SMG Arpeggio Compendium-Complete Book for Guitar

8/11/2019 SMG Arpeggio Compendium-Complete Book for Guitar

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Introduction

This book is designed to aid the guitarist in the development of arpeggio techniqueFingerings, strings, slurs (hammer-ons and pull-offs), and pick strokes have been

included in the examples, and it is suggested that they be played on all twelve tonicsThese exercises begin with triad arpeggios and progress to more elaborate and complexstructures (9ths, 11ths, 13ths, etc). The material may be approached in any way desired,be it chronologically or by skipping around. It is my intent that these studies serve

to develop ones musical concept in the following ways: instrumental technique, toneproduction, musicianship/ear training, improvisation, composition, etc. In short, it is hoped

that these examples will promote, encourage, and inspire musical action.

Although this text is geared primarily towards the pick-style (plectrum) guitarist,fingerstylists can benefit greatly as well and are encouraged to substitute their own

right hand combinations for the down and up strokes given. Attention has been given toinclude a wide variety of fingering and picking schemes to serve as models for any/allother individual musical creations. These pages are offered to be included into the guitarslarge and exalted literature.

Scott McGill10 August 2007


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With love to Meredith and Declan


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Glossary of Terms

Picking hand = downstroke of pick

= upstroke of pick

Fretting Hand 1 = Index Finger

2 = Middle Finger

3 = Ring Finger

4 = Pinky Finger

= Slur (Hammer-on or Pull-off)

= Low E String

= A String

= D String

= G String

= B String

= High E String


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Topics

Two- and Three-Octave ArpeggiosMajor, Minor, Augmented, Diminished, Sus4, 6ths, 7ths, 9ths, 11ths, 13ths

Scales Derived From Arpeggios

Arpeggios on Scales (Permutations) Octave Displacement

Arpeggios (Two Notes per String)Single-String Arpeggios, Diatonic Cycles (Triads, 7ths, 9ths, 11ths, 13ths), Overlaps, Variants

Position StudiesMajor and Minor Tonalities with Permutations, Combined Minor Scales

Open-String Arpeggios, Arpeggios with Harmonics

Triad Inversion Arpeggios

Exotic and Synthetic Scales

Polytonal Arpeggios2, 3, 4 Triads with Inversions, 2, 3 7thChords and Alterations, Twelve-Tone Arpeggios, Articulations

Quartal Arpeggios

Triads, Diatonic, Alteration, 4-, 5-, 6-Note, Polytonal 4th

Chord Arpeggios, Inversions, 12-Tone 4th

ChordArpeggios, Inversions, Octave Displacement


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Scott McGill's Biography

Proclaimed The Thinking Mans Yngwie Malmsteen by celebrated jazz-fusion author andcritic, Bill Milkowski, Scott McGill has been a guitarist, recording artist, and educator

for 27 years.

At the age of 19, he played lead guitar for RCA recording artist, Robert Hazard (GirlsJust Want to Have Fun) and went on to receive his B.M. in Jazz Performance at TempleUniversity, graduating Summa Cum Laude. He continued his studies for the next ten yearswith legendary jazz/avant-garde composer Dennis Sandole, who also trained jazz greatsJohn Coltrane, Pat Martino, and James Moody, among others.

Scotts international recording career has spanned the last ten years, performing asboth a solo artist and a member of such bands as The Hand Farm, Finneus Gauge, McGillManring Stevens, and FreakZoid; he has also served as a guest guitarist on many other

recordings. He has toured and/or recorded with such noted artists as Jordan Rudess(Dream Theater), Michael Manring (Michael Hedges), and Percy Jones (Brand X, Tunnels),along with producers Neil Kernon (Queensryche, Mahavishnu Orchestra) and David Torn(Jeff Beck, David Bowie).

Today he is a musician, performer, and much sought-after teacher and clinician in guitartechnique and improvisation. He is a Senior Lecturer in Jazz Guitar and an ensembledirector at the University of the Arts in Philadelphia, PA. He and his family currently

reside in southern New Jersey. For more information, please go to www.scottmcgill.com.


