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MATT WARNOCK GUITAR

The Complete Guide to Jazz Guitar Arpeggios


Theresnobetterwaytodirectlysolooverchordprogressionsthantouseguitararpeggios.
Byusingarpeggiosinyoursolos,youllbetargetingthechordtonesofeachchangeinthe
progression.
Thisdirectlyoutlinesthosechordswhileyoubuildinterestandcreativityinyourguitarsolos.
Whileyoucanusearpeggiostohiteverychordinyoursolos,thatseasiersaidthandone.

Oftentimesyoullneedtochangearpeggioswitheachnewchordinyoursolos.
Noteasy.
Withastrongunderstandingofguitararpeggios,andeffectiveexercisestoworkoninthepractice
room,youllbenailingthosechordtonesinnotime.
Thislessonwillteachyouhowtoplayessentialguitararpeggios,multiplefingeringsforeach
arpeggio,mustknowarpeggioexercises,andsamplelickstostudyinyourguitarpracticeroutine.
Aswell,eacharpeggiocomeswithajamtrackthatyoucanusetopracticeusingarpeggiosinyour
leadguitarlinesrightaway.
So,grabyoufavoriteguitar,cranktheamp,andstartyourjourneytoguitararpeggiomastery!

FreeGuitareBook:DownloadafreeguitarPDFthatllteachyouhowtoplayJazzchords,chord
progressions,solowitharpeggiosandscales,andwalkbasslines.

Guitar Arpeggios (Click to Jump to Each Section)

HowtoUseThisGuide
PracticingChordProgressionsWithArpeggios
ApplyingArpeggiostoTunes
EssentialArpeggioPatterns
BlueBossaArpeggioSolo
Maj7GuitarArpeggios
Dominant7GuitarArpeggios
m7GuitarArpeggios
m7b5GuitarArpeggios
Dim7GuitarArpeggio
mMaj7GuitarArpeggios

How to Use This Guide

Whenfirstlearninghowtoplayguitararpeggios,itcanseemlikeanuphillclimb.
But.
Withtherightexercises,andsomepracticetime,youllbeabletomemorizeandsolowith
arpeggiosmuchsoonerthanlater.
Whenworkingthroughanyarpeggiointhislesson,usethefollowingoutlinetoensureyougetthe
mostoutofyourguitararpeggiopracticetime.

Pickanarpeggiofamilytofocuson,i.e.Maj7
Learnoneshapefromthatfamilyonguitar
PutontheCmaj7jamtrackandsolowiththatshape
Moveontootherkeysonthefretboardandsolo

WhencomfortablemoveontothenextMaj7shape
Whenyouhaveafewoneoctaveshapes,andonetwooctaveshape,movetothenext
family

Asyoucansee,byworkingeacharpeggiowiththesesteps,youllmemorizetheshapes,andwork
onsoloingoverchordswiththosesameshapesontheguitar.
Next,whenyouhaveafewarpeggiosfromtwoormorefamilies,youcanusethisapproachto
practicingguitararpeggios.

Pickoneshapefortwofamiliesofarpeggios,i.e.Dm7andG7
Practicethoseshapeswiththe4variationspresentedbelow
PutonaDm7G7jamtrackandsolooverthatchordprogression
Picktwomoreshapes,oneforeachchord,andrepeat

Again,withthisapproach,youllinternalizethearpeggioshapes,plusworkonchangingarpeggios
overchordprogressions.
Whentwochordsiscomfortable,youcanmoveontothreeandthenfourchords.
Fromthere,youcanmoveontofullsongs,suchas12BarBluessongs,orjazzstandardssuchas
Summertime.
Nowthatyouknowhowtopracticearpeggios,youcanlearnmoreaboutthe4variationsinthislast
setofexercises.

Practicing Chord Progressions With Arpeggios

Thefirstexercisethatyoucandoonceyouvelearnedyouranyarpeggiosistoapplythoseshapes
tochordprogressions.
Whenyouapplyarpeggiostochordprogressions,therearefourmainvariationsthatyoushould
studytogetthemostoutofthisexerciseinthewoodshed.
Theseguitararpeggiopatternsare:

AscendingArpeggios
DescendingArpeggios
AlternatingOneUpandOneDown
AlternatingOneDownandOneUp

Byworkingthesefourvariationsinyourarpeggiosstudies,youllpreventyourselffromfallinginto
thetrapofalwaysstartingontherootnoteinyoursolos,andprovideyourselfwithimprovisational
materialatthesametime.
Nowthatyouknowhowtopracticethesearpeggiosoverchanges,letstakealookatfiveessential
chordprogressionsthatyoucanusetostudyarpeggiosinyourpracticeroutine.
Aswellasworkingeachexercisefromatechnicalstandpointwithallfourvariationslistedabove,
makesuretoputonbackingtracksandapplythesepatternstoyoursoloingstudiesaswell.
Oneofthebiggestmistakesguitaristsmakeinthepracticeroomisthattheyrunexercisesfroma
technicalperspective,butdontimprovise.
Thentheywonderwhytheysoundlikeexerciseswhensoloingovertunesinajamoroutonagig.
Improvisationisalearnedskill.
Makesuretopracticeitasmuch,ormore,thanyourtechnicalexercisestoensurethatyoudont
gethandcuffedthenexttimeyoureinvitedtoajamsessionorareoutonthebandstand.

