Using Scale/Arpeggio patterns to generate Melodic Material

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& Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï w
5

& Ï Ï
Learn these patterns in all positions - 1, 3, 5,7,9 & 12

Ï Ï Ï Ï Ï Ï b Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï w
Ï Ï Ï Ï#Ï Ï Ï
9

& Ï Ï Ï Ï Ï Ï#Ï Ï Ï

Using notation paper, start writing out sequences of the different units but alter the decending scale segments using
chromatic passing notes. The phrase above shows the units moving through the arpeggio's in scalic sequence but this
does not have to be the case. You could jump to different scale degrees to start each unit. e.g.

Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ú
14

& Ï Ï Ï Ï Ï #Ï Ï Ï Ï Ï b Ï nÏ Ï

The idea is to create you own melodic material which can be used to improvise with....this technique can provide useful
starting points or connective material which can be mixed with other phrases. Because the units are melodically strong
you will get very smooth voice leading and resolutions......

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18

Ï Ï Ï Ï Ï #Ï nÏ Ï Ï
3

& ä j
Ï Ï
w

Try writing longer lines and start to split up the phrases you generate by using rests and rhythmic ideas......use triplets
and start phrases on off beats as above.....

21
j Ï Ï bÏ w
Ï Ï Ï Ï
3

& ä j
Ï Ï Ï #Ï Ï Ï b Ï nÏ
J
The phrase above could be a II V I in the key of C........the Dm7 arpeggio in bar 1 leads to a phrase culminating in a
B diminished arpeggio over the G7 which then resolves nicely to the 5th of the tonic.

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& îª
Ï Ï Ï
ä ÏJ Ï Ï Ï bÏ Ï bÏ nÏ nÏ ä J Ï ä J
24

Ï bÏ nÏ b Ï Ï
Ï Ï bÏ Ï Ï Ï bÏ Ï
28

& Ï Ï #Ï Ï Ï Î î
This phrase uses a lot of chromaticism but all of the strong beats are either scale or chord tones.......by writing the
phrases out it gives the opportunity to edit them and play about with different ideas.....

Of course because all of the major scale arpeggios use notes from the key it also means that you can try using
different arpeggio patterns against different chords....the Fmaj7 arpeggio against the Dm7 chord is an obvious one
and you have to be carefull with avoid notes (or do you?), but essentially anything goes.

The next thing to do once you have a whole bag of major scale ideas is to move on through all the different minor and
symetrical scales doing the same thing.