THEPROGRESSIVE
ARPIOOIOSFOR
GU ITARIST
GUITAR,..4 NEW APPROACH TOARPEGGIOS AND THEIR
RELATIONSHIP TOCHORDS AND SCALES.FOR THE ROCK, BLUES,AND JAZZGUITARIST.
by DON LATARSKI
o .l990 Don LotorskiInternotionol Rights SecuredAll Rights Reserved
Cover Design: Joonn Correro
WARNING: Any duplicotion, odoptotionor orrongement of the compositionscontoined in this collection, without thewriiien consent of the owner, is oninfringement of U.S. copyright low ondsrr t r ier - - t to tha nenol i iaq r rn. l l i . ' lb i l i+ ioc
THEPROGRESSIVE
GUITARIST
ARPIOOIOSFCR
GUITAR...A NEW APPROACH TOARPEGGIOS AND THEIR
RELATIONSHIP TOCHORDS AND SCALES.FOR THE ROCK, BLUES,AND JATZGUITARIST.
by DON LATARSKI
INTRODUCTION
An arpeggio is a series of chord tones played one note at a time. Every seriousguitarist must at some point master many of the primary arpeggio forms such asmajTth, minTth, augTth, etc.
Arpeggios are frequently used in constructing melodies. A quick analysis of melodiesfrom music of nearly all ages and styles will demonstrate this fact. They are also usedas accompaniment devices.
In contemporary music, such as rock, blues and jazz, arpeggios are used asimprovisational tools along with scales. lt is for musicians who play in these stylesthat this book is intended.
In any given improvisational situation, the "safest" sounding pitch will always be achord tone. However, if your solo is made up only of chord tones, you run the risk ofboring your listenels. Good solos are made up of a variety of rhythmic, melodic andharmonic devices. lt 's up to each person to find the proper balance between playingit safe and taking chances.
Arpeggios are very useful in particular to the jazz musician because this style ofmusic often requires the improvisor to make quick key shif ts when soloing. Manyguitarists use arpeggios to facilitate these kind of changes. The arpeggio has thebenefi t of out l ining the harmony that 's happening at the moment, lett ing the l istenerknow that the improvisor has a firm grasp of the harmonic movement in the piece.Also, the use of arpeggios has the effect of breaking up the flow of the musical line byinterspersing interval l ic leaps into the solo. Solos made up of just scale passagestend to sound smooth and vocal-like. Wide interval leaps provide contrast in the line.
Learning arpeggios on the guitar is more than just learning chord forms. Chords areusually played one note per string. In some cases, it 's possible to play one, two orthree notes per string in an arpeggio. This will become very obvious once you getinto the book.
The format of this book is simple. Each page contains a particular type of chord,which is shown in five different forms. The root of each chord form is shown as a solidblack dot. The dot is your reference note. By using this note, you can move the chordform up and down the fingerboard to play this chord on any fret and in any key.
The middle column shows the arpeggio of the chord to i ts left . The r ight columnshows the larger scale pattern which goes with this arpeggio and chord. You get the
whole picture, from the chord to i ts arpeggio to the complete scale. An X above astr ing means you must ei ther mute the str ing or str ings or simply not pluck i t i f you areusing your f ingers.(Many of these chords wi l l be easier to play i f you pluck the str ingswith your fingers instead of trying to strum them with a pick.)
On some of the more complicated chords such as Dom9b5, I 've shaded in some ofthe notes in an attempt to make things a little clearer as to what are important notesand what are not. In some cases, the root will be shaded, because the root is notreal ly a necessary note in an arpeggio. For the most part, the chords are in rootposition, with the bass note being the lowest note of the chord. ln some cases, thiswas not possible. At any rate, all chord voicings are shown. (These are the numbersinside the circles in each chord form.) Five dif ferent forms of each chord type aregiven. This approach effectively covers the entire length of the fingerboard.
The scales I chose to show with each chord type are what your "average" gardenvariety jazz musician might have chosen. However, don't be fooled into thinking thatthese are the only possibi l i t ies, because they aren't . I encourage you to seek outother books on the subject of improvisat ion or check out my book enti t led, SCALEPATTERNS FOR GUITAR. Scale choice is dependant upon how any given chord isfunct ioning in a song. A good jazz lheory text and qual i f ied instructor can put thissubject in perspective for you.
