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THE PROGRESSIVE GUITARIST

ARPIOO
FOR
,..4 NEW APPROACH TO ARPEGGIOS AND THEIR RELATIONSHIP TO CHORDS AND SCALES. FOR THE ROCK, BLUES, AND JAZZGUITARIST.

GUITAR
by DON LATARSKI

THE PROGRESSIVE GUITARIST

ARPIOO
FCR
...ANEW APPROACH TO ARPEGGIOS ANDTHEIR RELATIONSHIP TO CHORDS AND SCALES. FOR THE ROCK, BLUES, AND JATZGUITARIST.

GUITAR
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 arpeggio is a seriesof chordtonesplayedone note at a time. Everyserious guitarist must at some pointmastermanyof the primary arpeggio formssuch as majTth, minTth, augTth, etc. Arpeggios are frequently usedin constructing melodies. A quickanalysis of melodies frommusic of nearly all agesandstyles willdemonstrate thisfact.Theyare alsoused as accompaniment devices. In contemporary music,such as rock, blues and jazz, arpeggios are used as improvisational toolsalongwith scales.lt is for musicians who play in thesestyles thatthisbookis intended. In any givenimprovisational situation, the "safest" pitchwill alwaysbe a sounding chordtone.However, if yoursolois madeup onlyof chordtones, you runthe riskof yourlistenels. boring Goodsolosare madeup of a variety of rhythmic, melodic and harmonic devices. lt's up to eachperson to findthe proper playing balance between it safeandtaking chances. Arpeggios are very usefulin particular to the jazz musician because this style of musicoftenrequires the improvisor to makequickkey shiftswhensoloing. Many guitarists use arpeggios to facilitate thesekind of changes. The arpeggio has the benefit of outlining the harmony that'shappening at the moment, letting the listener knowthat the improvisor has a firm graspof the harmonic movement in the piece. Also,the useof arpeggios hasthe effect of breaking up the flowof the musical lineby interspersing intervallic leapsintothe solo.Solosmadeup of just scalepassages tendto soundsmooth andvocal-like. Wideinterval leapsprovide contrast in the line. Learning arpeggios on the guitaris morethanjust learning chordforms.Chords are played usually one noteper string.In somecases,it's possible to playone,two or threenotesper stringin an arpeggio. This will become very obvious onceyou get intothe book. The formatof this book is simple.Eachpagecontains a particular type of chord, whichis shownin fivedifferent forms. The rootof eachchord formis shown as a solid blackdot.The dot is yourreference note.By using thisnote,youcan movethe chord formup anddownthe fingerboard play to thischordon anyfretand in any key. The middle column showsthe arpeggio of the chordto its left.The rightcolumn showsthe larger scalepattern whichgoeswiththisarpeggio and chord.You get the

An X abovea fromthe chordto its arpeggio scale. wholepicture, to the complete youmusteither it if youare notpluck means mute thestring or strings or simply string pluck your play you fingers.(Many willbe easier if of these to the strings using chords with your fingers instead of trying to strum themwitha pick.) I'veshaded in someof On someof the morecomplicated chords suchas Dom9b5, notes the notesin anattempt as to whatare important to makethingsa littleclearer because and what are not. In somecases,the root will be shaded, the root is not notein an arpeggio. For the mostpart,the chords reallya necessary are in root position, withthe bassnotebeingthe lowest noteof the chord.ln somecases, this (These was not possible. At any rate,all chordvoicings are the numbers are shown. inside in eachchordform.)Fivedifferent formsof eachchordtype are the circles given. length Thisapproach effectively covers the entire of the fingerboard. garden The scalesI choseto showwith eachchordtype are what your "average" jazz intothinking musician might havechosen. However, don'tbe fooled that variety possibilities, you I seek out they aren't. encourage to theseare the only because SCALE otherbookson the subject of improvisation or checkout my bookentitled, PATTERNS FORGUITAR. is dependant uponhowanygivenchordis Scale choice jazz instructor can put this in a song.A good functioning lheory text and qualified perspective you. in for subject It's up to you to choose whatorderto playthe noteswhichmakeup any arpeggio. Youcan start noteandgo rightup fromthere. You don'thaveto startfromthe lowest you likeand playthe notesin any order. Also,you'llhaveto workout your anywhere The numbers whichare for the chordforms, arpeggios and scales. own fingerings you are playing. in eachchord, included scaleand arpeggio, are the scaledegrees you mustknowwhatyou're whenyou are playing thesethings, so Eventually, doing goingon withyourplaying. startnowto knowwhat's whichgoeswithit, thenthe arpeggio Practice thesearpeggios by firsthitting a chord, You Thiswilltakeyou across the pagefromleftto right. scale. and thenthe larger Think in yourfingers andscales. needto havethe arpeggio as fluently as the chords as the bridge between chords and scales. of the arpeggios grownup playing are oftentrapped by a who've rockand bluesstyles Mostguitarists the minor Thatis, theytry to useone scale, usually mono-scalar to soloing. approach pentatonic In chords. of changing or blues, as it'softencalled, to playovera series whattheycall chords are reallynot.Theyare manycases, thisworkswell because perfect power doesn't known This type of approach intervals as chords. of a Sth,also (7th's). triads andfournotechords workto wellwhenthe harmony consists of moving and out of movement makesyour scaleseem inadequate This type of harmonic

