Arpeggios for Guitar (Don Latarski)

THE PROGRESSIVE GUITARIST

ARPIOO FOR

GUITAR ,..4 NEWAPPROACH TO ARPEGGIOS AND THEIR RELATIONSHIP TO CHORDS AND SCALES. FORTHEROCK,BLUES, AND JAZZGUITARIST.

by DON LATARSKI

THE PROGRESSIVE GUITARIST

ARPIOO FCR

GUITAR ...ANEWAPPROACH TO ARPEGGIOS ANDTHEIR RELATIONSHIP TO CHORDS AND SCALES. FORTHEROCK,BLUES, AND JATZGUITARIST.

by DON LATARSKI

.l990 o Don Lotorski Internotionol RightsSecured All RightsReserved Cover Design:Joonn Correro WARNING:Any duplicotion, odoptotion or orrongement of the compositions contoined in this collection, without the wriiien consent of the owner, is on infringement of U.S.copyright low ond

INTRODUCTION An arpeggiois a seriesof chordtonesplayedone note at a time. Everyserious guitaristmust at some pointmastermanyof the primaryarpeggioformssuch as majTth,minTth,augTth,etc.

Arpeggios are frequently usedin constructing melodies.

A quickanalysisof melodies frommusicof nearlyall agesandstyleswilldemonstrate thisfact.Theyare alsoused as accompaniment devices.

In contemporary music,such as rock, blues and jazz, arpeggiosare used as improvisational toolsalongwith scales.lt is for musicians who play in thesestyles thatthisbookis intended.

In any givenimprovisational situation,the "safest"soundingpitchwill alwaysbe a chordtone.However, if yoursolois madeup onlyof chordtones,you runthe riskof boringyourlistenels.Goodsolosare madeup of a varietyof rhythmic, melodicand harmonicdevices.lt's up to eachpersonto findthe properbalancebetweenplaying it safeandtakingchances.

Arpeggiosare very usefulin particularto the jazz musicianbecausethis style of musicoftenrequiresthe improvisor to makequickkey shiftswhensoloing.Many guitaristsuse arpeggiosto facilitatethesekind of changes.The arpeggiohas the benefitof outlining the harmony that'shappening at the moment,lettingthe listener knowthat the improvisor has a firm graspof the harmonicmovementin the piece.

Also,the useof arpeggios hasthe effectof breaking up the flowof the musicallineby interspersing intervallic leapsintothe solo.Solosmadeup of just scalepassages tendto soundsmoothandvocal-like.

Wideintervalleapsprovidecontrastin the line.

Learningarpeggios on the guitaris morethanjust learningchordforms.Chordsare usuallyplayedone noteper string.In somecases,it's possibleto playone,two or threenotesper stringin an arpeggio.This will becomevery obviousonceyou get intothe book.

The formatof this book is simple.Eachpagecontainsa particulartype of chord, whichis shownin fivedifferent forms.The rootof eachchordformis shownas a solid blackdot.The dot is yourreference note.By usingthisnote,youcan movethe chord formup anddownthe fingerboard to playthischordon anyfretand in any key.

The middlecolumnshowsthe arpeggioof the chordto its left.The rightcolumn showsthe largerscalepatternwhichgoeswiththisarpeggioand chord.You get the

scale.An X abovea wholepicture,fromthe chordto its arpeggio to the complete stringmeansyoumusteithermutethestringor stringsor simplynotpluckit if youare of thesechordswillbe easierto playif youpluckthe strings usingyourfingers.(Many with your fingersinsteadof tryingto strumthemwitha pick.)

On someof the morecomplicated chordssuchas Dom9b5,I'veshadedin someof notes the notesin anattemptto makethingsa littlecleareras to whatare important and what are not. In somecases,the root will be shaded,becausethe root is not notein an arpeggio.For the mostpart,the chordsare in root reallya necessary position,withthe bassnotebeingthe lowestnoteof the chord.ln somecases,this was not possible.

At any rate,all chordvoicingsare shown.(Theseare the numbers insidethe circlesin eachchordform.)Fivedifferent formsof eachchordtype are given.Thisapproach effectively coversthe entirelengthof the fingerboard.