It's up to you to choose what order to play the notes which make up any arpeggio.You don't have to start from the lowest note and go right up from there. You can startanywhere you like and play the notes in any order. Also, you'll have to work out yourown f ingerings for the chord forms, arpeggios and scales. The numbers which areincluded in each chord, scale and arpeggio, are the scale degrees you are playing.Eventual ly, you must know what you're doing when you are playing these things, sostart now to know what's going on with your playing.
Practice these arpeggios by first hitting a chord, then the arpeggio which goes with it,and then the larger scale. This wi l l take you across the page from left to r ight. Youneed to have the arpeggio in your f ingers as f luently as the chords and scales. Thinkof the arpeggios as the bridge between chords and scales.
Most guitarists who've grown up playing rock and blues styles are often trapped by amono-scalar approach to soloing. That is, they try to use one scale, usually the minorpentatonic or blues, as it 's often called, to play over a series of changing chords. Inmany cases, this works well because what they call chords are really not. They areintervals of a perfect Sth, also known as power chords. This type of approach doesn'twork to well when the harmony consists of moving triads and four note chords (7th's).This type of harmonic movement makes your scale seem inadequate and out of
place. You need different tonal resources, i.e., new scales, to effectively solo over thechanges. Al l guitar ists run up against this problem sooner of later, especial ly i f theywant to move into songs which have a )azz leaning.
Two of the earl iest iazz guitar ists that rel ied heavi ly on arpeggios are DjangoReinhardt and Charl ie Christ ian. Listen to how they used arpeggios to fol low thecontour of the moving chord progressions. You' l l soon see the art involved in thistype of approach. For a more modern approach, listen to guitarists like pat Metheny,John Scofield and Mike Stern.
Experimentat ion is the key to becoming an accomplished improvisor. There,s nosubstitute. The thinEs in this book are meant to get you started down this path. And ifyou find these arpeggios helpful, please check out my other books. ln addition to theSCALE PATTERNS FOR GUITAR, mentioned earl ier, I 've also wri t ten: MOVEABLEGUITAR CHORDS, INTRODUCTION TO CHORD THEORY, CHORD EMBELLISH-MENT and CHORD ORB|TS.
Don Latarski
About the author..,Don Latarski has been playing the guitar since 1963. He's an adjunct faculty memberat the University of Oregon's Music School. ln addition to this book, he's written anumber of others on guitar instruction lntroduction to Chord Theory, Moveable GuitarChords, Scale Patterns for Guitar, Arpeggios for Guitar and Chord Embettishment.Known nationally as a a gifted guitarist and composer; Don performs frequently withhis group at Jazz Festivals and Clubs in the Pacific Northwest. His music can be heardon "HAVEN", lnner city Records and'LIFELINE', PAUSA Records. originally aMichigan native, Don has made Eugene, Oregon his home since 1973 where hebuilds and rides recumbant bicycles when it 's not raining.
TABLE OF CONTENTS
MajorTr iad. . . . . . .10Major6 th . . . . . . . . 11Major 7th 12Major 6/9 .. . 13Major 7b5 (aka M47#11) . . . 14MajorT#s. . 15Major (edd 9) 16Majorg . . . . 17MinorTr iad. . . . . . .18Minor6th . . . . . . . .19Minor6/9 . . . . . . . .20Minor7 lh . . . . . . . .21Minor#7. . . . . . . .22Minor 7b5 (aka Half-Diminished) . . 23Minor (addg) . . . . .24Minorg. . . . . . . . . .25Minor11. . . . . . . . .26
Dominant 7lh . .Dominant 7b5 (aka Dominant 7#11)Dominant7b9. . . .
Dominant 7#9 . .Dominant 7b5b9. .Dominant 7#5#9. .Dominant 7#5bg . .Dominant 7b5#9 . .Dominant gth . .Dominant 9b5 (aka Dominant 9#1 1).Dominant 9#5 (aka Augmented gth).