Chord Progression 1 ii V I

Chord Progression 1 ii V I

Thefirstprogressiontopracticeisthemostcommonlyusedinjazz,themajoriiVIprogression.
Whenworkingonthisprogression,youwillusethesamearpeggiovariationsyoulearnedabout
above,runningfourdifferentsetsofexercisesoverthesechanges,movingthemtootherkeysas
youexpandupontheminthewoodshed.
Heresanexampleofhowtopracticethisprogressionusingascendingarpeggiosovereachchord
shape.
Fromhere,applytheotherthreevariationsasyoutakethisprogressionfurtherinyourstudies.

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Chord Progression 2 I-#Idim7-ii-V

Movingon,youcannowpracticeavariationofthepreviousprogression,whereyourenowplaying
thetonicchordfirst,thenmovingthroughthe#IiiVchangesfromthatstartingpoint.
Aswell,inthisprogressionyouareplayingtwochordsperbar,inatypicalturnaroundconfiguration,
suchasyoudseeinthelasttwobarsofatune,orsectionofatune.
Whenpracticingfastmovingchordchangessuchasthese,itsbesttoworkoneoctavearpeggio
shapesovereachchange.
Thatway,yououtlinethechords,butarentrushingtotryandfitinalarger,twooctaveshapeover
eachchord.
Heresanexampleofhowtopracticethesechordsusingdescendingarpeggiosovereachchange.


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Chord Progression 3 Minor ii V I

ThethirdprogressiontopracticeinyourarpeggioroutineistheminoriiVI,whichconsistsofthe
chordsiim7b5V7b9Im7.
WhenyoupracticetheV7b9arpeggio,youcanuseacommontechniquecalled3to9Arpeggiosin
ordertokeepyourarpeggiosdowntofournotespershape.
Inthiscase,youllplayaDim7arpeggiofromthe3rdofanyV7b9chordyouareplayingover.
Thisproducestheintervals35b7b9overthatchord.
ThismeansthatifyouarepracticingarpeggiosoveraminoriiVIinthekeyofAm,asyoucansee
below,youwouldplayG#dim7overtheE7b9chordtoproducethe3to9soundoverthatchange.
HeresanexampleofhowtopracticealternatingarpeggiosoveraminoriiVIprogressioninthe
keyofAm.
Noticethe3to9arpeggiobeingusedovertheV7b9chordinbartwooftheprogression.

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Chord Progression 4 iiim7-VI7-iim7-V7

Thenextprogressionisaturnaroundthatyouoftenfindinjazzstandards,andcanbeplayedwith
oneortwochordsperbar.
WorkingondescendingiiVs,suchasthese,willprepareyouformanydifferenttunesinyour
studies,allowingyoutoquicklytakethesearpeggioexercisesandapplythemtoapractical,musical
situation.
Heresanexampleofalternatingarpeggiosovertheiiim7VI7iim7V7progressioninthekeyofG
major.

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Chord Progression 5 IVmaj7-ivm7-iiim7-VI7

Thefinalprogressiontocheckoutinyourarpeggiostudiesisaclassicdescendingsetofchanges
thatbeginsontheIVmaj7chordandrunsdowntotheVI7chordfromthere.
Afterthisfourbarphrase,youllusuallyrunintoaiiVIcadence.
Shiftingfromamaj7tom7arpeggioonthesamerootnoteseemseasy,butcanbetrickywhen
improvingusingarpeggiosoverthesechanges.
Becauseofthis,makesurethatyouworkthisprogressionfrombothatechnicalandimprovisational
standpointtoensureyourepreparedtosolooverthesechangeswithbothconfidenceand
creativityinyourlines.
Heresasampleascendingarpeggioexerciseoverthischordprogressiontogetyoustartedwith
thesechangesinthewoodshed.

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Takeyourtimeworkingtheseprogressionsinthewoodshed,thereisnohurrytogetthemunder
yourfingers.

Itisbettertolearnoneprogressionto100%thanlearnallfiveprogressionsat20%.

IwasoncetalkingtothelegendaryjazzguitaristBenMonder.
WhenIaskedhimhowlongheworkedononeconceptinthepracticeroomhereplied:

IpracticeituntilIhaveitabsolutelydown.ThenIpracticeitfor6moremonthsafterthat.

Justgoestoshow,youcanneverputtoomuchtimeintoanewconceptinthewoodshed.

Applying Jazz Guitar Arpeggios to Standards

Aswellaspracticingchordprogressions,youcantakeanyarpeggiosyouvelearnedandapply
themtotunesinthewoodshed.
Doingsowillproducetwokeyresults:

Youllincreaseyourfluidityanddexteritywitharpeggioshapes.
Youllbuildyourimprovisationalconfidenceandabilityoverstandards.

Whilescalesaregreatforlinearsoloingovertunes,arpeggiosgetrighttotheheartofthechord
progression.
Theydigintothechordtonesofeachchange,allowingyoutorunthechangesdirectly,whichcan
beanicecontrasttoyourscaleworkoverthosesameprogressions.
Tohelpyougetstartedwithapplyingarpeggiostoyourjazztunestudies,herearefourexercises
thatyoucanrunoverfourdifferenttunes.
Theresoneforeachvariationofthearpeggioexercisesyoulearnedaboutearlierinthislesson.
Afteryouhavelearnedanysamplestudybelow,workoutafewmoreovereachtuneusingother
arpeggioshapesyouknow.
Then,takeittoaseriesofbackingtracks,usingtheshapesthatyoustudiedfromatechnical
standpointinthissectionofthelesson.

