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Transcript of Arpeggio Compendium-Complete Book
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Introduction
This book is designed to aid the guitarist in the development of arpeggio technique.Fingerings, 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 serveto develop one’s musical concept in the following ways: instrumental technique, toneproduction, musicianship/ear training, improvisation, composition, etc. In short, it is hopedthat 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 guitar’slarge and exalted literature.
Scott McGill10 August 2007
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With Gratitude
Maestro Dennis Sandole and Tom Giacabetti.
Barry Cleveland and Vincent DeMasi from Guitar Player Magazine.
Anders Lazaret for the brilliant cover art.
A special thanks to Josh Sager for friendship, encouragement, and his many sacrificesinvolved in making this book a reality.
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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, 7 ths, 9ths, 11ths, 13ths
Scales Derived From Arpeggios
Arpeggios on Scales (Permutations) Octave Displacement
Arpeggios (Two Notes per String)Single-String Arpeggios, Diatonic Cycles (Triads, 7 ths, 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 7 th Chords 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 Man’s 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.
Scott’s 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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Arpeggios in Two Octaves
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6th Chord Arpeggios
Maj 6
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7th Chord Arpeggios
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Maj 7
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9th Chord Arpeggios
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Dom 9 5 (version 1)
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11th Chord Arpeggios
Maj 9#11
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dim/Maj 11
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C b9
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Dom 11 9
1
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Dom 9
11
5
3
2
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34
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C7b9# #
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13th Chord Arpeggios
Maj 13#11
2
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min 13
1
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dim/Maj 13
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Dom 13
9
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Dom 11
13
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Dom 7
9
11
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Arpeggios In Three Octaves
Major
2
1
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Sixth Chord Arpeggios
Maj 6 (version 1)
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min 6 (version 2)
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Seventh Chord Arpeggios
Maj 7
2
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1
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9th Chord Arpeggios
Maj 9
2
1
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1
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1
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1
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1
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Dom 9
5
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1
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5
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9
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Dom 7 9 5
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1
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11th Chord Arpeggios
Maj 9
11
2
1
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4
2
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1
4
3
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3
2
1
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3
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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 11 5
1
�
4
3
2
1
�
4
�
1
4
2
�
1
1
�
4
�
3
2
1
�
4
1
�
2
4
�
�
�
�
�
�
�
�
� �
�
�
Gm b
Min 11 5
3
1
1
�
2
�
1
4
�
1
3
�
4
1
1
�
4
�
2
1
1
�
3
1
�
2
4
�
�
�
�
4
�
1
�
�
1
�
�
�
� �
Gm #
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�
Dim 11
1
4
2
1
�
1
�
3
�
1
4
�
2
1
1
�
4
�
3
2
1
�
4
1
�
2
4
�
�
�
�
�
�
�
�
� �
� �
Gº
�
Dim/maj 11
1
4
2
3
�
1
�
4
�
1
4
�
2
3
1
�
4
�
3
2
1
�
4
1
�
2
4
�
�
� �
� � � � � � � �
Gº/Maj
Maj 9 11 5
2
1
�
4
2
1
4
�
1
4
�
3
2
1
�
4
�
2
3
1
�
4
1
�
2
3
4
�
�
�
�
�
�
� �
� �
�
�
GMaj9# #
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�
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 11 5
2
1
�
3
2
�
1
�
4
2
�
1
�
3
2
1
�
4
�
2
3
3
4
1
�
4
1
�
3
4
�
�
�
�
�
�
�
�
�
�
�
�
G b
Dom 11 5
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 11 9
2
1
�
4
4
2
�
1
4
3
�
1
3
2
1
�
2
3
1
�
4
1
�
3
4
� � �
�
�
�
�
�
�
�
� �
G b9
�
Dom 11 9
1
4
2
1
�
1
�
3
�
1
4
�
2
1
1
�
3
�
2
3
1
�
4
1
2
�
2
3
3
4
�
� � � � � � � � �
� �
G #9
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Dom 11 9 5
2
1
�
3
2
1
�
4
2
1
�
3
�
2
1
�
4
�
2
3
1
�
4
1
�
3
4
�
�
�
�
�
�
�
�
�
�
�
�
G b9b
�
Dom 11 9 5
1
4
2
1
1
�
3
�
1
4
�
1
1
1
�
3
�
2
3
1
�
4
1
2
�
2
3
4
�
�
�
�
�
�
� �
�
�
�
�
G #9b
Dom 11 9 5
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#
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Dom 9 11
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 7 9 11
1
4
2
1
�
1
�
3
�
1
4
�
2
1
1
�
4
�
2
3
1
�
4
1
�
2
4
�
�
�
�
�
�
�
�
�
�
�
�
G7#9#
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Dom 7 9 11 5
2
1
�
4
3
1
�
1
3
2
�
1
2
1
1
�
2
3
1
�
4
1
�
3
4
�
�
�
�
�
�
�
�
�
�
�
�
G7b9# #
�
Dom 7 9 11 5
1
4
3
1
�
1
�
3
�
1
4
�
3
1
1
�
4
�
2
3
1
�
4
1
�
2
4
� � �
�
�
�
�
�
�
�
�
�
G7#9# #
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13th Chord Arpeggios
Three octave arpeggios based on the chords of the 13th have been omitted because of practical
range limitations, although some are possible, for example:
Emaj13 11
0
4
2
1
2
�
�
�
�
�
1
4
2
1
�
� �
�
4
�
3
2
1
�� � �
4
�
1
3
2
� �� �
1
4
1
2
� � �
�
4
�
�
� � �� � � � � �
�
� �
�
�
�
�
�
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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:
Dom13 9
C13 9
C13 9
Maj 7 9
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.