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9/75The Guitar Arpeggio Compendium Two-Octave Arpeggios 9

6th Chord Arpeggios

Maj 6

4

3

2

1

3

3

2

1

3

4

1

Min 6

1

4

3

1

1

4

3

1

4

m



7th Chord Arpeggios

Maj 7

3

2

1

3

4

3

2

1

2

1

4

Maj

min 7 (version 1)

1

4

3

1

3

1

4

3

1

m

min 7 (version 2)

1

4

3

1

1

3

2

1

3

m

Dom 7 (version 1)

1

4

2

1

4

3

2

1

2

Dom 7 (version 2)

1

4

2

1

1

4

2

1

3



min 75

1

4

2

1

3

1

4

2

4

Cm7b

dim 7

1

4

2

1

1

4

2

1

4

C7

dim/Maj 7

4

2

1

1

4

2

1

1

2

C/Maj7

Dom 7sus4

3

4

1

1

3

4

1

4

2

C7sus

Maj 75

4

3

1

1

4

3

1

1

2

CMaj7b



Maj 7

5

4

3

2

1

2

3

1

3

4

CMaj #

min/Maj 7

1

4

3

2

3

2

1

1

4

1

Cm/Maj

min 75

1

3

4

1

1

3

4

1

3

4

Cm #

Dom 7

5

1

4

2

1

3

2

1

4

1

C b

Dom 7

5

1

4

3

1

1

4

3

1

3

C #



9th Chord Arpeggios

Maj 9

1

4

2

1

4

4

3

2

1

2

4

CMaj

min 9

1

3

2

1

4

1

3

2

1

3

4

Cm

Dom 9

1

4

2

1

4

1

4

2

1

3

4

C

min 9

5

1

4

2

1

4

3

1

3

1

3

4

Cm b

min 95

1

3

4

1

4

1

3

4

1

3

4

Cm #



dim 9

1

4

2

1

1

1

4

2

1

4

1

1

C9

dim/Maj 9 (version 1)

1

4

2

3

1

4

2

1

1

2

4

C/Maj9

dim/Maj 9 (version 2)

4

2

1

1

3

4

2

1

1

2

4

C/Maj9

Dom 9sus4

1

1

3

1

4

1

1

3

1

3

4

C9sus

Maj 95

4

3

2

1

1

3

4

3

1

1

2

4

CMaj9b


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Dom 95 (version 1)

2

1

4

1

4

4

3

2

1

2

4

C9#

Dom 9

5 (version 2)

1

4

3

1

4

1

4

3

1

3

4

C9#

Dom 7

9 (version 1)

1

4

2

1

3

4

3

2

1

2

3

1

2

4

1

2

C b9

Dom 79 (version 2)

1

4

2

1

3

1

4

2

1

3

4

C b9

Dom 79 (version 1)

1

4

2

1

1

3

2

1

3

1

4

C #9



Dom 7

9 (version 2)

1

4

2

1

1

1

4

2

1

3

1

C #9

Dom 7

9

5 (version 1)

1

4

3

1

4

3

2

1

4

1

2

1

2

3

1

2

C b9b

Dom 7

9

5 (version 2)

2

1

3

1

4

2

1

3

1

3

4

C b9b

Dom795

2

1

4

1

3

2

1

4

1

3

4

C b9#

Dom 7

9

5

1

4

2

1

1

2

1

3

1

2

4

C #9b



Dom 7

9

5

1

4

3

1

1

2

1

1

3

1

4

3

C #9#

Maj 6/9

1

4

2

4

3

1

4

2

1

3

4

CMaj%

min 6/9

1

4

3

1

1

1

4

3

1

4

1

Cm%



11th Chord Arpeggios

Maj 9#11

2

1

4

32

1

4

3

2

1

4

1

3

4

CMaj9#

min 11

2

1

4

2

1

4

1

4

3

2

1

3

4

Cm

Dom 11

4

3

1

3

2

1

4

3

2

1

1

3

4

C

min 115

3

1

4

3

2

1

4

3

2

1

1

2

4

Cm b

min 115

3

1

1

2

1

4

3

1

2

4

1

2

4

Cm #

dim 11

1

4

2

1

1

3

1

4

2

1

1

2

4

C



dim/Maj 11

1

4

2

3

1

4

1

4

2

3

1

2

4

C/Maj

Maj 9

11

5

2

1

4

2

1

4

2

1

1

4

1

3

4

CMaj9# #

min/Maj 11

23

1

4

2

1

3

2

1

1

4

1

2

4

Cm/Maj

Dom 115

2

1

3

2

1

4

3

2

1

4

1

3

4

C b

Dom 115

OR:

3

3

2

2

1

1

2

3

1

2

4

1

etc...