Dominant 13th. . .Dominant 13b5 (aka Dominant 13#1 1) .' t " '
Dominant 13b9. . .Dominant 13#9. . .Suspended 7th .Suspended gth .Augmented Triad.Augmented 7th .Diminished 7th
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
l 0
Chord Type: Major triad Scale/Mode:Chord 'Form -+ Arpeggio # lonian
5 I 3
5 1 3
3
5 I 3
5 I 3
b
5
e
J
5 )
3 I 6 I 2 1
4 57 1 3
z Is f | fqYaYz
5 e
e
3
J
2 Is z l3A
I
s l64 2 1 5
3 Io
I+ 2 1 5
-Ls2J-2I5 I3Y64
72 I 5 I 3 I 6
4
edodzA
l l
Major 6thChord Form -> Arpeggio
Scale/Mode--> lonian
x
3 1 6
e
sL
3 I 6
5 I 3 1 6
L-l-ttI .3 I6
3 I 6
rt7 L3 I 6 I 2 7i Lgl.grL1zXsf+\a\z
e
4 t 6 t 2
2 l 5 l 7 l 3
J,+
2 l 5 1 7 I 3A
e I6A 2 1 5
3 I 64 2 1 5
7
2 I5 r3164
53
h
5 .t
?
o
e
o
3 I 6
5 e
3 I 6
e
3 1 6
3 I 6
72 I 5 I 3 I 6
A
3 I 6 I 2 74 t
t2
Chord Type: Major 7th
Chord Form-> ArpeggioScale/Mode:
-> lOnian
s{z{s
5 I 7 1 3 5 1 7 1 3
4 1 6 1 2
2 1 5 l 7 1 3
+
2 1 5 1 7 1 3
s I64 2 1 5
s&+) l (z{sa)2I s Is Io
A
5 1 3
7
6
7
5 1 3
7
5 I 3
\5
3
5 I 7 I 3
o
5
7
l(')lsfsa o
4
3 I 6 I 2 l | ( 7A s )
13
Scale/Mode:Chord Form -> Arpeggio * lonian
oXg
oXg 4 1 6 1 2
2 1 5 I 7 1 3A
2 t 5 17 | 3A
3 I 64 2 1 5
o 5
9I513 I6
3 I 6 1 9
A 2 1 57
2 I51316t
3 1 6
o o Xs
e I5
Ix
3 I 6
e Is
9 I 5 .)
3 1 6
e Is
6 I 9
72 I513 I6
3 I 6 I 2 74 ) | | ( s
t4
Major 7b5
Chord Form * Arpeggio
os{z
7 t 3
D5
zXs
3 b 5 I 7
us l7 I3
os{z3
b 5 I 7
Scale/Mode-_> Lydian
3 l 6 l 2 l # 4 7
# 4 1 7 1 32 1 5 6 l 2
e
t o)#4
z{s{z{s
'{
b5
zXso
xxo5
7
3
zXso
b 5 I 7 osYz3
3 1 6 F4
o 2 l 5
# 4 1 72 I 5 I 3 I 6
b 5 I 7
3
l 5
Chord Type:
Chord Form
Major 7#5-* Arpeggio
Scale/Mode:-> Lydian-aug
7 l3 I#5
7
7 13 I#5
#5
3 I6 I2 I#417
t 4 1 7 1 3 l # 5z 6 r2
#5
.t
OIGX,#4
2) | ( 713r5
+4
3
7 1 315
7 1 3#5
x
7 Is#5
e
7 1 3t5
Z 7 1 3t5
s I6 #42
#4 #5
7 #5 #5
Is#5
3 1 6 #4
o 2t+\z #5
z 3 I 6
#5
e
#5a
Ie#5
F5
t r41 7 #52 3 I 6
#53 I6 I2 I#4 I7
16
Chord Form
Major add 9 scate/Mode:+ Arpeggio -+ lonian
3 I 6 I 2 76
7 t 32 I 5 I 4 1 6 | 2
(.) |4 1 6 1 2
2 1 5 l 7 1 3
J,q
5 I 3
s)
s)3
e q
5
q
5
t q
9 I 5
x
e I5 9 I 5
oe
9 I 5
z {s {z {s(+
3 I 6
J,q 2 ls
o
o5 I 3
J ,q 2 1 5
2 Is fe Io4
3 I 6
5
J I
t7
Scale/Mode:Chord Form -> Arpeggio € lonian
v
5 I 7 1 3
e I 517 J3 5 I 7 1 3
9 I 5