Ascending Arpeggio Study Summertime

ThefirsttunestudytocheckoutfeaturesascendingarpeggiosoverthetuneSummertime.
Noticethatyouusetwooctaveshapesovereachchord,mostlybecausethetempoforthistrackis
slowduringtheexample.
Ifyouwanttospeedupthetempo,feelfreetoshrinkdownthosearpeggioshapestooneoctave
arpeggios.
Thisllmakethingseasierandmorepracticalduringthosemeasuresofthetune.
Onceyouhavethis,orany,tunestudyunderyourfingers,putonabackingtrackandsoloover
thosechangesusingonlythearpeggioshapesyoujustworkedoutfromatechnicalstandpointin
yourroutine.

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Descending Arpeggio Study Blue Bossa

Youcannowcheckouthowtopracticedescendingarpeggiosoverajazzstandard,inthiscasethe
tuneBlueBossa.
Startingfromthetopofanarpeggioandworkingdowntotherootmayseemaseasyasplayingan
ascendingarpeggiobackwards.
Butitmightnotbethateasy.
Goslowwiththisexercise.
Learninghowtoseetheuppernoteofanarpeggio,andstartingyourlinesawayfromtherootnote,
isanessentialskillforanyguitaristtopossess.
Thereforeitsworththetimespentinthepracticeroomsheddingthisconcept.

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Alternating Arpeggio Study 1 Sunny

Movingon,youcancheckoutthissampleexercisewhereyoullapplyalternating,oneupone
down,arpeggiostothechordprogressionofthetuneSunny.
Watchthebarsthatcontaintwochordspermeasure.
Inthesebars,youuseoneoctavearpeggioshapesinordertokeepthingscompactwhenthe
chordsaremovingatafasterpace.
Ifyourelookingforanextrachallenge,youcanplaytwooctaveshapesinthosebars,using16th
notestomakethemfit.
Butstartingwith,andstickingto,oneoctavearpeggioshapesinthosebarsisperfectlyfine.

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Alternating Arpeggio Study 2 Bb Jazz Blues

ThefinalexampleappliestheonedownoneuparpeggiovariationtoaBbjazzblueschord
progression.
Again,onceyouvelearnedthisstudywithyourmetronome,frommemory,practicetwoways:
One,withotherarpeggioshapesyouknowforthesechords.
Andtwo,improvisingoverthechangesusingonlyarpeggioshapestocreateyourlines.
TohelpyoupracticethisprogressionhereisacoolBbjazzbluesbackingtrackfromQuistJam
Tracks.

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Essential Arpeggio Patterns

Aswellasworkingarpeggiosthroughthefourvariationsintheprevioussection,youcanuse
arpeggioshapestotranslatecommonjazzvocabulary.
Whendoingso,youreusingshapesyouknow,arpeggios,tobringoutthesoundofthejazz

language,byapplyingchromaticpatternstothosesamediatonicarpeggios.
Thisaccomplishestwoimportantgoals:

One,bringingasenseofjazzauthenticitytoyourlines.
Two,youusearpeggioshapestotranslatethejazzlanguageontotheguitar.

Letsgetstartedbylookingatoneofthemostimportantjazzchromaticconcepts,approachnotes.

Arpeggio Patterns Approach Notes

Thefirstvocabularyexercisethatyoullexploreinthislessonisaddingapproachnotesbeloweach
noteinthearpeggio.
Whendoingso,youreplayinganoteonefretbeloweacharpeggionoteasyouascendand/or
descendthatarpeggioshape.
Thiscreatestensionandreleasewhenappliedtoyoursoloinglinesandphrases.
Approachnotescanbeappliedtoanyarpeggioyoureworkingon:

Inasinglearpeggioshape.
Overafullprogression.
Overanentirejazztune.

Theycanalsobeplayedfromaboveeachnote,butthatcansoundabitoffsometimes.
So,startwithapproachnotesfrombelow,thengetthemcomfortablebeforetryingthemfrom
above.
Startwiththeexamplebelowin12keys.
Whenthatscomfortable,workonapplyingapproachnotestootherarpeggiosinyourstudies.
Makesuretostudythemwithametronomethroughthefourvariationsatthebeginningofthis
lesson.
Anddontforgettosolowiththemovertunesyouknoworareworkingoninthewoodshed.

HeresanexampleofapplyingapproachnotesfrombeloweachnoteinaG7arpeggio,ascending
only.

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Hereisadescendingversionofthearpeggiowithapproachnotesaddedbeloweachnote.

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ThisexampleshowstheupthendownalternatingversionofaG7arpeggiowithapproachnotes
addedin.

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ThefinalexampleshowshowtoapplyapproachnotesbeloweachnoteinaG7arpeggio
descendingthenascending.

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Arpeggio Patterns Enclosures

Thesecondimportantarpeggiopatternthatyoulllearninthislessonisenclosures.
Fornow,youlllearnonevariationoftheenclosure.
Youwillplayahalfstepabove,halfstepbelow,thenthearpeggionoteyoureenclosing.
Whendoingso,youregoingtobecreatingtensionwiththechromaticnotes.
Then,youresolvethattensiontoeacharpeggionoteasyouascendinganddescendtheshape
yourepracticing.
Asisthecasewithanyarpeggioexercise,addenclosurestothefourvariationsatthestartofthis

lesson.
Then,practicethemoversinglearpeggios,chordprogressions,andfulltunesinyourstudies.
Tohelpyougetstartedwithaddingenclosurestoyourstudies,heresanascendingexampleovera
G7arpeggio.