2

1

1

3

1

3

4

C #

Dom 11

9

2

1

4

2

1

4

3

2

1

4

1

3

4

C b9



Dom 119

1

4

32

1

1

3

1

4

2

1

1

2

3

C #9

Dom 1195

2

1

3

2

1

4

3

2

1

4

1

3

4

C b9b

Dom 1195

3

2

1

2

1

4

2

1

1

3

1

3

4

1

1

3

1

2

3

C b9#

Dom 1195

1

4

2

1

1

3

1

4

1

1

1

2

3

C #9b

Dom 1195

1

4

3

1

1

32

1

4

3

1

1

2

3

C #9#

Dom 911

2

1

4

2

1

1

4

3

2

1

1

23

4

C9#


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Maj 13#11

2

1

4

3

1

1

4

1

4

2

3

2

1

1

2

4

CMaj #

min 13

1

3

2

1

4

1

4

1

3

2

1

4

1

2

4

Cmin

Dom 13

4

3

1

4

3

2

1

4

3

2

1

4

1

2

4

C

min 135

2

1

34

4

3

2

1

4

2

1

1

4

1

2

4

Cm b5

min 135

3

1

1

4

3

2

1

4

2

3

1

4

1

3

4

Cm #5

dim 13

3

1

4

2

3

1

4

1

4

2

1

1

1

2

4

Cb



dim/Maj 13

4

2

1

1

3

1

2

4

2

1

1

4

1

2

4

C/Maj

Maj 13115

1

4

3

1

4

1

4

1

4

3

2

1

1

3

4

CMaj # #5

min/Maj 13

2

1

4

4

2

1

4

4

2

1

1

4

1

2

3

4

Cm/Maj

Dom 135

1

4

2

1

4

1

4

1

3

4

1

1

4

1

2

4

C b5

Dom 13

5

3

2

1

3

2

1

4

1

4

3

1

4

1

3

4

C #5

Dom 13

9

2

1

4

2

1

1

4

1

4

2

1

4

1

2

3

4

C b9



Dom 13

9

2

1

4

2

3

1

4

1

4

2

1

1

1

2

4

1

1

4

3

C #9

Dom 13

9

5

2

1

3

2

1

1

4

3

2

1

4

2

1

2

3

4

C b9b5

Dom 1395

1

4

3

1

3

1

4

1

4

3

1

4

1

3

4

C b9#5

Dom 1395

2

1

4

3

4

1

4

1

4

3

1

3

1

3

4

C #9#5

Dom 13

11

2

1

4

2

1

1

4

1

4

2

1

4

1

2

4

C #

Dom 13115

3

2

1

2

1

1

4

1

4

3

1

4

1

3

4

C # #5



Dom 11

13

4

3

1

4

3

2

1

4

3

2

1

4

1

3

4

C b

Dom 11

9

13

4

3

1

3

1

1

4

1

4

2

1

4

1

3

4

C b9b

Dom 11913

4

3

1

2

3

1

4

1

4

2

1

4

1

3

4

C #9b

Dom 119135

1

4

2

1

2

1

4

1

4

1

1

4

1

2

4

C b9b b5

Dom 11

9

13

5

1

4

2

1

1

2

4

1

4

1

1

4

1

2

4

C #9b b5

Dom 791113

2

1

4

3

1

1

4

1

4

2

1

4

1

2

3

C7b9# b



Dom 7

9

11

13

2

1

4

2

3

1

4

1

4

2

1

1

1

2

3

C7#9# b

Dom 13

9

11

4

3

1

4

2

3

1

4

3

2

1

3

1

2

4

C b9#

Dom 13

9

11

2

1

4

2

3

1

4

3

2

1

4

3

1

2

4

C #9#

Dom 139115

2

1

4

3

1

1

4

1

4

3

1

4

1

3

4

C b9# #5

Dom 13

9

11

5

1

4

3

1

1

42

3

1

4

3

1

4

1

3

4

C #9# #5


28/75The Guitar Arpeggio Compendium Three-Octave Arpeggios 28

Arpeggios In Three Octaves

Major

2

1

4

4

3

1

2

1

1

4

Maj

minor

1

2

1

1

3

2

4

1

1

4

min

Augmented

1

3

2

1

2

1

1

4

1

4

&

diminished

1

3

1

2

3

1

4

1

3

4

Sus4

1

4

1

1

1

3

2

3

1

4

sus



Sixth Chord Arpeggios

Maj 6 (version 1)

2

1

4

1

4

3

1

3

2

1

4

1

4

Maj 6 (version 2)

2

1

4

4

2

1

4

3

2

1

4

1

4

min 6 (version 1)

1

4

3

1

4

2

1

3

3

2

1

1

4

m

min 6 (version 2)