The scalesI choseto showwith eachchordtype are what your "average"garden mighthavechosen.However, don'tbe fooledintothinking that varietyjazzmusician possibilities, you I seek out theseare the only becausethey aren't. encourage to SCALE otherbookson the subjectof improvisation or checkout my bookentitled, PATTERNS FORGUITAR.Scalechoiceis dependant uponhowanygivenchordis jazz instructor can put this in a song.A good functioning lheorytext and qualified perspective you. for subjectin It's up to you to choosewhatorderto playthe noteswhichmakeup any arpeggio.

You don'thaveto startfromthe lowestnoteandgo rightup fromthere.Youcan start anywhereyou likeand playthe notesin any order.Also,you'llhaveto workout your for the chordforms,arpeggios and scales.The numberswhichare own fingerings in eachchord,scaleand arpeggio, included are the scaledegreesyou are playing. you mustknowwhatyou'redoingwhenyou are playingthesethings,so Eventually, startnowto knowwhat'sgoingon withyourplaying. whichgoeswithit, Practice thesearpeggios by firsthittinga chord,thenthe arpeggio and thenthe largerscale.Thiswilltakeyou acrossthe pagefromleftto right.You in yourfingersas fluently needto havethe arpeggio as the chordsandscales.Think as the bridgebetweenchordsand scales. of the arpeggios who'vegrownup playingrockand bluesstylesare oftentrappedby a Mostguitarists mono-scalar to soloing.Thatis, theytry to useone scale,usuallythe minor approach pentatonic or blues,as it'softencalled,to playovera seriesof changingchords.In manycases,thisworkswell becausewhattheycall chordsare reallynot.Theyare doesn't intervals of a perfectSth,alsoknownas powerchords.Thistypeof approach workto wellwhenthe harmonyconsistsof movingtriadsandfournotechords(7th's). and out of This type of harmonicmovementmakesyour scaleseem inadequate

place.You needdifferent tonalresources, i.e.,newscales,to effectively solooverthe changes.

All guitarists run up againstthisproblemsoonerof later,especially if they wantto moveintosongswhichhavea )azz leaning.

Two of the earliestiazz guitariststhat reliedheavilyon arpeggiosare Django Reinhardt and CharlieChristian.

Listento how they usedarpeggios to followthe contourof the movingchordprogressions.

You'llsoonsee the art involvedin this typeof approach.

Fora moremodernapproach, listento guitarists likepat Metheny, JohnScofieldand MikeStern.

Experimentation is the key to becomingan accomplished improvisor.

There,sno substitute.

ThethinEsin thisbookare meantto get you starteddownthispath.And if you findthesearpeggios helpful,pleasecheckout my otherbooks.ln additionto the SCALEPATTERNS FORGUITAR,mentioned earlier,I'vealsowritten:MOVEABLE G U I T A RC H O R D SI,N T R O D U C T I O N T O C H O R DT H E O R YC, H O R DE M B E L L I S H MENTandCHORDORB|TS.

Don Latarski

About the author.., DonLatarskihas beenplayingthe guitarsince1963.He'san adjunctfacultymember at the University of Oregon'sMusicSchool.ln additionto this book,he'swrittena numberof otherson guitarinstruction lntroductionto ChordTheory,MoveableGuitar Chords,Scale Patternsfor Guitar,Arpeggiosfor Guitar andChordEmbettishment.

Knownnationally as a a giftedguitaristand composer;Don performsfrequently with his groupat Jazz Festivalsand Clubsin the PacificNorthwest.

His musiccan be heard on "HAVEN", lnnercity Records and'LIFELINE', PAUSARecords. originallya Michigannative,Donhas madeEugene,Oregonhis homesince1973wherehe buildsand ridesrecumbant bicycleswhenit'snot raining.

TABLEOF CONTENTS

MajorTriad.

......10

Major6th..

...... 11

Major7th

12

Major6/9.. .

13

Major7b5(akaM47#11). . .

14

MajorT#s..