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Heresthedescendingversionofthatsamearpeggiowithenclosures.

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ThenextexamplefeaturesthefirstalternatingversionoveraG7withenclosures,upthendown,
overthatarpeggio.

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Thefinalexampleusesthesecondalternatingvariation,downthenup,overtheG7arpeggiowith
enclosures.

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Guitar Arpeggios Blue Bossa Solo

Tohelpyoupracticearpeggiovocabularyinamusicalsituation,heresasamplesolowrittenover
thechordchangestothejazzstandardBlueBossa.
Startbylearningeachphraseseparately.
Thenwhenyoufeelready,putthemtogetherandplaythesoloasawhole.
Onceyouvelearnedthissamplesolo,writeoutachorusortwoofyourownoverBlueBossausing
theconceptsyoustudiedinthislesson.
Thisllallowyoutotestoutsomeoftheseideasbeforetakingthemtoajamorgigsituationinyour
playing.

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Maj7 Arpeggios

Maj7arpeggiosareusedtosolooverMaj7chords,whicharefoundontheImaj7andIVmaj7
chordsinanymajorkey.
AstheyhavethesamechordtonesasaMaj7chord,Maj7arpeggioshavethefollowinginterval
pattern.

R357

Or,foraCmaj7arpeggio,thosenoteswouldbe.

CEGB

YoucanalsothinkofMaj7arpeggiosasbeingthe1st,3rd,5th,and7thnotesofthemajorscale.
Essentially,youstartontherootofamajorscale,thenplayeverysecondnotetoformtheMaj7
arpeggio.
Becausetheyreusedtosolooverthetonicchordofanymajorkey,Imaj7,youllusethese
arpeggiosafairbitinyoursoloingoverjazz,pop,andevenR&Bsongs.
HavingastrongunderstandingofMaj7arpeggioswillmeanthatyounevergetcaughtoffguard
whenresolvingyoursoloinglinestothetonicchordinamajorchordprogressions.

Maj7 Arpeggio One Octave Shapes

NowthatyouknowhowtobuildaMaj7arpeggio,youcanbringthatknowledgetothefretboard.
Tobegin,hereare12fingeringsforMaj7arpeggiosonthefretboard,writteninoneoctaveshapes.

Onceoctavearpeggioshapesareperfectforsoloingoverfastmovingchordprogressions.
Becausetheyrecompactandeasiertoplaythantwooctaveshapes,thesesmallerguitar
arpeggiosmakeiteasiertosolooverchordsthatmovebyatfasttemposinasong.
YoucangetstartedbylearningMaj7arpeggios,oneoctave,fromtheindexfinger.
AfteryouvelearnedanyoftheseMaj7arpeggioshapes,putonthejamtrackandsolooverthe
Cmaj7chordwiththatshapetotakethesearpeggiostoyourguitarsoloingpracticeroutine.

Cmaj7JamTrack

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Herearethosesamearpeggiosfromthemiddlefingertolearninyourstudies.
Theonlyexceptionisthe3rdstringrootshape,whichbeginswithyourindexfinger.


Lastly,herearethesamearpeggiosfromthepinky,orringifyouprefer,finger.
Tryoutthesefourguitararpeggiosfromyourpinky,thenyourring,andthensettleonthefingering
thatfeelsbestforyou.

Therearealwaysavarietyofwaystofingeranyarpeggioshape,dependingonyourhandsizeand
flexibility.
So,experimentabitandgowiththefingeringthatfeelsbestforyouwiththese,orany,guitar
arpeggioshapes.


Dontforgettorunthesearpeggioswiththefourpracticevariationswhenyourereadytocombine
themwithotherarpeggioshapesinyourpracticeroutine.

Maj7 Arpeggio Two Octave Shapes

ThoughoneoctaveMaj7arpeggiosaregreatforsoloingoverfastchordprogressions,thereare
timeswhenyouhavemoreroomtospreadoutacrossthefretboard.
ThisiswheretwooctaveMaj7arpeggioshapescomeinhandy.
Herearefourdifferenttwooctavemaj7arpeggiostopracticeinallkeysacrossthefretboard.
Asalways,learnoneoftheseshapesandthenjamovertheCmaj7trackasyoutakethemtoyour
guitarsoloingpracticeaswellasyourtechnicalpracticeroutine.

Cmaj7JamTrack

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WhenyouhaveanyoftheseMaj7fingeringsmemorized,practicesoloingoverthebackingtrackas
youcombineoneandtwooctaveMaj7arpeggiosinyoursolos.
Thoughtheyusethesamenotes,oneandtwooctavearpeggiosmightinspireyoutoplaydifferent
typesofphrasesinyoursolos.

Whencombined,thiscanaddanewlevelofcreativitytoyourguitarsoloinglinesoverchord
progressionsandsongs.

Maj7 Arpeggios 3 Licks

TofinishupyourintroductiontoMaj7arpeggios,herearethreelicksthatyoucanlearnandapplyto
yourownguitarsolos.
ThefirstlickfeaturesatwobarMaj7arpeggiophrase,whichyoucanlearnoverCmaj7andthen
playinotherkeys.