2

1

4

4

2

1

4

3

2

1

4

1

4

m



Seventh Chord Arpeggios

Maj 7

2

1

4

3

4

3

2

1

2

1

4

123

234

GMaj

min 7

1

4

3

1

1

3

2

1

3

1

4

1

3

Gm

Dom 7

2

1

4

2

4

3

1

4

2

1

4

12

34

G

min 75

2

1

3

2

4

2

1

4

2

1

3

2

4

Gm b

min 75

1

3

4

1

1

3

4

1

2

1

1

32

4

Gm #



dim 7

1

4

2

1

1

4

2

1

4

1

34

1

4

G7

dim/Maj 7

1

3

1

1

2

1

3

4

1

4

1

1

2

G7

Dom 7sus4

1

1

3

1

3

1

3

21

43

1

3

1

34

G7sus

Maj 75

2

1

3

1

2

1

3

1

2

1

3

31

42

GMaj7b

Maj 75 (version 1)

1

4

3

1

2

1

1

4

2

1

4

2

3

GMaj7#

Maj 75 (version 2)

2

1

4

1

2

1

1

4

2

1

4

31

42

GMaj7#



min/Maj 7

1

3

2

1

4

2

1

1

2

1

4

12

3

23

4

Gm/Maj

Dom 7

5

2

1

3

1

3

2

4

1

3

2

4

1

3

G b

Dom 75

2

1

4

2

4

3

2

1

2

1

4

12

34

G #



9th Chord Arpeggios

Maj 9

2

1

4

1

4

2

1

4

1

4

2

1

4

1

2

4

GMaj

min 9

1

3

2

1

4

1

3

2

1

4

2

1

4

1

2

3

4

Gm

Dom 9

1

4

2

1

4

1

4

2

1

4

2

1

4

1

2

3

4

G

min 95

1

4

2

1

4

1

3

1

1

4

2

1

3

1

23

4

Gm b

min 95

1

3

4

1

4

1

3

4

1

4

23

12

1

1

32

4

Gm #



dim 9

1

4

2

1

1

1

4

2

1

1

3

2

1

1

3

4

G9

dim/Maj 9

1

3

2

1

1

4

1

4

2

3

1

3

1

4

1

2

4

G/Maj9

Dom 9sus4

1

1

3

1

4

1

1

3

1

4

1

1

3

1

3

2

4

G9sus

Maj 95

1

4

1

1

4

2

1

3

1

4

2

1

3

1

2

4

GMaj9b

Maj 95

2

1

4

2

1

4

3

2

1

4

2

1

4

1

2

4

GMaj9#



min/Maj 9

1

3

2

1

4

1

4

2

3

1

2

1

4

1

2

4

2

Gm/Maj9

Dom 9

5

2

1

3

1

4

2

1

3

1

4

2

1

3

1

2

3

4

G9b

Dom 9

5

1

4

3

1

4

1

4

3

1

4

2

1

4

1

2

3

4

G9#

Dom 7

9

1

4

2

1

3

1

4

2

1

4

2

1

4

1

3

4

G b9

Dom 79

1

4

2

1

1

1

4

2

1

1

2

1

4

1

2

3

4

G #9



Dom 795

2

1

3

1

4

2

1

3

1

4

2

1

3

2

3

4

3

1

G b9b

Dom 795

1

4

3

1

3

1

4

3

1

34

2

1

4

1

3

4

G b9#

Dom 795

2

1

3

1

1

4

3

1

1

1

2

1

3

1

2

4

1

1

1

4

1

1

1

2

1

2

G #9b

Dom 795

1

4

3

1

1

4

3

2

1

1

2

1

4

1

2

4

G #9#

Maj 6/9

2

1

4

1

1

1

4

2

1

1

2

1

4

1

3

4

G%



min 6/9

1

4

3

1

1

1

4

3

1

1

2

1

4

1

3

4

%




Maj 9

11

2

1

4

4

2

1

4

3

1

3

2

1

2

3

1

4

1

2

3

4

GMaj9#

Min 11

2

1

4

2

1

4

1

4

1

3

2

4

3

2

1

4

1

2

4

Gm

Dom 11

2

1

4

2

1

4

2

1

4

1

1

4

2

3

1

4

1

3

4

G

Min 115

1

4

3

2

1

4

1

4

2

1

1

4

3

2

1

4

1

2

4

Gm b

Min 115

3

1

1

2

1

4

1

3

4

1

1

4

2

1

1

3

1

2

4

4

1

1

Gm #



Dim 11

1

4

2

1

1

3

1

4

2

1

1

4

3

2

1

4

1

2

4

G

Dim/maj 11

1

4

2

3

1

4

1

4

2

3

1

4

3

2

1

4

1

2

4

G/Maj

Maj 9115

2

1

4

2

1

4

1

4

3

2

1

4

2

3

1

4

1

2

3

4

GMaj9# #



min/Maj 11

1

4

3

2

1

3

2

1

1

4

1

4

3

2

1

4

1

2

4

Gm/Maj

Dom 115

2

1

3

2

1

4

2

1

3

2

1

4

2

3

3

4

1

4

1

3

4

G b

Dom 115

3

2

1

3

1

4

2

1

1

4

3

1

4

2

3

1

4

1

3

4

4

1

2

1

1

2

G #

Dom 119

2

1

4

4

2

1

4

3

1

3

2

1

2

3

1

4

1

3

4

G b9

Dom 119

1

4

2

1

1

3

1

4

2

1

1

3

2

3

1

4

1

2

2

3

3