15

Major(edd9)

16

Majorg....

17

MinorTriad.

......18

Minor6th..

......19

Minor6/9..

......20

Minor7lh..

......21

Minor#7..

......22

Minor7b5(akaHalf-Diminished) Minor(addg)

. . 23 .....24

Minorg....

......25

Minor11...

......26

Dominant 7lh . .

27

Dominant 7b5(akaDominant 7#11)

28

Dominant7b9....

29

Dominant 7#9. .

30

Dominant 7b5b9..

31

Dominant 7#5#9..

32

Dominant 7#5bg. .

33

Dominant 7b5#9. .

34

gth. .

Dominant

35

Dominant 9b5(akaDominant 9#11).

36

gth).

Dominant 9#5(akaAugmented

37

Dominant 13th.. .

38

Dominant 13b5(akaDominant 13#11) .

39

Dominant 13b9.. .

40

Dominant 13#9.. .

41

Suspended 7th.

42

gth.

Suspended

43

Augmented Triad.

44

Augmented 7th .

45

Diminished 7th

46

't

"'

l0

ChordType: Majortriad Chord 'Form -+

Scale/Mode:

Arpeggio#

lonian

e

1

3I6I2

5

5

4

713

J

zIsf|fqYaYz

5)

e

5

e

3

2Is

z l3 I

A

sl6

J

215

4

3Io

I+ 5I3

215

-Ls2J-

2I5I3Y6

5I3

4

7 513

5I3

2I5I3I6 4

e dod z

3 b

A

ll

Major6th Chord Form ->

Scale/Mode

Arpeggio -->

lonian

L

rt7

316

3I6I2

Lgl .grL1 zX sf + \ a \ z

5

i

3

e

sL

e

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4 t6 t2

o

h

5

7

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o

e

2l5l7l3

J,+

x e

5

2l517

I3 A

3I6

3I6

eI6 215

A

3I6

3I6 215

4 7 e

2I5r316

5I316

4

LI.3 I6

7

l-tt

316

2I5I3I6 A

3I6

3I6

3I6I2 4

7 t

t2

ChordType: Major7th

Chord Form ->

Scale/Mode:

Arpeggio ->

lOnian

3 41612

s{z{s

5I7I3

215l713

o

5I713

+

51713

21517

13

sI6 215

4

5

s& +) l(z{s

6

7

a)

7

2I sIs

513

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A

l(')l

7

513

5I3

a

sf s

o

4

7

\ 5

3 I6I2l A

| (7

s)

13

Scale/Mode: Chord Form ->

Arpeggio*

lonian

oXg

o

oXg

oX s

416 12

e I5

215I713

I

A

x 9I5

.)

2 t5 17 | 3 A

3I6

316

eIs

3I6

e Is

o

215

4

5

215

A

7

9I513I6

2I51316 t

6I9

3 I619

316

7

2I513I6 3I6I2

4) |

7

| (s

t4

Major7b5 Chord Form * os{z

Scale/Mode

Arpeggio-_> 3

b5I7

usl7I3

7 t3

Lydian 3l6l2l#4

#41713 215

6l2

'{

e

t b5

D5

zXs

x

7

o) #4

zXs

z{s{z{s

o

x o5

zXs

7

o

3

b5I7

o

osYz 3

b5I7

os{z 3

3

b5I 7

316

F4

2l5 #417

2I5I3I6

l5

ChordType: Major7#5

Scale/Mode:

Chord Form -*

Lydian-aug

Arpeggio-> 7

7 l3I#5

3I6I2I#417

7 13 I#5

t4 17 13 l#5

6 r2

z

#5

#5

3

.t

OIGX, #4 7 13

2) | (713

713

#5

r5

15

+4

x 7 Is

7 13

#5

7 13

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t5

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sI6

#4 2

7

#5

#5

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#4

#5

316

#4

o t+\z

#5 3I6

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#5

2

#5

t r 4 17 e

#5

Ie

2

#5

#5 3I6

#5

a

3I6I2I#4I7 F5

16

Majoradd9 Chord Form+ s)

scate/Mode:

Arpeggio-+ e

q

3

lonian 3I6I2

7

5

6

7t3 2I5 I4

16 | 2

(.)

t

q

5

| 41612

q

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9I5

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o 9I5

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(+ 3I6

J,q

2ls

J,q

215

2IsfeIo

5I3

4 o

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3I6

5I3

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t7

Scale/Mode:

Chord Form ->

Arpeggio€

7

q

9

lonian

L Ll__

s7

7

3I6I2 A

7 Iz

713

5

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2I5-qIalz

v

5I713

e I517 J3

5I713

2 15 17 l3 4

3I6 9I5

215

3I6

gXs

9I5 7

215

A

7

7

5

2 I513

16 A

3

2I5I3I6 A

q

3I6I2

I 6

7

A

7

18

ChordType: Minortriad

Scale/Mode:

Chord Form --+ Arpeggio€

Dorian 6I2

oe{s}

b3I5

4 I b 7I b s I 5

5)

215-41612

b3

b3

b3

b7Ib3

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4l6

b3

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b7 Ib3 2t5 b3

5 b3

b3

4

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b3

b3

F

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215

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b3

b3

zY5

b3

s)

## !_ b3

5

4 tb7

2l5

b3

b

b3

4 lb7 612

us{s

+dozfs{s

l9

ChordType: Minor6th Chord Form -+

Scale/Mode:

Arpeggio ->

he

Dorian

b3I s

5

o

5

o

b3

b3

o

h

b3

4T6T2 b3

b7 Ib3

c

o

b3

5 b3

215

b3

b3

215

o

he

5

b3

h

a

4 I b 7I 2 l 5 b3

h

b3 o

b3

o

b3

6

4 tb7

215 b3

b

b3I 5

2Is b3

5 o

Jo

4Ib7I2Is

he

b3

4

4 tb7 6I2

b3I5

-4^b7it3I5

z0

Minor6i9 Chord Form -*

Scale/Mode:

Arpeggio#

Dorian

6Ie

6l2

os{s

he

ttl qilT

6I9

4 lb7 Ib3I 5

6I9

z

he

ffi

5 r4

he

4t6

6I9

t2

b7Ib3 2l5

5

b3

9Is

215

b3

he

b3

o

A

o

a

9

4 lb7 I 2 I 5

5

b3

s)

6

9I5

b3

915

n

215

b3 o

4 lb7

zl5

9I5

he

o3

6 t9 b3I 5

l-l-

zY5 b3

he

9I5

l"#

o

o

I

h?

b3I5

4 lb7 612

4 lb7lb3 I 5

2l

ChordType: Minor7th Chord Form -->

Scale/Mode:

Arpeggio#

Dorian

b7Ib3

o

b7Ib3

oz{o 5

O

he

5 h?

215

o

b3

+ o

b7 b3

b7 he

5

4 lb7 I 2 I 5

b3

o

b7

h {

5

5

uL he

a

215 b7

Fte

*#: !l_ b3

a

b7

b

4 Ib7

6

he

o

4 Ib7 612

b7Ib3I 5

ozdoo{ s

5

4 t b 7I b 3I s

22

Scale/Mode: Chord Form --+

Arpeggio-->

MelodicMin. 6l2

b3I5

r(li'

b3I 5

7

b3I 5

4

7

5L

5 b3

2Is14I6

b3

b3

a

b3 517

z

b3

b3

4l6

l2

b3

b3

5t7

21517

o

b3

517

J.q

215l7

b3

b3

t

b3

4 o

5

215

4

z Ib3

b3

4

7Ib3

sl

7Ib3

5

lI.u-L b3

5 b3

b3I5

b3I s 1

4

23

ChordType: Minor7b5 Chord Form --+

Scale/Mode:

Arpeggio-->

b7Ib3

Locrian

b7Ib3

b5

ob

b7

os{oz{os

b3

O

b5 I b7Ib3

4

os{oz{os

b2IbsIb7 Jb3

o

b3

b3lb6z b5

b3

o

b3 o5

b7

ob

b2Ib5

b5

b2Ib5

b3

b2Ib5

#

b7 b5

b3

4 tb7 b3

o

o

b3

D/

b3Ib6

b7

b5

o b7

b3Jb6Ib2I 4 Ib7

b5

b7 Ib3 b5

b3Ib6

b3 I b6 lbzl 4 Yb7

b5

b3

4

b 3I b 6 -

b7 b5

t

b5 4 I b7Jb3 b2 Ib5

b6Ib2

1A

Minoraddg

Chord Form ->

Arpeggio€

o

t_t_

liz

915 he

o

t.gtr)-t.,

4

I h2

9

Dorian -

os{s}

b3I 5

s)

Scale/Mode:

rTi'

2X 5f , + f o{ z b3

b7Ib3

416 12

-I

bTIos

€ q

9I5

h?

215

o5

he

e 15

215

ha

o

I

o Yq he

5

b3 5

o

915 ha

e I5 b3

915 b3

b3 9

9

b 3I 5

4

b3

A

4 [b7l 2l 5 b3

25

ChordType: Minor9th Chord Form -->

Scale/Mode:

Arpeggio -->

Dorian

b 7 I b 3l s o

v

4 T6 T2 b7Ib3 215 b3

9I5 h?

b3

4

215

o

ha

A

o

b7I9

b7I9

o

b7Je I5

4IOzIzIs

o z { s{ s

4 I b 71 2 I 5

he

5

he

eIs

215

h?

he

b3

e 15 b3

b7 q

b7

b 7 I b 3I s

4 lb7

26

ChordType: Minor11th Chord Form ->

Scale/Mode:

Arpeggio -->

Dorian

11

tl

b7Ib3

416 l2 b7Ib3

b7Ib3

2Is b3

1l

b3

4

215 11

b7 b3

b3

11

b3

11lb7

5

4Ib7I2I5

b3

+

b3

11Ib7 b3

rr{oz

b3

b3

11Ib7

1,1,* l+ he

4 Ib7

612 b7Ib3

1 1 I O ZI b 3 I 5

4tb7lb3I5

27

ChordType: Dominant 7th

Scale/Mode:

Chord Form --> Arpeggio--* ?

Mixolydian 316I2

b7

s)

o/

4 Ib7

?

5 e

5

215 -4

a I2

b7

b7

e

3 41612

b7

b7

b7 215

J

4

a

J

b7

b7

316 b7

5

5

4 I b 71 2 l 5

ol

5I3

2I5I316 b7

Ia

5I3

4 lb7

2I5I3 b7

4 tb7 3I6I2

b7

b7

5

J6

4 Ib7

28

ChordType: Dominant 7#11 Chord Form --* ArPeggio* b7

Scale/Mode: SuperLocrian

b7

+A t-

#4

b7

#4 lb7

o !4N7

a

#4 lb7

b2 I b5Ib7 Ib3

o

b3 I#5 :2 Ib5

t4 lb7

_Ll

+ A t-

osd+s #4

o

3 ) | (b2Ibs b7

b 2 I O S ) | ( b 3I # s

b7

b7 #4

#4 #4

b7

b3I#5Ib2) | (b7

LtA

hq

b7Ib3

D/

b2Ib5

#5 Ib2

29

ChordType: Dominant 7b9 Chord Form --)

Scale/Mode:

Arpeggio-+

b7

Diminished h/w

b7 ?

b9

b9

hq

3

ho

nq

0l

b7

5 ) | (3 b3 3 ) | (be

b9 67

b7

6 lbzI#4 5

b7) | ( 5

b2l*q ) | (os

o

(

r7) l(5

b2I#4) | (Os 5

D9

5I3I6 b3) | (bzl | (b7

b9

g,\6J I €+. b2 I#4

sfs{o b9

b3) | (b2

ov

3I6 5

b7 +A

b7Ib3I5 b9

30

ChordTvpe: Dominant 7#9

Scafe/Mode:

Chord Form --> Arpeggio --+

Blues

b7

+ I o z J o s sI

3

#A

5 -,4 b7 l#9

b3

M lb7Ib3

e

-l- L

o

b7I*e

I4 b7)#9

5+fozfos

a

5

a

#9

9to

b7I#s 5

o

b3

4 #4

b7

(+\oz

l^7

#9

#4

b3

e

b7 #9

o

b7

q

4 lb7

#9

#4

sIs #9

he

5

b7

b3

^L'7

#4

5 r3 o/

3

3

b7l#eI 5

b3

e-D 4 tb7 #4

b7l#eI 5

4 Ib7Ib3I5

31

ChordType: Dominant 7b5b9 Chord Form -D

Scale/Mode:

Arpeggio---) SuperLocrian b5 b7

b7 Ib3

b5 b9 I b5 Ib7

3

b9

b7

b9 e

b2Ib5

3 I#5 Ib2

b3I#5Ib2Jb5lozlos ?

b9

3

o

b5Ib7

b5Ib7

b9

b3I#s 2

b9Ibs

beIb5

b7

b2Ibs

3

o/

b7

b5

t

b2Ib5

o/

b3 I#5

b7

b5

b2los

b3I*s

e ho

3

b7

b7

o9

3

b5

e

b7

hE

Is

b5

b7

b9 o5

e

.osY*sYbe

osf*sYoe)| (oz 3

b9

hE

b7 Ib3 h(

3

b9

b2Ib5

#5 lb2

JZ

Scale/Mode: Chord Form --> Arpeggio ---D SuperLocrian b7

b7 I#9 3 I#5

3 I#5

O

#9

#5

b7 Tffi

e

o

b7 I#9

b2 I b5Ib7

#5

b3 I#5

92,[bs b7 I#9

b7 I#9

#5

b3 I#5

.#5-L

b2Ibs b7 #5

b2Ib5

b3 I#5

28 b7

l.l-(?' b2Ib5 -9,g

*s{+s

(*r

-I(.

osd+s doz

#5

b7

ltltr. #5

b7 l#9 F3

b7

JJ

ChordType: Dominant 7#5b9 Chord Form -->

Scale/Mode:

Arpeggio---> SuperLocrian

o/

b7

e {+sfos

3 I#5 Ibe #5 Ibg

b7

3

o ol

#5

#5 b9

b9

#5

b3 I#5

b9

b2Ib5

3

b7

b7

b2Ib5

b3 I#5

b7

b2Ib5

QrFu

osd+s {oz

b7 htr

#sIb9

b7

3

lsYog #5

b7

o/

34

ChordType: Dominant 7b5#9

Scale/Mode:

Chord Form -*

SuperLocrian

Arpeggio*

b7

b7 l#9

b5

b5 b 5I b 7 #9

o

3

ho

b5Ib7

a

o os{oz{os

bs I b7I#e

o

.t

J

3

o

b5

b5

b7

b7 f9

o5

t

b5 b7I#9

b2Ib5 b7

#9

b2Ib5

b3 I#5

#9

b2Ib5

b3 I#5

b7 o5

3

e

a

b7 fo

b5

b3 I#5

o

usY#sYbz b5

3

o/

35

ChordType: Dominant 9th Chord Form --#

Scale/Mode:

Arpeggio-+ 3

Mixolydian

o

b7

F

3

3

c

q

b7

3

3 q

o

0l e

ffi

J

J

ffi e

b7I9

b7Ie 15

e

.t

ozls{s

b7Ie I5 5 ffiI

3 b7

5 ffi{3

2I5I3 b7

e AA WI

9 ,a'7

4 Ib7 3I6I2

5

16

4 lb7

36

ChordTvpe: Dominant 9b5 Chord Form ->

Scale/Mode.