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Next,heresaMaj7arpeggioappliedtotheImaj7chordinaiiVIchordprogression.

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Lastly,heresamaj7arpeggioappliedtothefirstfourbarsofthejazzStandardOnGreenDolphin
Street.

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WhenyoucanplaythesethreeMaj7arpeggiolicksfrommemory,comeupwith3to5licksofyour
owninordertotaketheseshapesfurtherinyourstudies.

Dominant 7 Arpeggios

Anotherverycommonarpeggioinmodernmusic,7tharpeggiosareusedtosolooverdominant7th
chordsonguitar.
Becausedominant7thchordsareoftenusedinrock,blues,funk,jazz,andothermusicalgenres,
learning7thguitararpeggioswillprepareyoutosolowithconfidenceinavarietyofmusical
situations.
Astheysharethesamenotesasdominant7thchords,7tharpeggioshavethefollowinginterval
pattern.

R35b7

ForaC7arpeggio,thenoteswouldbe.

CEGBb

Aswellasthinkingaboutthesearpeggiosrelatedto7thchords,youcanthinkofthemascoming
fromtheMixolydianscale.
Relatedtothe5thmodeofthemajorscalesystem,7tharpeggioscanbethoughtofasthe1st,3rd,
5th,and7thnotesoftheMixolydianscale.
Herearetheintervalsforbothofthosestructurestoseehowtheycompare.

MixolydianR23456b7
7thArpeggioR35b7

Aswell,forCMixolydianandaC7arpeggiothenoteswouldbe.

CMixolydianCDEFGABb
C7ArpeggioCEGBb

Whicheverwayyouchoosetothinkabout7tharpeggiosisgreat.
Aslongasyoucanbuildthesearpeggios,relatethemto7thchords,andusetheminyourguitar
solos,itsallgood.
Now,timetotakethistheoryontothefretboard.

7th Arpeggio One Octave Shapes

AswasthecasewithMaj7arpeggios,youllstartyourexplorationof7thguitararpeggiosby
learningoneoctaveshapes.
Onceyoucanplayanyofthese7tharpeggiosfrommemory,putontheC7jamtrackandsoloover
thatchordtoworkonimprovisingwiththeseshapesinyourstudies.

C7JamTrack

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Herearethosesamearpeggiosfromthemiddlefinger.
Theonlyexceptionbeingthe3rdstringrootshape,whichliketheMaj7arpeggios,startswithyour

indexfinger.

Lastly,herearethesamearpeggiosfromthepinky,orringifyouprefer,finger.

Again,feelfreetoexperimentwithguitararpeggiofingerings.
Findtherightfingeringforyou,andstickwiththatapproachfornow.
Youmightchangethatfingeringsystemovertime.
Butfornow,feelingcomfortable,andbeingabletoplayeacharpeggiosmoothly,isyourbiggest
priority.
Whicheverfingeringallowsyoutodothatisthecorrectone.


NowthatyoucanplaybothMaj7and7arpeggios,workthemthroughthefourvariationsmentioned
atthestartofthislesson.
StartwithG7Cmaj7,thenworkotherkeysfromtherewhenyoureready.

7th Arpeggio Two Octave Shapes

Asisthecasewitheachguitararpeggioyoulearn,itstimetomoveontotwooctaveshapesin
yourpracticeroutine.
Whenyouhaveanyofthese7arpeggiosunderyourfingers,jamthemovertheC7trackbelow.
Fromthere,takethemtootherkeysinyourstudies,bothwithametronomeandwithbacking
tracks.

C7JamTrack

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Asyoudidwithoneoctaveshapes,yourereadytomix7thandMaj7arpeggiosthroughthefour
variationsinyourstudies.
Giveitatry.
Ifitstoodifficulttomanagethosetwochordsatoncefornow,noworries.

Focusononeguitararpeggiofamilyatatime.
Then,whenyoufeelready,trymixingtwotogetheragainandseehowitgoes.
Withtimeandpractice,shiftingbetweenarpeggiosinyoursoloswillbecomeeasier.

7th Arpeggios 3 Licks

Towrapupyourintroductionto7tharpeggios,herearethreelicksthatuse7tharpeggiosintheir
construction.
Workeachlickinthegivenkey,andthenuseitinyoursolosasyouinjecttheselinesintoyour
guitarsoloingvocabulary.
Thefirstlickfeaturesatwobar7tharpeggiophrase.
Asthisisthemostdirectuseof7tharpeggios,dominant7thchords,thisisagreatplacetostart
whenlearning7arpeggiolicks.

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Next,heresa7tharpeggioappliedtotheV7chordinaiiVIchordprogression.

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Lastly,heresa7tharpeggioappliedtothetwochordsinthefirstfourbarsofabluesinC.

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Remembertoapplytheselickstosongsyouareworkingon,thebluesoranyjazzStandardsuch
asAutumnLeavesisagreatplacetostart.
Bydoingso,youllnotonlylearnhowtoplaytheselicks,butyoullpracticegettingintoandoutof
theminyoursolos.
Thisllallowyoutousetheselicksinamorenaturalwayinyoursolosasyouprogresswiththem
overtime.

m7 Arpeggios

Thisisthelastofthemostpopularguitararpeggiosinthislesson,asm7chordsandarpeggiosare

foundinmostgenresofmodernmusic.
Sharingchordtoneswiththem7chord,m7arpeggioscontainthefollowingintervalpattern.