2 15 17 l 34
3 I 62 1 5
gXs7
5
3 I 6A 2 1 5
7
2 I 513 16A
q 7 9 7
7 I z5 I
s7 Ll__L3 I 6 I 2A
7 1 32 I5 -q Ia l z
I
9 I 57
3
q I
6
7
2 I 5 I 3 I 6A
3 I6 I2A
7
18
Chord Type: Minor triad Scale/Mode:Chord Form --+ Arpeggio € Dorian
oe{s }
5 )
b3 b3
5b3
us{s
6 I 24 Ib7 IbsI 5
2 1 5 - 4 1 6 1 2
b3 b7 Ib3
4 l 6 l 2
b7 Ib32 t 5
b3 4
b 3 I 5
b3I
he
5b3
b3
b3 o5
b3
F
he
s )
Ihe
s)b3
## !_2 1 5
b3zY5b3 4 tb7
s)b3
2 l 5 b
b3 4 lb76 1 2
+ dozfs{s
l9
Chord Type:
Chord Form
Minor 6th-+ Arpeggio
Scale/Mode:-> Dorian
4T6T2b7 Ib3
2 1 5
b3 4
b3 I s
5 o
b3 b3
he
5 o
h
b3c
ob3
b3 o
b35
b3 o5
he
2 1 5he Jo
4 Ib7 I2 I sb3
b3h
h
ab3
o
b3
4 I b7 I 2 l 5b3
2 Is 6
b3 4 tb7
o
b 3 I 5
5 o
b3
b
b 3 I 5
215b3 4 tb7
6 I2
-4^b7it3I5
z0
Minor 6i9 Scale/Mode:Chord Form -* Arpeggio # Dorian
6Ieos{s
ttlqilT 6 I 9he
4 t 6 t 2b 7 I b 3
2 l 5b3
2 1 5
b3 A
o
4 lb7 I 2 I 5h?
he
6 I 9
6 l 24 l b 7 I b 3 I 5
z
he
5 r4 ffi
6 I 9
5
he
o
a
9 I sb3
9 5
b3
I
s ) 6
o
o 9 I 5
b3
9 1 5 n
h e
l"# l-l-2 1 5
b3zY5 o
b3 4 lb7
9 I 5
b 3 I 5
9 I 5
o3
6 t 9b 3 I 5
z l 5he 4 l b 7
6 1 24 lb7lb3 I 5
2 l
Chord Type:
Chord Form
Minor 7th--> Arpeggio
Scale/Mode:# Dorian
b 7 I b 3
b 7 I b 3
b 7 I b 3 I 5
uLhe b7
ozdoo{ s
ooz{o
5
he O
h?
b3
5
ob7 5
b3
2 1 5b3 +
o
4 lb7 I 2 I 5h {
b7he
o b7 5
5Fte b7
*#:!l_a 5
2 1 5 b
b3 4 Ib7
a
he
6 o
4 Ib76 1 2
4 tb7 Ib3 I s
22
r(li'
Scale/Mode:Chord Form --+ Arpeggio --> Melodic Min.
6 l 24 b 3 I 5
2 I s14 I6 z
b3 b3
4 l 6 l 2b3
2 1 5 1 7b3 J.q
b 3 I 57
5
b3
b 3 I 57
5Lb3 b3
b35 1 7
ab3
5 t 7
o
5 1 7
b3 b3 t5
z Ib3
2 1 5 l 7
b3 4
o
4 2 1 5
b3
7 I b 35
4 sl7 I b 3
lI.u-Lb3 4
b 3 I 5
5b3
b3 I s1
23
Chord Type:
Chord Form
b 7 I b 3b5
b7
b5 I b7 Ib3
Minor 7b5--+ Arpeggio
Scale/Mode:--> Locrian
b 7 I b 3ob
b3 os{oz{os
4
b2Ibs Ib7 Jb3
b 3 l b 6 z t
b 2 I b 5
b3Jb6 Ib2I 4 Ib7b5
4 I b7Jb3b2 Ib5 b 6 I b 2
Oos{oz{os
b3 ob5
b3
o5
b7
b3 ob5
b7b5 b3
b 3 I b 6 - 4
b 2 I b 54 tb7
b 2 I b 5 b 3 I b 6
ob b3o b7
b5 b3
ob3 D /
b5
# b7
b 3 I b 6
b3 I b6 lbzl 4 Yb7
b5
ob3 b7
b5
b7 Ib3b5
1 A
Minor addg Scale/Mode:Chord Form -> Arpeggio € Dorian
4 1 6 1 2bT Ios
2 1 5he 4
2 1 5
b3 A
4 [ b 7 l 2 l 5b3
b 3 I 5
s) o
os{s}
liz t_t_9 1 5 I
he h 2
- t.gtr)-t.,4 rTi'
2X5f,+fo{zb3 b7 Ib3
9
q
o€
9 I 5-I
o5
h?