Arpeggio-->

Lydianb7

e Ios h'7

b7

b5

J

9

9

b7

.t

I

6sYoi

b 5I b 7

o

612 #4 lb7

215

ffi o5

3

ffi

b7I 9

b7I9

bTIe

b7I I

b7

.t

b7

9Ibs b7

9 Ibs

o

a

37

ChordType: Dominant 9#5 Chord Form ->

Scale/Mode:

Arpeggio ---> Mixolydian b6 q

DI

3 I#5

3 I#5

ffi

q

I

#5

v

2

+

o/

b7 2l5

#5

#5

b6r4

:t_

2t5

uof,+

#5

u-

3 b7I 9 #5

'<7

4 \ b 7 x 2x 5

b7I9 #5

b7I I

b6

b7I I

4Ib712I5 #5

ffis

b6

2I5I3

#5

4 Ib7

b6

2I5 r3 #5

D/

#5

9

b7 a

b7

#5

4 lb7

b6

q Ib7

z E

b6

38

ChordType: Dominant 13th Chord Form _>

Arpeggio-->

Scale/Mode: Mixolydian

J

b7

b7

3 5

t.t

11

c

IJ

+1._

J

1 1I 1 3

13I

+\a \z

b7

b7

5

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2I5 ) | (s

b7

4

b7 5 3 I13

3 I13

o 915

J

316 b7I g

b7I I 13

4 I b 71 2 t 5

IJ ll

s {rs

E

b7

e

I b7

! Jp7,

JE

11 o

2J5I3Y6

39

ChordType: Dominant 13b5 Chord Form -*

Arpeggio-> 3

h7

Scale/Mode: Lydianb7

b5 b7

b5

b5

o o

13 b5 e

b7

3 1 3I 9

?

o TIT .gX'rI

rs{s b5

o

2I5 ) | (3

e

o

b7

b7

O

b5

#4 2

13

b5

3 I13

b5

b7 b5

D5

s X1s

I

3

3I6

#4

b7I2 I s

I

3 I13

5

b5

o

3I6

#4

z I 5I

1,* s Yo

XA

13

l^tr

DI

frXrs

2I5I3I6

tl

3I13IeIbs

b7 3l6l2l#4 ol

5

40

13b9 ChordType: Dominant

Scale/Mode:

Chord Form =>

h/w Dimlnished

ArPeggio* #4

)-l.QlI'tr:

ol #r',

b9

a

13

b2l#4)l(3)l(b2 6

5

b3) | (b2l#4lb7Ib3 6

3

b9

)ttl

t{+{o{oo

b9

b9

5 ) | (3

6

o

b3

67

b7

b2 l#4

s ) | (3 b3

b2l#4 ) I (b3

#9

#A

bz) | ( s

5

b7

b9

3I6Ib2I#4

13I b9

3 I13lbg

3 b7) | (5

b7

b7

b2l#4) l(b3

#4

s f,r: b9

b7

5I3I6 b3) | (b2) | (b7

3I6)l(#4

prt-l | | | sf e{ o

sf s b9

b9

b7

b2) | (b7 6) lH4

3 I13 b7

>

b7lb3l 5

b7 b9

A1 tl

ChordType: Dominant 13#9 Chord Form -*

Arpeggio ->

b7

Scale/Mode: Diminished h/w

b7Tffi

ozft+

#4

J

O

13 #9

3 ) | (b2

1a

#4

#9

b3

b2I#4Ib7Ib3

316

o

IJ

b7 l#9

a

13 #4

lltoXo'F.

ffi

E

o

b7 I#9

b3 3 I 6 Ib2I#4

oz{+s

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5 ) I (3 b3

s | 6 foef++

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b7) I ( 5 #4

o

ol 1l

ffi

ozY*q)| 6s

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b7

r7) l(5 #9

4i

13

b2t#4 ) | (b3 13

#9

5Is b3) I (oz

x

b7

316 ) | (*+ #4

sf s

a

3 I13 b7Tffi

b2 I#4 b3) I (b2 #4

#9

s I3Io

13

3I6

b7 L '

b7Ib3I5

42

7th ChordType: Suspended Chord Form -+

Scale/Mode:

Arpeggio*

Mixolydian 316I2

afi6tTr5l

5

4 lb7

b7

3 5

zYsf + { o} z

5I4

4

b7

l\-7

+

b7

b7 5

5

4

4

2t5

J

4

[+ 3I6

4 loz

5

4 lb7

4lb7l2ls

3Io b7

5

c

5

4 lb7

+{uzdzf,s 2I5I3I6

5

4 lb7

4 lb7

4

z{sfs{o

s)

