Jazz Guitar 101 - Arpeggios

Stringbean · 06-14-2009, 10:36 PM

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** · 06-15-2009, 11:31 AM

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 · 06-16-2009, 12:36 PM

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** · 06-16-2009, 01:46 PM

Very Cool

Stringbean · 06-17-2009, 01:15 PM

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** · 09-14-2009, 08:54 AM

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** · 10-11-2009, 02:18 PM

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** · 12-17-2009, 11:02 AM

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

**davidblair** · 12-26-2009, 05:22 AM

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.

**Danao** · 03-10-2012, 02:30 PM

hello.

the arpeggios lesson seems very good, but i have one qustion:

what picking technique should i use?

thank you.

**f6f6** · 03-10-2012, 03:56 PM

Originally Posted by Danao

hello.

the arpeggios lesson seems very good, but i have one qustion:

what picking technique should i use?

thank you.

Danao my name change to f6f6 I don't know why it wont except my name John Canton any way to answer your question, I use alternate picking.
hope that helps

**604bourne123** · 03-10-2012, 07:46 PM

usually with a plastic pick that got sent to me from a promotion in Memphis got a special coating that makes your finger stick to it.

**RickWebster** · 03-11-2012, 01:14 AM

Cool lesson! great read and very clear in the information provided

**princeplanet** · 03-11-2012, 08:55 AM

Originally Posted by 604bourne123

usually with a plastic pick that got sent to me from a promotion in Memphis got a special coating that makes your finger stick to it.

what kind of pick is that?

**griphon ii** · 03-11-2012, 05:44 PM

I played in Memphis, long ago, with Ruby and others. As for picks; the heavier, the better sound. I've had to reconstruct my technique due to age. The hands do not work like they use to. I am street and a Classically and Jazz, composition trained guitarist. But, I had to modify the technique to a thumb pick. You've, absolutely, no idea what a struggle that has been. The technique and "the brain" are beginning to get in sync.

I attended a Pat Metheny seminar, recently. The last 2 to 3 or 4 minutes was worth showing to the seminar. It reopened my brain. His 14 Etudes are well worth the buy, unsolicited. They're even, well composed, compositionally, off the cuff and sound. There are quite a few videos of Pat doing this. Well worth the look and listen.

Arpeggios... play any or, preferably, ALL in ALL positions. Understand where the arpeggios come from, harmonically. Most guitar players come from pentatonics. It's a truly great resource, when one understands it or them. Mix major and minor... A real secret... Really, opens modal or non modal... I'm playing jazz again. It's really quite fun to play a big band without a keyboard player. It's mind boggling. This really makes one work and prove the guitarist is worth the keyboard player. The keys are really helpful, but not a real big deal.
~TR

**griphon ii** · 03-11-2012, 05:53 PM

A ii V7 is a V9 and it doesn't have to go to a I or i.
It can go to another ii V7 or many other variations.
But, be careful of extensions...
~TR

**griphon ii** · 03-11-2012, 06:36 PM

Originally Posted by Aaron J. Halpern

I would like to have a question answered for me ? The question is in the key of (A) their are three sharps F#,C# and G# could these three chords be the the C#min7, the F#min7,and the G#min7b5.

I'm not understanding the real question... When one takes an A scale...
A B C# D E F# G# A... Major... Harmonically, stacking notes correctly, one arrives @ Amaj7, Bm7, C#m7, Dmaj7, "E7", F#m7, G#m7b5 (E9), Amaj7.
Again, what is the real question? Jazz harmony is truly boiled down to
two changes. I or i and V7. Pents galore... The understanding is who/what is/are I or i and V7. This must be done in all keys. Unfortunately, when you buy this information, it's written incorrectly. Writing has to be standardized.
The reason for your question.
~TR

**griphon ii** · 03-11-2012, 07:07 PM

It would behoove anyone to do the paper work. Do the structural harmony and especially the INTERVALS on guitar. They're very easy and listenable.
Benson, made this famous. Any up and coming guitar player in college would be really remiss in ignoring what I've just said. Learn harmony and it's INTERVALS on guitar. It's really simple and well worth the learning. The INTERVALS have shape! One can teach himself/herself, PITCH. Without it, you can't play! and "anyone" can hear it! (maybe, sort of, nowadays) If you can't sing pitches, close, find something else to do.
~TR

**griphon ii** · 03-11-2012, 07:20 PM

Originally Posted by Stringbean

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!

or above! Consider b#5, b#9? and the obvious trepidation. What a CIRCLE.
~TR

**griphon ii** · 03-11-2012, 07:29 PM

Originally Posted by 604bourne123

usually with a plastic pick that got sent to me from a promotion in Memphis got a special coating that makes your finger stick to it.

I truly have to MAKE my own, picks. Thumb picks. I still use my other nails. What a pain that is, too. The quality of the sound is a greater pain in the ass than the music... or it is the music that does it? Thanks for the thought...
~TR

**604bourne123** · 03-11-2012, 11:14 PM

pr

Originally Posted by princeplanet

what kind of pick is that?

What I wanted to say was that I got a pick from a rock web site for free anyways this pick is clear plastic and has a plastic finish over the regular plastic that makes your fingers hold it with less pressure without losing control for the same amount of effort.Thing is clear plastic is hard to detect when you do drop it.So all and all kind of funny. See you.

**griphon ii** · 03-13-2012, 09:13 PM

Hey, buddy, Whatever, works. When I used standard picks, they were always the most heavy one could buy. I never used the tear drop end. You will always lose the pick when you play funk. Heavy picks make you play. The tone is unbelievable. You can't go wrong with a heavy pick. It's YOU playing. Understand the average pick is a triangle. Play from the strongest point of the triangle. The back end of a tear drop pick is the strongest and best sound if heavy. And trust me, you won't lose it any more... It moves well, and stays within the fingers. ~TR

**604bourne123** · 03-14-2012, 11:39 AM

Originally Posted by griphon ii

Hey, buddy, Whatever, works. When I used standard picks, they were always the most heavy one could buy. I never used the tear drop end. You will always lose the pick when you play funk. Heavy picks make you play. The tone is unbelievable. You can't go wrong with a heavy pick. It's YOU playing. Understand the average pick is a triangle. Play from the strongest point of the triangle. The back end of a tear drop pick is the strongest and best sound if heavy. And trust me, you won't lose it any more... It moves well, and stays within the fingers. ~TR

A thick pick will not bend causing a lack of fingerboard dexterity a thin one makes it much easier.This is for my personal feel.I've seen bass players who use a thick flat pick.

**wespoll** · 03-21-2012, 10:59 PM

where is the fingering?

**griphon ii** · 03-22-2012, 08:47 PM

Originally Posted by wespoll

where is the fingering?

A very curious question.

Play classical guitar. It teaches the right hand.
p, i, m, a... A flat pick takes out the i. There are great players that use the pinky. I ain't one. But, keep the nail, it's handy. I can't imagine playing any music without my right hand. And, it's failing. Brent Mason can play jazz with just three fingers, right hand. A thumb pick and nails or very tough callouses.
Guitar players can match the keyboard, with slightly different logic. Unfortunately, guitar players can play the exact (sort'a) same note in many different positions. Fingering, right and left hand, can and could be a problem. Learn the rote shenanigans. It's really a must. There are right and left standard fingerings. Over the years, I've just made my own.

A real secret, Pents are pretty amazing. Arps within themselves. Listen, and move them.
~TR