Rb35b7

OrforaCm7arpeggiothenoteswouldbe.

CEbGBb

Youcanalsothinkofthisarpeggioasbeingthe1st,3rd,5th,and7thnotesofthenaturalminor
scale.
Hereshowthosetwomelodicdeviceslookwhencomparedtoeachotherfromaninterval
standpoint.

MinorScaleR2b345b6b7
m7ArpeggioRb35b7

AndforaCminorscaleandCm7arpeggiothenoteswouldbe.

CMinorScaleCDEbFGAbBb
Cm7ArpeggioCEbGBb

Checkoutbothoftheseapproachestobuildingm7arpeggios,thengowiththeonethatmakesit
easierforyoutounderstandthisimportantsoloingdevice.
Nowthatyoucanbuildm7arpeggios,itstimetotakethatinformationontothefretboardandinto
yourguitarsolos.

m7 Arpeggio One Octave Shapes

Nowthatyouknowhowtobuildam7arpeggio,hereare12fingeringsform7arpeggios,writtenin

oneoctaveshapes.
BeginbylearninganyoftheseshapesoverCm7,thenbringingthemtootherkeysaroundthe
fretboard.
Asalways,afteryoulearnashape,solowiththatguitararpeggioovertheCm7jamtrackbelow.

Cm7JamTrack

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Herearethosesamearpeggiosfromthemiddlefinger.
Inthecaseofm7arpeggios,alloftheseshapesareplayedfromyourindexfinger,asopposedto
theMaj7and7arpeggiosyoulearnedearlier.


Lastly,herearethesamearpeggiosfromthepinky.
Tocontinueourrunningtheme,tryyourringfingerwiththeseshapesandthendecidewhichoneis
therightfingeringforyou.


Onceyouhaveanyorallofthesearpeggiosdown,putonam7backingtrackandstartsoloingwith
theseshapesinordertotakethemtotheimprovisationalsideofyourplayingaswellasthe
technicalside.

m7 Arpeggio Two Octave Shapes

Movingon,youllnowlearnhowtoplaytwooctavem7arpeggiosontheguitar.
Whendoingso,startwithoneshapealongtoametronome,increasingthetempoasyougoto
buildyourguitarchops.
Fromthere,usetheseshapestosoloovertheCm7backingtrackasyoubringtheselonger
arpeggiostoyoursoloingphrases.

Cm7JamTrack

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Aswell,youcanputonam7backingtrackandpracticesoloingwiththesetwooctaveshapes,and
movingbetweenoneandtwooctavearpeggiosasyoubegintocombinetheminyourstudiesand
soloingideas.

m7 Arpeggios 3 Licks

Nowthatyoucanbuildandplaym7arpeggios,andhavejammedwiththeseshapesoverthe
tracks,youcanstudyclassicm7arpeggiolicksoverchordprogressions.
Thefirstlickfeaturesatwobarm7phrasethatyoucanlearnandtransposetootherkeysacross
thefretboard.

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Next,heresam7arpeggioappliedtotheim7chordinaminorkeyiiVIchordprogression.

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Tofinishup,heresam7arpeggioappliedtothetwochordsinthefirstfourbarsofBlueBossa.

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Afteryoucanplaytheselicksunderyourfingers,putonmixedbackingtracks,suchasDm7G7,
andplayam7lickoverDm7anda7thlickoverG7.
Thisllhelpyouworkonmovingbetweenlicksinyourlines.
Fromthere,youcanmixarpeggiosandlicksoverthesamechords,expandingonthisexercisein
yourstudies.

m7b5 Arpeggios

Yourenowmovingintolessfamiliarterritoryasyoulearnhowtoplayandsolowithm7b5
arpeggios.
Oftencalledhalfdiminishedarpeggios,theseshapesareusedtosolooverm7b5chords.
Becauseofthis,theyremostoftenusedinjazzguitarsolos,thoughwillpopupnowandagainina
funk,blues,orpopsong.
m7b5arpeggiossharethesamechordtonesasm7b5chords,whichfromanintervalstandpoint
are:

Rb3b5b7

OrforCm7b5thosenoteswouldbe.

CEbGbBb

ApartfromthinkingofCm7b5arpeggiosrelatedtohalfdiminishedchords,youcanalsothinkof
thesearpeggiosascomingfromtheLocrianscale.
m7b5arpeggioscontainthesamenotesasthe1st,3rd,5th,and7thnotesoftheLocrianscale.
Hereshowthosetwocomparewhenyoulookattheirintervals.

LocrianScaleRb2b34b5b6b7
m7b5ArpeggioRb3b5b7

ForCLocrianandCm7b5thenoteswouldbe.

CLocrianCDbEbFGbAbBb
Cm7b5ArpeggioCEbGbBb

Eitherwayofbuildingm7b5arpeggiosiscool,sogowiththeonethatseasiestforyoutolearnand
apply.
Evenifyourenotajazzguitarist,havingafewofthesearpeggiosunderyourfingerswillprepare
youforthenexttimeyourunacrossam7b5chordsinyourguitarsolos.

m7b5 Arpeggio One Octave Shapes

Bythispointyouknowthedrill,sodiverightinwiththesem7b5guitararpeggioshapes,starting
withoneoctavefingerings.
AnddontforgettoruntheseshapesovertheCm7b5jamtracktohearthemagainsttheharmony.
Thiscanreallyhelpwhenworkingonlesscommonarpeggiossuchasthem7b5shapesbelow.