4

G #9



Dom 1195

2

1

3

2

1

4

2

1

3

2

1

4

2

3

1

4

1

3

4

G b9b

Dom 1195

1

4

2

1

1

3

1

4

1

1

1

3

2

3

1

4

1

2

2

3

4

G #9b

Dom 1195

2

1

4

4

2

1

3

2

1

3

1

4

2

3

1

4

1

3

4

G b9#

Dom 11

9

5

1

4

3

1

1

2

1

4

3

1

1

3

2

3

1

4

1

2

3

G #9#



Dom 911

2

1

4

2

1

4

1

4

2

1

1

4

2

3

1

4

1

2

3

4

G9#

Dom 9

11

5

2

1

4

2

1

4

1

4

3

1

1

4

2

3

1

4

1

2

3

4

G9# #

Dom 7

9

11

2

1

4

3

1

1

4

3

1

2

1

1

2

3

1

4

1

3

4

G7b9#

Dom 7911

1

4

2

1

1

3

1

4

2

1

1

4

2

3

1

4

1

2

4

G7#9#



Dom 79115

2

1

4

3

1

1

3

2

1

2

1

1

2

3

1

4

1

3

4

G7b9# #

Dom 79115

1

4

3

1

1

3

1

4

3

1

1

4

2

3

1

4

1

2

4

G7#9# #




Three octave arpeggios based on the chords of the 13th have been omitted because of practical

range limitations, although some are possible, for example:

Emaj1311

0

4

2

1

2

1

4

2

1

4

3

2

1

4

1

3

2

1

4

1

2

4


45/75The Guitar Arpeggio Compendium Scales Derived from Arpeggios 45

Scales Derived From Arpeggios

This procedure can be applied to any arpeggio. Explore all possibilities.

Since all alteration possibilities are not shown because of space, the student is encouraged

to alter and extend all examples to their limitations.

All arpeggios can be arranged stepwise to form a scale:

Dom139

C139

C139

Maj 79

4

3

2

1

1

4

3

2

1

12

4

1

CMaj7#9

CMaj7#9

(pentatonic)

Alter all major, minor, augmented, and diminished arpeggios. Extend to the range of

your instrument.

Cb b9

Cb b9

dim 139

3

1 4

2

1

1 4

1 4

3

2

1 1

2 4


46/75The Guitar Arpeggio Compendium Arpeggios on Scales 46

Arpeggios On Scales (Permutations)

Major

An arpeggio of a scale can be formed by arranging the scale in order of every other note.

Arpeggio

Perform the arpeggio starting on every 'C' note on the fingerboard, using all four fingers asa starting point. Play ascending and descending utilizing consecutive right-hand pickstrokeswhere necessary.

4

3

1

4

2

1

4

3

2

1

4

3

2

1

2

1

4

3

1

3

4

1

4

2

1

4

1

2

The higher strings (D, G, B, E) usually require shifting:

4

3

2

1

4

1

4

1

1

4

1

4

1

4

1

0

3

1

4

1

4

The high 'E' string requires octave displacement:

1

4

1

4

1

4

3

4

1

4

1

4

1

Start on every finger, every string, on all 'C' notes on the fingerboard. Apply every string/every finger concept to all arpeggios covered thus far.

C b9#

1 4

2

1 4

1

2

1 4

2

1

4



3

2

1 3

1

2

4

3

2

1 3

4



More fingerings can be generated by starting on a given note, shifting to the next note in

the arpeggio on the string as the first, and then completing the series in the new position.

1

1

4

3

1

4

3

Apply to all previous fingerings. Apply shifting

principle to 2nd, 3rd, 4th, 5th, 6th, & 7th note

in arpeggio.

Octave displacement creates new melodic possibilities either by isolating one note at a time

for displacement:

2

1

4

3

1

4

1

2

1

4

3

1

2

4

Or, by dropping the notes in sequential order:

2

1

4

3

1

4

1

2

1

4

3

1

2

1

Octave displacement example on higher strings:

Apply octave displacement principles to all previous examples.