Cºb b9
Cºb b9
dim 13 9
3
1 4
2
1
1 4
1 4
3
2
�
1 1
2 4
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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
�
�
�
�
�
�
�
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3
2
�
1 3
1
2
4
3
�
2
1 3
4
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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
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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:
�
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�
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...
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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
� � � � � � � � �
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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
�
�
�
�
�
�
�
�
�
�
�
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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
�
�
�
�
�
�
�
�
�
�
�
�
�
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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
�
�
�
�
�
� � �
�
�
�
�
�
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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
º
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
º
�
4
�
2
�
3
�
�
1
4
�
1
4
�
4
C
1
1
�
2
3
�
4
1
2
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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
�
�
� �
�
�
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Cmin:
Triads placed on the natural minor scale:
°
4
v
v
V 4
V 4
[ ]
�
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
Dº
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
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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
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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).
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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
�
�
�
�
�
�
�
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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
�
�
�
�
�
�
�
�
�
�
�
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Japanese (Pentatonic)
Develop arpeggios from all scale types:
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
Six Tone Symmetrical (Hexatonic)
� � � � � � � � � � �
�
�
� � � �
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
Enigmatic (Heptatonic)
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
� �
� � �
�
�
�
�
� �
�
�
�
�
�
� � � � �
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
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Symmetrical Diminished (Octatonic)
�
�
�
�
�
�
�
� �
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
� � � � �
�
� � � � � �
�
�
�
�
� � �
Apply all previous fingering and picking principles.
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
�
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Polytonal Arpeggios
Arpeggios can be constructed from two, three, or four distinct triads.
G/Db
1
4
2
1
3
�
4
1
4
�
3
2
1
4
G
�
(1st inv.)
Db
�
Gmin/Fmin/Ebº
2
1
4
1
4
�
3
2
1
3
Gmin
�
Fmin
�
Ebº
�
Gº/E&/Dmin/B
1
4
2
2
1
4
�
2
1
4
2
1
4
Gº
�
E&
�
Dmin
�
Bmin
�
Arpeggios can start and end on any inversion:
3
G1
1
4
�
B min
1
1
4
Amin
1
4
(1st inv.)
G
�
Bbmin
�
�
min
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Two seventh chords:
1
CMaj7
4
1
4
1
B Maj7+5
3
4
�
1
4
(2nd inv.)
CMaj7
�
�
(2nd inv.)
�
�
BbMaj7+5
Three seventh chords:
1
GMaj7 5
4
1
1
4
�
2
F7
1
3
1
E7 5
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
or Asus4
(2nd inv.)
�
�
F#sus
or G#sus4
(2nd inv.)
�
�
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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# #
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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
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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
�
�
�
�
�
�
�
�
�
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Diatonic Chords
Major:
1
1
�
2
�
3
�
1
3
�
�
4
1
�
1
3
�
2
1
1
1
�
1
�
3
�
1
4
�
�
4
3
�
2
3
�
2
1
1
�
1
2
�
4
1
4
�
4
2
�
�
�
1
3
�
2
1
1
�
1
2
�
4
1
4
�
4
3
�
�
�
1
3
�
2
1
Or any other operation normally associated with chords built in 3rds.
4-note chords:
] P4
] P4
] P4
1
�
(stretch)
4
1
�
4
1
�
1
�
4
3
�
1
3
�
�
�
�
5-note chords:
] P4
] P4
] P4
] P4
1
(stretch)
1
�
4
�
1
�
4
1
�
1
�
4
1
�
4
�
�
�
�
�
= A Major Pentatonic Scale
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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
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Polychord Arpeggios - Fourth Chords
1
2
3
�
1
2
3
�
�
�
�
�
OR:
1
2
1
�
4
1
�
4
�
�
�
Scale: Todi (Hexatonic)
3
4
1
�
4
�
3
1
1
�
43
�
�
�
�
�
Inversions
Scale: Dominant Bebop (Octatonic)
�
1
3
4
1
�
1
3
�
4
1
�
3
1
�
3
�
�
�
�
�
�
Inversions
Scale: Unadecuple (11-tone)
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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
�
�
�
�
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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
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