I
e 15ha o
o Y q
he
5
b35
o 9 1 5ha
e I 5b3
b3
9
9 1 5b3
9
b 3 I 5
25
Chord Type:
Chord Form
Minor 9th--> Arpeggio
Scale/Mode:--> Dorian
b7Ib3 l s
o
h?
b 7 I 9
b 7 I 9
5
4 T 6 T 2b 7 I b 3
2 1 5
b3 4
2 1 5ha A-
o
4 IOz Iz Is
e 15b3 b7
q
b7Ib3 I s
v
9 I 5b3 o
b7Je I 5
o oz{s { sh e
e Ish?
4 I b 7 1 2 I 5he
2 1 5h e 4 lb7
b3
b7
26
Chord Type: Minor 1 1th
Chord Form -> ArpeggioScale/Mode:
--> Dorian
t l
b7 Ib3
11 Ib7b3
b3 r r{oz
b 7 I b 3
1 1
b 7 I b 3
b3 1 l
b3 1 1 I b 7
11 IOZ Ib3 I 5
4 1 6 l 2b 7 I b 3
2 Isb3 4
2 1 5b3 +
4 I b 7 I 2 I 5
b3
1 1
b7
b3
b3 1 1
11 lb7 5
b3
1,1,*l+he 4 Ib7
6 1 24 t b 7 l b 3 I 5
27
Chord Type:
Chord Form
Dominant 7th--> Arpeggio
Scale/Mode:--* Mixolydian
3 1 6 I 24 Ib7 5
e
2 1 5 - 4 a I 2b7
3 1 6
4 I b7 12 l 5
2 I5 I3164 lb7
2 I5 I3 J64 tb7
3 I 6 I 2
4 Ib7
o l
5 I 3b7
5 I 3
b7
b7 5
?
o / s )
b7
b7?
5
b7
e
b7
3
4 1 6 1 2
b72 1 5 J
4
b7
a
J
b7
b7 5
5
Ia
b7
28
Chord Type:
Chord Form
Dominant 7#1 1--* ArPeggio *
Scale/Mode:Super Locrian
#4 lb7
t4 lb7
b2 I b5 Ib7 Ib3
b3 I#5:2 Ib5
_Llosd+s3 ) | ( b2 Ibs
o b7
b 2 I O S ) | ( b 3 I # s
b7+At-
b7
b7#4
o!4 N7
a#4 lb7
o+At-
#4
b7
b7#4
#4
#4
b7LtA
D /
b 3 I # 5 I b 2 ) | ( b 7hq
b 7 I b 3b 2 I b 5 #5 Ib2
29
Chord Type:
Chord Form
Dominant 7b9--) Arpeggio -+
Scale/Mode:Diminished h/w
3 ) | ( b e
b7 5
5 ) | ( 3
b3
6 lbzI#4b 7 ) | ( 5
b2l*q ) | (os
r 7 ) l ( 5b2I#4 ) | (Os
5 I 3 I 6b 3 ) | ( b z l | ( b 7
g,\6J I €+.