1

4

1

4

2

1

4

Octave displacement applied to scale so that arpeggio ascends but notes descend.

1

4

1

4

1

4

1

4

1

4

1

4

1



Two Notes Per String

Start with two notes:

1

4

1

4

1

3

4

Then with one note:

2

1

4

1

4

1

4

With shifts:

1

1

4

1

4

1

4

Overlap using two per string:

11

44

11

34

11

44

11

34

21

44

11

4

4

Apply principles to a single string:

11

44

21

44

1

4

11

44

11

34

11

44

Exhaust all possibilities - use octave displacement.

The arpeggio can be played as a series of triads using an overlap principle.

Apply principles to a single string:

4

3

1

4

2

1

4

3

1

4

2

1

3

2

1

3

4

1

3

2

1

Descending:

2

1

4

2

1

4

2

1

4

2

1

4

2

1

4

1

1

4

2

1

4

Descending:

1

4

2

1

4

3

1

4

2

1

4

2

1

4

2

1

4

3

1

4

2

Descending:



Triad arpeggios across the neck in a diatonic cycle of 4ths (start on every scale degree):

2

1

4

2

1

4

3

1 4

2

1 4

2

1 4

2

1 4

2

1 4

2

1 4

1

1 4

3

1 4

etc...

1

4

2

1

4

2

1

4

2

1

3

4

1

4

3

1

etc...

4

3

1

4

3

1

4

2

1

3

2

1

etc...

Explore other possibilities - employ combinations of picked and slurred notes. Experiment with

7th, 9th, 11th, and 13th arpeggios.

2

1

4

2

1

4

2

1

4

2

1

4

Overlap principle on triad arpeggios:

Apply all previous picking and fingering sequences. Overlap with 7th, 9th, 11th, and 13tharpeggios.

etc...



Extend arpeggios to the 7th on each degree (all fingers):

1

4

2

1

1

4

3

1

1

4

2

1

2

1

4

3

2

1 4

2

3

2

4

1

3

2

1 4

Stretch:

4

3

2

1

4

3

2

1

Two to a string:

1

4

1

4

1

4

1

1

4

3

1

2

4

1

4

1

Extend to the 9th (all fingers):

1

4

2

1

4

1

4

3

1 4

1

4

2

1 4



Variant:

1

4

3

2

1

2

1

4

3

1

2

1 4

2

1

2

3

2

1

4

2

3

2

4

3

1

4

2

4

4

3

2

1

4

4

3

2

1 4

Start 11th chord arpeggios on the 'A' string, then 'D' string, etc...

1

4

2

1

4

2

1

4

3

2

1

4

1

4

3

2 1

4



11th Chords (cont.):

2

1

4

3

1

4

2

1 4

2

1 4

Variant:

3

2

1

4

2

1

3

2

1 3

2

1

4

3

2

1

4

3

4

3

2

1 4

3

13th Chords:

1

4

2

1

3

4

1

1

2

1

4

3

1 3

4

1



Variant:

1

4

3

2

1

3

4

1

4

3

2

1 4

2

2

1

4

3

2

1

4

2

1 4

3

2

1 4

3

2

1

4

3

2

1

3

2

1 4

2

3

1

Apply all previous principles. Explore all possibilities.

4

3

2

1

3

2

1

4

3

2

1

4

1

4



Triads may be placed on each degree of the scale. These are called "diatonic triads."

C:

Major:

V

V

v v

[ ]

In a major tonality, the I, IV, and V degrees are major chords, the ii, iii, and vi chords

are minor chords, and the vii is diminished. Play the triads as arpeggios utilizing all

previous fingering and picking procedures.

For example:

1

C

4

2

3

m

4

1

1

Em

4

3

2

F

4 1

1

G

4

2

3

m

4 1

1

4

2

2

C

4 1

2

1

4

4

1

2

4

3

1

1

2

4

Full-position studies:

2

1

3

4

2

1

1

4

4

m

1

1

1

3

2

4

1

1

Em

4

2

3

1

1

1

4

4

F

1

1

2

3

2

4

1

2

G

1

3

4

2

1

1

4

4

m

1

1

1

3

2

4

1

1

4

2

3

1

4

1

4

4

C

1

1

2

3

4

1

2



Permutations:

4

1

3

3

1

1

1

1

1

3

1

4

4

1

2

2

1

1

2

1

3

3

1

2

4

1

2

2

1

1

2

1

3

3

1

2

4

1

3

3

1

1

1

1

1

3

1

4

4

1

3

3

2

1

1

1

2

3

1

4

4

1

2

2

3

1

2

1

4

3

3

1

2

4

1

2

2

3

1

1

1

3

4

1

3

4

1

3

3

2

1

1

1

2

3

1

4

Variants:

Practice in all 12 keys. Apply all previous formats to diatonic triads. Extend triad studies

to diatonic 9th, 11th, and 13th chords.

