz guitar...i have been playing for many years, by ear, with no real training...

i am hopeful that someone can help me to learn needed fundamentals with little pain or injury to my current capability...lol

talk to you soon...
Rich

[aPAULo]

no derek you make complete sense. memorizing shouldnt be too difficult, its putting it all together and making lines that should be harder. thanks

[guelda]

Hi all,

you can find some nice diagrams and tabs for arpeggios here :

Serendipity : Manouche : Main gauche : Arpèges

Have a good day
Guelda

[mississippi]

Hey guelda, thanks for the great website.

[guelda]

You're welcome mississipi. But are you really living in Hiroshima ?
Just a wandering...

[mississippi]

Originally Posted by guelda

You're welcome mississipi. But are you really living in Hiroshima ?
Just a wandering...

Hi quelda, yeah i actually live just south of the city. Ever been to Japan?

[guelda]

Hello,

no I've never been to Japan but I hope one day ! Interesting country,
sakuhashi is... well, fun

bye
Guelda

[coldclay13]

could you post a printable arpegio chart sheet with major, minor, minor 7, major 7, diminished

[pierre richard]

take the time to identify every note on the fingerboard...

take the time to study the cords and how they are formed...135,1b35,135b79..etc...

you will be glad you took the time to put these in your head and the abiloty to transfer them to your fingers..

time on the instrument..pierre...

[Metal Fingers]

There is a lesson on arps in the lessons section.which to me is more useful than this thread.Although some good advice here as well.

...but really, most people should know that A# comes after A when counting up.N'est pas?
Funny how in Jazz everything gets over complicated.