b7
b9
hq
b7? b9
3 ho
0 l
nq
b7
b967
D9
o (
5
b9
b9 ov
5
b9
b2 I#4s fs{o
b 3 ) | ( b 2 b7
3 I 6 +A
b 7 I b 3 I 5
30
Chord Tvpe:
Chord Form
Dominant 7#9--> Arpeggio
Scafe/Mode:--+ Blues
+ IozJosI s# A
5 - , 4b3 M lb7Ib3
-l- LI4
5+fozfos5
9tob7I#s
b7
5
b3 4#4
(+ \oz#4 b3
3
b7l#e I 5
5 r3o /
3
b7l#e I 5
b7
3
b7 l#9
e
b7 I*eo
b7)#9a
#9 a
ol^7
#9
e
b7
#9o b7 q
#9s Is
#9 b7
4 lb7#4 he
5
b3 ^L'7
#4
e-Db3 4 tb7
#4
4 I b 7 I b 3 I 5
31
Chord Type:
Chord Form
Dominant 7b5b9-D Arpeggio ---)
Scale/Mode:Super Locrian
b9 I b5 Ib7
b9
b 5 I b 7
b5b7
b5 3 b9
b9 b7e
b7 Ib3b 2 I b 5 3 I#5 Ib2
b3I#5 Ib2Jb5lozlos? 3
ob 5 I b 7
b9
2 b 9 I b s
b7beIb5
o /
b5
b3 I#s3 b2 Ibs
b7b2Ib5 b3 I#5
e
ho b7
t o/
b5
o9 b73 b5
b7b2 los b3 I*s
3.osY*sYbeb7
e hE
b5
e b9
b9 b7o5
h( 3 b9
Isosf*s Yoe) | (oz3 hE
b7 Ib3b 2 I b 5 #5 lb2
J Z
Chord Form --> Arpeggio ---DScale/Mode:Super Locrian
b7 I#9
#5
b7 I#9
#5
b7
*s {+s
ltltr.#5
b7 I#9
.#5-L
#528
b7
3 I#5
#9
b7 I#93 I#5
O#5 b7 Tffi
e
ob2 I b5 Ib7
b3 I#5
92,[bs
b3 I#5b2 Ibs
b7b 2 I b 5 b3 I#5
l.l-(?'b2 Ib5 -9,(*rg
-I(.osd+s doz b7
#5 b7
b7 l#9F3
J J
Chord Type:
Chord Form
o /
e {+s fos
Dominant 7#5b9--> Arpeggio --->
Scale/Mode:Super Locrian
b7
3 I#5 Ibe
#5 Ibg b7
3
#5
b9
oo l
#5
b9
b9
b7
#5
b7
b3 I#5
3 b 2 I b 5
b 2 I b 5 b3 I#5
b7
b2 Ib5 QrFu
osd+s {oz b7
htr
#s Ib9 b73
#5
lsYog o/
b7
34
Chord Type:
Chord Form
Dominant 7b5#9-* Arpeggio *
Scale/Mode:Super Locrian
b7b5
b5 Ib7
#9
bs I b7 I#e
e b5b7 I#9
b7 l#9b5 3 ho
ob 5 I b 7
a
oos{oz{os
.t
oJ
3 b5b7
fo
ob5
b7o5 #9
b3 I#5a b 2 I b 5
b7
b 2 I b 5 b3 I#5
b7b5 f9
t b7o5 #9
o3 b5
b 2 I b 5 b3 I#5
usY#sYbz o /
3
35
Chord Type:
Chord Form
Dominant 9th--# Arpeggio
Scale/Mode:-+ Mixolydian
J
b 7 I 9
e
oz ls{s.t
b7 I e I 5
5 ffiI 3b7
2 I5 I3 164 Ib7
3 I 6 I 24 lb7
3 o
F
3
b7
b7
3c q
3q
0 l
3o
e
ffi
J
ffie
b7 Ie 15
A AW I
5 ff i{3b7
e 9,a'7 5
36
Chord Tvpe:
Chord Form
Dominant 9b5-> Arpeggio
Scale/Mode.--> Lydian b7
6sYoi
h'7
b5
9
e Iosb7
J
9
b7
.t
I
b5 Ib7
ffi
o 6 1 2#4 lb7
2 1 5 a
o
b 7 I 9
o5
ffi3
b 7 I 9
bT Ie b 7 I I
b7
9 Ibsb7
.t
b7
9 Ibs
37
Chord Type:
Chord Form
Dominant 9#5-> Arpeggio --->
Scale/Mode:Mixolydian b6
D I
3 I#5q
q
3 I#5
ffi I
#5
o /
#5
v
#5
+ 2b7
2 l 5
b6 r4
b 7 I 9
#5
#53
b 7 I 9
#5
:t_2 t 5
uof,+u-'<74 \b7x2 x5
b6
b 7 I I
#5
b 7 I I
#5
ffis
4 I b 7 1 2 I 5
b6
2 I 5 I 3
b6 4 Ib7
#5 D /
9
#5
#5 b7
b7
2 I5 r3b6 4 lb7
a z
q Ib7 E
b6
38
Chord Type:
Chord Form
Dominant 13th_> Arpeggio
Scale/Mode:--> Mixolydian
+1._+\a \zb7
2 I5 ) | ( s4
3 1 6
4 I b 7 1 2 t 5
2J5 I3Y6
! Jp7,
s {rs
o
b7
b7
35 t . t
J
b7
c 1 1 I J
1 1 I 1 3
b7
J
13Ib7
5 .t
b7
3 I 1 3
5
o3 I 1 3
9 1 5
J
b 7 I g
1 3
b 7 I I
I J
l l
E J E
1 1e I
b7
39
Chord Type:
Chord Form
Dominant 13b5-* Arpeggio
Scale/Mode:-> Lydian b7
h7
b5
3 b5b7
b5 3o 1 3 I 9
1 3b5
e
b7
o rs{sb5
o e
b7 o
?