2

4

1

2

4

1

1

4

1

2

4

1

1

2

4

1

4

3

1

3

4

1

3

4



Cmin:

Triads placed on the natural minor scale:

1

v

v

V 1

V 1

[ ]

In the natural minor tonality, the i, iv, and v chords are minor, the III

, VI

, and VII

are

major, and the ii is diminished.

Apply the same procedures for playing diatonic major triads to the natural minor scale.

1

4

Cm

3

2

4

D

1

1 4

Eb

2

3

Fm

4 1

1 4

Gm

3

2

4

b

1

1

4

b

2

3

4

Cm

1

In the harmonic minor tonality, i and iv are minor, V and VI

are major, ii and vii are

diminished, and III

is augmented.

In melodic minor, the third of the scale degree is raised ascending only, the 6th and 7th

degrees follow like a natural minor while descending.

3

3, 6, 7

Construct arpeggios for the minor scales based on fingering and formation principles

used for the major scale. Also, try combining minor scales.

melodic minor ascending

harmonic minor descending


58/75The Guitar Arpeggio Compendium Arpeggios with Open Strings 58

Arpeggios with open strings

Open string arpeggios yield unique, sonorous effects:

CMaj

3

2

0

0

1

0

3

4

1

Eb b # b9

1

0

3

0

2

0

Arpeggios with harmonics (natural):

Explore other possibilites of open string notes and harmonics, combined with stopped(fretted) notes. The open-string notes and harmonics can serve as either extensionsor alterations.

12th

Em

0

0

12th

5th

12th

12th

5th

12th

5th

5th

22nd

5th

Descend


59/75The Guitar Arpeggio Compendium Triad Inversions 59

Arpeggios based on triad inversions (four-note)

4

3

1

1

3

1

1

1

3

4

2

1

3

2

1

1

Combined fingerings (reverse to descend):Apply various combinations of pickstrokes and slurs.

4

3

1

1

2

1

1 4

1

1

1 4

3

2

1

1

2

1

1 4

1

2

1 4

2

3

1 4

2

1 4

3

1

1

1

1 4

2

1 4

2

1 1

1

1 4

2

1 4

2

1 4

4

3

1

1

1

3

1

1

1 4

3

4

2

1

1

3

2

1

1 4

3

1

2

1 4

1

2

2

2

3

2

1 4


60/75The Guitar Arpeggio Compendium Triad Inversions 60

Figurations (four-note):

Experiment with other permutations. Extend to 5, 6, 7, etc. note figures. Repeat procedureusing Cmin, C+, and C triads. Apply to any three-note chords (triads).


61/75The Guitar Arpeggio Compendium Scales 61

Scales

Harmonic Minor

Apply all arpeggio studies discussed thus far on scales (diatonic and otherwise) to thefollowing modal, synthetic, and ethnic scales. Analyze diatonic triads, 7th, 9th, 11th, and13th chords in each scale.

Melodic Minor

Dorian

Phrygian

Lydian

Mixolydian

Aeolian

Locrian

Super Locrian

Lydian Minor

Major Locrian

Overtone (Lydian Dominant)

Lydian Augmented

Enigmatic

Leading Whole Tone

Hungarian Major



Hungarian Minor

Neopolitan Major

Neopolitan Minor

Double Harmonic

Oriental

Spanish Gypsy

Persian

Hindustan

Ananda Bhairava

Mukhari

Whole Tone

Six Tone Symmetrical

Six Tone Symmetrical

Prometheus

Prometheus Neopolitan

Javanese

Todi

Blues



Major (Diatonic) Pentatonic

Minor Pentatonic

Chinese

Japanese

Hirajoshi

Kumoi

Balinese (Pelog)

Egyptian

Malakosha

Iwato

Scriabin (Piano Sonata No. 7)

Locrian Pentatonic

Hejjajji

Symmetrical Diminished (Octatonic)

Octatonic - Symmetrical (Dominant Diminished)

8-Tone Spanish

Algerian



Japanese (Pentatonic)

Develop arpeggios from all scale types:

Six Tone Symmetrical (Hexatonic)

Enigmatic (Heptatonic)



Symmetrical Diminished (Octatonic)

Apply all previous fingering and picking principles.