Cm7b5JamTrack

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Herearethosesamearpeggiosfromthemiddlefingeronthefirstnoteofeveryshape.

Lastly,herearethesamearpeggiosfromthepinkyfinger,orringfingerifyouprefer.

Youcannowmixthem7b5arpeggioswiththe7tharpeggiostoworkthe4variationsfromthestart

ofthislesson.
WorkDm7b5toG7first,thentakethosechordstootherkeysasyoupracticem7b5and7th
arpeggiosaroundthefretboard.

m7b5 Arpeggios Two Octave

Thoughoneoctavem7b5arpeggiosaregreatforsoloingoverfastmovingchordchanges,there
aretimeswhenyouhavemoreroomtospreadoutacrossthefretboard,andthisiswheretwo
octaveshapescomeinhandy.
Herearefourdifferenttwooctavem7b5arpeggiostopracticeinall12keysacrossthefretboard.
Asisthecasewitheveryarpeggiothatyoulearn,worktheseshapesfirstwithyourmetronomeat
increasedtempos.
Then,slapontheCm7b5jamtrackbelowandtakethemtoyourguitarsoloingworkoutinthe
woodshed.

Cm7b5JamTrack

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m7b5 Arpeggios 3 Licks


Thoughtheymightbearareoccurrenceforyou,dependingonthestyleofmusicthatyouplay,
havingafewm7b5arpeggioslicksunderyoufingerswillgiveyouanideaofhowtousethese
shapesinamusicalsituation.
Thefirstlickfeaturesatwobarm7b5arpeggiophrasethatyoucanuseinyoursoloswhen
confrontedbyanym7b5chord.

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Next,heresam7b5arpeggioplayedovertheiim7b5chordinaminoriiVIchordprogression.

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Lastly,heresam7b5arpeggioappliedtotheV7chordinaiiVI.
Thisisthemostcommonwaytousem7b5arpeggiosoutsideofjazz,fromthe3rdofany7thchord.
Whendoingso,yououtlinethe35b79intervalsofthatdominant7thchord.

Itsacoolsound,buttoughtopulloffatfirst.
So,startwiththelickbelow.
Then,putonaC7backingtrackaboveandsolooverthatchordwithanEm7b5arpeggiotohear
howthatconceptsoundsinyourownguitarsolos.

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Whenyoucanplaythesethreelicksfrommemory,workout3to5m7b5arpeggiolicksofyourown
inordertotaketheseshapesfurtherinyourstudies.

Dim7 Arpeggios

Unlessyoureplayingjazz,funk,orfusionguitar,youwontcomeacrossdim7chordsveryoftenin
yoursolos.
But.
Whenyoudo,knowingafewdim7arpeggiofingeringswillgetyououtofanytightjaminyoursolos.
Dim7arpeggiosaredirectlyrelatedtodim7chords,astheysharethesamechordtones.

Dim7Rb3b5bb7

AndthenotesofCdim7wouldbe.


CEbGbA(Bbb)

Youcanalsothinkofthedim7arpeggioasbeingthe1st,3rd,5th,and7thnotesofthediminished
scale.
Thisishowthosetwomusicaldevicescomparefromanintervalperspective.

DiminishedScaleR2b34b5b667
Dim7ArpeggioRb3b56(bb7)

Eitherwayyouthinkaboutit,aslongasyouunderstandhowthisarpeggioisbuilt,andrelatedto
thedim7chordordiminishedscale,youllbesetwhenapplyingthisarpeggiotothefretboard.

Dim7 Arpeggios One Octave

Yourenowarmedwiththeknowledgeofhowtobuilddim7arpeggios,soyourereadytotakethem
ontothefretboard.
Tobegin,hereare12oneoctavedim7arpeggiosthatyoucanexploreandaddtoyourtechnical
andsoloingpracticing.
Asusual,onceyougetafingeringdown,putonthejamtrackandsoloovertheCdim7chordwith
therelatedarpeggioshape.

Cdim7JamTrack

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Herearethosesamedim7arpeggiosfromthemiddlefinger.
Whileyoucanuseyourmiddlefingerwiththesearpeggios,thatmightbeabitofastretchforsome
guitarists.

Ifyoufinditseasiertouseyourringfingerwiththeseshapesgofor.
Whicheverfingeringsystemiseasiestistheonetogofor.


Lastly,herearethesamedim7arpeggiosfromthepinkyfinger,orringfingerifthatsmore
comfortable.


Onceyouhaveanyorallofthesearpeggiosdown,putonadim7backingtrackandstartsoloing
withtheseshapesinordertotakethemtothesoloingsideofyourpracticeroutine,aswellasthe
technicalsideofthings.

Dim7 Arpeggio Two Octave

Justlikeyouvedonewitheacharpeggiointhisguide,yourenowreadytolearnlonger,twooctave
dim7arpeggiosontheguitarinyourstudies.
Tohelpyougetstartedwithlongerdim7arpeggios,herearefourfingeringsthatyoucanlearnand
applytothebackingtrackbelowinyourwoodshedding.

Cdim7JamTrack

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Whenyouhaveanyofthesetwooctaveshapesdown,putontheCdim7backingtrackandmove
betweentheseandtheoneoctaveshapesinyoursolos.