o TIT.gX'rI2I5 ) | ( 3
O
b7
1 3 b5
b5
3 I 1 3 b5I
#4
52 3
3 I 6 #4b7 I2 I s
b7D5
s X1s
frXrstl
3 I13 Ie Ibs
3 I 1 3 b5
b5
I
3 I 6 1,*o#4
z I 5 I s Yo
1 3
l^tr
D I
X A
2 I 5 I3 I6b7
3 l 6 l 2 l # 4
o l 5
40
Chord Type:
Chord Form
Dominant 13b9
=> ArPeggio *Scale/Mode:Dimlnished h/w
)-l.QlI'tr:b 2 l # 4 ) l ( 3 ) l ( b 2
5 6
b 3 ) | ( b 2 l # 4 l b 7 I b 3
6
)ttlt{+{o{oo
5 ) | ( 3
b3 ob2 l#4
s ) | (3b33 I 6 I b 2 I # 4
bz) | ( sb2l#4 ) I (b3
b 7 ) | ( 5
b 2 l # 4 ) l ( b 35 I 3 I 6
b 3 ) | ( b 2 ) | ( b 7
3 I 6 ) l ( # 4
3 I 1 3 l b g
sfsb9
b7
o l
1 3
#4
#r', b9
a
b96
b7
3 b9
b9
67
13 I b9
b7 5# A #9
b9
b7
3
b7
#4s f,r:
b9 b7
b9 b7
3 I 1 3
b7b9
prt-l | | |sfe{o
>b 2 ) | ( b 7
6 ) l H 4b 7 l b 3 l 5
A 1t l
Chord Type:
Chord Form
Dominant 13#9-* Arpeggio ->
Scale/Mode:Diminished h/w
ozft+ 3 ) | ( b 2
b3 b2I#4 Ib7 Ib33 1 6 a
lltoXo'F.E
b33 I 6 I b 2 I # 4
5 ) I ( 3
b3s | 6 foef++
b 7 ) I ( 5ozY*q) | 6s
I J
b7 l#9
oz{+s
3 I 1 3
sfs
b7Tffi
b7Tffi#4
O 1 a
#4 #9
b7
J
1 3
#9
o 1 3#4 ffi
b7 I#9 o
#9 oI J #4
#4 #9
o l
1 l ffi
1 3
o b74 i #9
1 3#9
r 7 ) l ( 5b2t#4 ) | (b3
5 Isxb7b3) I (oz
316 ) | ( *+
#4
a 1 3
3 I 1 3 #4#9
b2 I#4s I3 Io
b 3 ) I ( b 2 b73 I 6 L '
b 7 I b 3 I 5
42
Chord Type:
Chord Form
Suspended 7th-+ Arpeggio
Scale/Mode:* Mixolydian
3 1 6 I 2
afi6tTr5l3
zYsf+{o}zb7
2 t 5 J
4
3 I 64 lb7 l2 l s
3 Io+ {uzdz f,s
2 I 5 I 3 I 64 lb7
z{sfs{o4 lb7
3 I 6 I 2
4 lb7 5
b7
5 4
4 lb7 5
5 I 4l\-7
b7
54
+
b7
54
4 loz
[+
4 lb7 5
b7 5
c
4
4 lb7 5
54 lb7
4
b7
s)4 lb7
4 lb7 5
43
Scale/Mode:Chord Form -> Arpeggio -> Mixolydian
q
4 lb7 5
5 I 4 u
b7
4
b 7 I 9
4 I bT I e I 5
9 IsA
4 I b 7 I 9
4 lO t I e I 5
9 1 5
4 lb7
3 1 6
4 I b 7 t 2 1 5
2 I 5 I 3 1 6
4 tb7
2 I 5 I 3 I 6
4 lb73 I 6 I 24 lb7
b7 q
4 o
+ I
b7
+)I
b7
9 I s4 Ib7
u
4 tb7 5
A IL+.+
Uhord Type: Augmented Triad
chord Form -> Arpeggio ---> whore Tone3) t ( 2
b7
#4) I ( 3 I#5z 2
#5 ) | ( *q loz
3 I#5 s Y+s
F5
f 5 ) f5 )
fs) F5
#5
#5
#5
c #4
ol@\z#4
z
#5 n /
a
#5 #53
#5
z 3
b7
2 t#4
#4 #5
45
Chord Type: Augmented 7th