66/75


67/75The Guitar Arpeggio Compendium Polytonal Arpeggios 67

Two seventh chords:

1

CMaj7

4

1

4

1

BMaj7+5

3

4

1

4

(2nd inv.)

CMaj7

(2nd inv.)

BbMaj7+5

Three seventh chords:

1

GMaj75

4

1

1

4

2

F7

1

3

1

E75

3

2

4

GMaj7b5

(1st inv.)

F7

(1st inv.)

E7b5

Four mutually-exclusive triads or three mutually-exclusive seventh chords form arpeggios

consisting of all 12 tones with no doublings. This doesn't rule out two, three, or four

triads with a doubling or more.

2

G

1

4

4

E

3

1

3

G

2

1

2

E

1

4

G

(G is duplicated)

Eb

Explore all possibilites with duplicated notes. Exhaust all combinations.

Two altered triads:

2

0

0

4

1

1

23

1

4

2

1

4

Gsus

orAsus4 (2nd inv.)

F#sus

orG#sus4 (2nd inv.)


68/75The Guitar Arpeggio Compendium Twelve-Tone Arpeggios 68

Twelve-Tone Arpeggios

Twleve-tone sets can be made into arpeggios. Here is an example using two distinct whole-tone hexachords:

Experiment with all combinations of polytonal triads, 7th, 9th, and 11th chords. Combineany/all altered triads, 7th chords, etc. Create arpeggio formations from twelve-tone setsof original creation, or from any of the modern masters of this technique (Schoenberg, Berg,Webern, Boulez, etc...).

2

1

4

G9# #

1

4

3

1

1

4

2

D9# #

1

4

G9# #

D9# #


69/75The Guitar Arpeggio Compendium Articulation 69

Articulation

Although picking patterns have been included for virtually every note, based on thedirection of the phrase the student is strongly encouraged to experiment withascending and descending slurs (hammer-ons and pull-offs) in all examples. Justone slur changes all of the pick strokes and can create a completely different sound.

G Maj7

2

1

4

3

4

3

1

1

2

1

4

2

3

Maj

Also experiment with notes on different strings being attacked by the fretting hand only

("hammered" or "tapped" notes). (. = tapped note)

G Maj

All of arpeggios can be played with strict alternate picking as well. This would be excellentpractice for developing accurate crosspicking, and would yield beneficial results for bothhands. Start with both a downstroke and upstroke and alternate the pick strokes.

2

1

4

4

3

1

2

1

1

4

Maj


70/75The Guitar Arpeggio Compendium Quartal Arpeggios 70

Quartal Arpeggios(Chords Based on 4th Intervals)

There are three types of quartal triads:

1. Two perfect 4ths

] P4

] P4

1

1

1

3

1

1

3

2. Perfect 4th - Augmented 4th

] A4

] P4

1

1

2

3

2

4

1

2. Augmented 4th - Perfect 4th

] P4

] A4

1

2

3

4

3

4

1

These chords can be inverted and permutated. Figurations can be triadic inversions:

1

1

4

1

1

3

3

1

4

1

1

4

2

3


71/75



6-note:

7-note:

= Locrian Scale

4-note Chord Inversions

Reverse to descend

Extend these to the range limit of your instrument. Apply any figuration, and apply to

all 4-note chords built in 4ths. Extend to 5-, 6-, 7-, etc... note chords built in 4ths.

1

2

3

4

2

4

1

3

1

2

1

4

3

4

1

2


73/75



Twelve-Tone Arpeggio in Perfect 4ths WithOctave Displacement(Multiple Fingerings)

Stretch

Stretch

Stretch

Stretch

1

1

1

1

1

1

1

4

1

4

1

1

4

3

4

4

1

1

1

1

4

4

4

4

1

1

1

1

1

1

1

4

1

4

1

1

4

3

2

4

1

1

1

1

4

4

4

4

Reverse

Octave displacement (florid) applied to the above set:

1

3

4

1

4

2

1

3

1

4

1

3

2

OR:

the above set in various cycles

4-note chords:

1

1

1 4

1

1

1 4

1

4

1 4

Augmented Cycle

3-note chords:

1

1 1

3

1 4

1

1 4

3

1 4

Diminished Cycle


75/75

Complete Chromatic

Perfect 4th Diads in twelve Tones:

The cycle descends in whole steps

12

34

11

44

11

43

21

12

34

11

44

11

4

21

12

34

11

44

etc...(descend in whole steps)

11

43

21

Florid Octave Displacement (6-note chords in augmented 4th cycle):

1

4

1

4

2

3

1

4

1

4

2

3

1

4

1

4

2

3

1

4

1

4

2

3

Documents

SMG Arpeggio Compendium-Complete Book for Guitar