4 lb7

4 lb7

4

3I6I2 b7

4 lb7

5

4 lb7

5

43

Scale/Mode: Chord Form ->

Arpeggio->

Mixolydian

q q

b7

4 lb7 o

4

5

5I4

u

b7

I

+

b7

9Is A

4

b7I9

4 Ib7I9

316

4 I b TI e I 5

4lOt Ie I5 915

4 I b 7t 2 1 5

2I5I316 4 lb7

9Is

2I5I3I6

+)

4 Ib7

I

b7

4 tb7

u

4 tb7

4 lb7 3I6I2

5

4 lb7

AI L+.+

UhordType: Augmented Triad

chord Form ->

Arpeggio---> whoreTone 3) t(2 b7

s Y+s

3 I#5

#4) I ( 3 I#5 2

z

# 5) | ( * q l o z

F5

f5)

f5)

fs)

F5

#5

c

#4

ol@\z #5

#4 z

#5

#5

a

z

#5

n/

3

#5

b7

3

2 t#4

#5

#4

#5

45

ChordType: Augmented 7th

Scale/Mode:

Chord Form ---> Arpeggio _+

WholeTone 3) l(2

b7

b7

3 I#5

#4) | (3I#5

,) lo

z

#5 | | (#41b7

b7

b7

#5

F5

b7 z

#5

#5 4^

otY z #4

#4

Ol6,k #5

f,.

3 #5

#5

b7

9T

a

#5

3

z

Ie #5

#5

#4

!)

b7

e

2 I#4 b7 #4

#5

46

7th Diminished Arpeggio -+

Chord Form-D

Scale/Mode: wih Diminished

x b5 b3

b3 b5

b5 o

b3

o

o

o

o

b h2

-J=J4T 6L 2

b5) | (b3

b3

2ll(7

o

b3

b 3 I b 6- ,

4 b5

x

I

he o

o

b3

hq

b3

a

b5

he

o

h6

o A

o

z

b5I 7 b3I b6

b3

o

z

h

b3Ib6

b3

4

x

o

o

b3

r5

o

b3

2 b3I b6

4

o

2lb5

b5 he

4 b5I 7

he

b6

7

THE PROGRESSIVE GUIIARIST SERIESli TheBEST se/ies of itskind!

Eochbook useso cleor,simpleformot to teoch the skills ond informotion necessoryto o developingmusicion,

byDonLotqrski K

ARPEGGIOS

(:3093GTX) S^cr.rseoch orpeggio in five positionsin o simple c cgrom formot, Forevery orpeggio the corresocrding chord form ond scole pottern ore olso

AN INTRODUCTION TO CHORDTHEORY (F3096GTX) A procticol,stepby stepopproochto the fundomentolsof chordconsfruction, onolvsis ond function,

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MOVEABLECHORDS (F309sGTX) CHORDEMBELLISHMENTS (:3397GTX) An excellent, systemotic opproochto buildingo S^cvyshow to embellishond enhonce ony chord comprehensive chordvocobulory.Shows40difrl. -hnr.i nrnrrro55i6ntO OChieVe new Ond mOfe ferentchordtypesin everyprocticolfingering on guitor i^-eresting the sounds, neck, Allfingerings ore bosedon five bosichondshopes, v

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CHORDORBITS (Fs09tcTX) SCALEPATTERNS progres(F3O92GTX) Explore thesoundondshopeofo chord's sion up ond down the fingerboord, Eoch chord type ispresentedin eightfingeringsusingo cyclic diogrom which showsthot ofterthe eighthfingering you willhove orrivedbock otthe storfingpoint - one octove higher,

Thisbook illustrotes, infivedifferentpositions ollthe modes of the mojor, hormonic minor,melodic minor,pentotonic,blues,diminishedond whole tone scoles, Don olsoshowsthe primoryusesfor eoch scole,with on exompleof eoch, X

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