Chord Form ---> Arpeggio _+Scale/Mode:Whole Tone
b7
3 I#5
3 ) l ( 2b7
# 4 ) | ( 3 I # 5
,) lo z
#5 | | (#41b7
b7
#5
b7
F5
b7
#5 #5z
4 ^
otY z#4
3#5
#5
f,.#5 9 T
#4
Ol6,k#4 #5
z 3
b7
Ie#5
e#5 b7
b7
a !)
2 I#4
#4 #5
46
Diminished 7th
Chord Form -D Arpeggio -+Scale/Mode:
Diminished wihx
b3
b5o
b5b3
b5o o
b3
b
h2
o o
b3
b3 o
-J=J-4 T 6 L 2
b 5 ) | ( b 3
2 l l ( 7
b3Ib6 - , 4b5
x
o
hq b3
he Io
b3
b5 he
o h6
ab3
o h
b3
o
A z
b5I 7 b3I b6
z o
b 3 I b 6 4
x
o r5b3
o o
b3b5
he
2
b3I b6 4
o 2lb5 7
4 he
b 5 I 7 b6
THEPROGRESSIVE
GUIIARISTSERIES
by Don Lotqrskili
KARPEGGIOS(:3093GTX)S^cr.rs eoch orpeggio in five positions in o simplec cgrom formot, For every orpeggio the corre-socrding chord form ond scole pottern ore olsoQ ^ a ) \ a / n
CHORD EMBELLISHMENTS(:3397GTX)S^cvys how to embellish ond enhonce ony chordrl. -hnr. i nrnrrro55i6n tO OChieVe new Ond mOfev r v r v l / t v v t v
i^-erest ing sounds,
CHORD ORBITS(Fs09tcTX)Explore the sound ond shope of o chord's progres-sion up ond down the fingerboord, Eoch chordtype is presented in eight fingerings using o cyclicdiogrom which shows thot ofterthe eighth finger-ing you will hove orrived bock otthe storfing point- one octove higher,
The BEST se/iesof its kind!Eoch book uses ocleor, simple formotto teoch the skillsond informotionnecessory to odeveloping musicion,
AN INTRODUCTION TO CHORD THEORY(F3096GTX)A procticol, step by step opprooch to the fundo-mentols of chord consfruction, onolvsis ond func-t ion,
MOVEABLE CHORDS(F309sGTX)An excellent, systemotic opprooch to building ocomprehensive chord vocobulory. Shows 40 dif-ferent chord types in every procticolfingering onthe guitor neck, All fingerings ore bosed on fivebosic hond shopes,
SCALE PATTERNS(F3O92GTX)This book il lustrotes, in five different positions ollthemodes of the mojor, hormonic minor, melodicminor, pentotonic, blues, diminished ond wholetone scoles, Don olso shows the primory uses foreoch scole, with on exomple of eoch,
@rsBN 0-7692-0956-4
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