Thiswillgiveyouperspectiveonwhereandhowyouwanttousebothofthosedim7arpeggio
shapesinyoursolosasyouprogresswiththemonthefingerboard.

Dim7 Arpeggios 3 Licks

Tofinishupyourintrotodim7arpeggios,herearethreelicksthatusedim7arpeggiosovervarious
changes.
Thefirstlickfeaturesatwobardim7arpeggiophrasethatdirectlyoutlinesthatchordwiththe
arpeggioshape.

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Next,hereisadim7arpeggioappliedtotheV7b9chordinaminoriiVIchordprogression.
Aswasthecasewithm7b5arpeggios,youcanplayadim7arpeggiofromthe3rdofanydominant
7thchord.
Whenyoudo,yourehighlightingthe35b7b9intervalsoverthat7thchord.
Thiscreatesabitoftensioninyourlines,whichneedstoberesolved,butalsosoundscoolatthe
sametime.
Afteryouvelearnedthislick,putonaC7jamtrackandsolooverthatchordwithanEdim7
arpeggiotohearhowthisconceptsoundsinyourownplaying.

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Lastly,heresadim7arpeggioappliedtotheV7chordinaiiVI,usingthesame35b7b9outline
yousawinthepreviouslick.

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Thoughtheymightnotbethatcommondependingonwhatmusicyouplay,youcanhearhowdim7
arpeggioscanreallynailthosechordsinanyguitarsolo.
Whenyoucanplaythesethreeexamplelicksfrommemory,workup3to5dim7arpeggiolicksof
yourowninordertotaketheseshapesfurtherinyourstudies.

mMaj7 Arpeggios

Arelativeofthemelodicminorscale,themMaj7arpeggioismostcommonlyusedtosolooverm7

chordswhenyouwanttobringabitoftensiontoyourguitarsolos.
AstheyalsocontainthesamechordtonesasamMaj7chord,themMaj7arpeggiointervalpattern
wouldbe:

Rb357

OrforCmMaj7thenoteswouldbe.

CEbGB

And,sinceitsrelatedtothemelodicminorscale,youcanthinkofthesearpeggiosasbeingtheR,
3,5,and7oftherelatedmelodicminorscale.
Hereshowthosetwoitemscomparefromanintervalperspective.

MelodicMinorR2b34567
mMaj7ArpeggioRb357

AndforCmMaj7andCmelodicminorthenoteswouldbe.

CMMCDEbFGAB
CmMaj7CEbGB

EitherwaytothinkaboutmMaj7arpeggiosistotallyfine,picktheonethatworksforyouandstick
withit.
AslongasyouknowthatyousoloovertheraremMaj7chord,ormorecommonly,m7chordswith
thisarpeggio,youreallset.

mMaj7 Arpeggio Shapes One Octave

NowthatyouknowhowtobuildamMaj7arpeggio,hereare12fingeringsforthesearpeggioson

thefretboard,writteninoneoctaveshapes.
LetsbeginwithmMaj7arpeggios,oneoctave,fromtheindexfinger.
Asalways,putonthebackingtrackandjamovertheCm7chordwithanymMaj7arpeggioshape
youlearninthislesson.

Cm7JamTrack

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HerearethosesamemMaj7arpeggiosfromthemiddlefinger.


Lastly,herearethesamemMaj7arpeggiosfromthepinkyfinger.
Fortheseshapes,thepinkyfingerisreallythewaytogo,soavoidtheringfingerwiththeseshapes
onthefretboard.

Onceyouhaveanyorallofthesearpeggiosdown,putonamMaj7backingtrackandstartsoloing
withtheseshapesinordertotakethemtotheimprovisationalsideofyourguitarworkout.

mMaj7 Arpeggio Shapes Two Octave

Movingon,yourereadytolearnhowtoplaytwooctavemMaj7arpeggioshapesinyourstudies.
HerearefourdifferenttwooctavemMaj7arpeggiostopracticeinall12keysacrossthefretboard.
Onceyouhaveanyshapedown,jamovertheCm7tracktobeginhearinghowtobestdealwiththe
tensionthatthisarpeggiocreatesinyoursolos.

Cm7JamTrack

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Whenyoureready,putonamMaj7backingtrackandpracticesoloingasyoumovebetweenone
andtwooctavearpeggiosasyoubegintocombinetheminyourguitarsoloingideas.

mMaj7 Arpeggios 3 Licks

HerearethreelicksthatyoucanlearninordertohearandplaythemMaj7arpeggioindifferent
musicalsituations.
ThefirstlickfeaturesatwobarmMaj7arpeggiophraseapplieddirectlytoaCmMaj7chord.

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Next,heresamMaj7arpeggioappliedtotheIm7chordinaminoriiVIchordprogression.

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Lastly,heresamMaj7arpeggioappliedtotheiim7chordinaiiVIprogression,givingthatchorda
mMaj7feel.


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Whenyoucanplaythesethreelicksfrommemory,writeout3to5mMaj7arpeggiolicksofyour
owninordertotaketheseshapesfurtherinyourstudies.

Asyoucansee,learningguitararpeggioscantakesometimeandeffortinthepracticeroom.
But,thesefournoteshapesopenupatonofnewavenuesofexplorationinyourpracticingand
soloing.
Ifyoufindtheseshapesdifficultatfirst,stickwithit.
Withtimeandeffortyoullgettheseguitararpeggioshapesunderyourfingersandintoyoursolos.
Andfromthere,theskysthelimit.