place. You needdifferent tonalresources, i.e.,newscales, to effectively solooverthe changes. All guitarists run up against thisproblem sooner of later, especially if they wantto moveintosongswhichhavea )azz leaning. Two of the earliest that reliedheavilyon arpeggios iazz guitarists are Django Reinhardt and Charlie Christian. Listen to how they usedarpeggios to followthe contour of the moving chordprogressions. You'llsoonsee the art involved in this typeof approach. Fora moremodern pat approach, listen to guitarists like Metheny, JohnScofield and MikeStern. Experimentation is the key to becoming an accomplished improvisor. There,s no substitute. ThethinEs in thisbookare meant get you started to downthispath.And if you findthesearpeggios helpful, please checkout my otherbooks. ln addition to the SCALEPATTERNS FORGUITAR, mentioned earlier, I'vealsowritten: MOVEABLE GUITAR C H O R D SI,N T R O D U C T I O TN O CHORD T H E O R YC , HORD EMBELLISHMENT andCHORD ORB|TS.

Don Latarski

About the author..,


DonLatarski has beenplaying the guitar since1963.He'san adjunct faculty member at the University of Oregon's MusicSchool. ln addition to this book,he'swritten a numberof otherson guitarinstruction lntroduction to ChordTheory, Moveable Guitar Chords,Scale Patternsfor Guitar,Arpeggiosfor Guitar andChordEmbettishment. Knownnationally as a a giftedguitarist and composer; Don performs frequently with his groupat Jazz Festivals and Clubsin the Pacific Northwest. His musiccan be heard on "HAVEN", lnnercity Records and'LIFELINE', PAUSA Records. originally a Michigan native, Donhas madeEugene, Oregon his homesince1973wherehe builds and ridesrecumbant bicycles whenit'snot raining.

TABLEOF CONTENTS

MajorTriad. Major6th.. Major 7th Major 6/9.. . Major 7b5(akaM47#11) ... MajorT#s.. (edd Major 9) Majorg.... MinorTriad. Minor6th.. Minor6/9.. Minor7lh.. Minor#7.. Minor 7b5(akaHalf-Diminished) Minor(addg) Minorg.... Minor11...

......10 ...... 11 12 13 14 15 16 17 ......18 ......19 ......20 ......21 ......22 . . 23 .....24 ......25 ......26

Dominant 7lh . . Dominant 7b5(akaDominant 7#11) Dominant7b9.... Dominant 7#9. . Dominant 7b5b9. . Dominant 7#5#9. . Dominant 7#5bg .. Dominant 7b5#9. . gth. . Dominant Dominant 9b5(akaDominant 9#1 1). gth). Dominant 9#5(akaAugmented Dominant 13th. .. Dominant (akaDominant 13b5 1) . 13#1
't "'

27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46

Dominant 13b9. .. Dominant 13#9. .. Suspended 7th. gth. Suspended Augmented Triad. Augmented 7th . Diminished 7th

l0

ChordType: Major triad Chord 'Form -+ Arpeggio#


e

Scale/Mode: lonian
3I6I2
4
1

5
J

5 713

5)

zIsf|fqYaYz

2Is
J

z l3
I A

sl6
4

215

3Io

I+
5I3 5I3

215

2I5I3Y6

-Ls2J4

7 513 5I3 2I5I3I6


4

3
b

e dod z
A

ll

Major 6th
Chord Form -> Arpeggio -->
316 5 3
e

Scale/Mode lonian
rt7

3I6I2
i

sL

Lgl .grL1 zX sf + \ a \ z
e
o

?
h

4 t6 t2
e

.t

o
5

2l5l7l3

J,+

x
e

2l517

I3
A

3I6

3I6

eI6
A

215

3I6

3I6
4 7

215

5I316

2I5r316
4

316

LI.3 I6
l-tt

7 2I5I3I6
A

3I6

3I6

3I6I2
4
t

t2

Chord Type: Major 7th

Scale/Mode: lOnian

Chord Form ->

Arpeggio ->

3 41612

s{z{s

5I7I3

215l713
+

5I713

51713

21517

13

sI6
4

215

5 7 7

s& +) l(z{s
2I sIs

513

a)

Io

513

5I3 7 5

sf s

l(')l
o

3 I6I2l
A

| (7

s)

13

Scale/Mode: Chord Form -> Arpeggio* lonian

oXg

oXg

o
e I5

oX s

416 12 215I713

I
x
9I5 3I6 .)

2 t5 17 | 3
A

316

3I6

eIs

e Is

215

o
9I513I6
6I9 3 I619

215
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2I51316
t

316

2I513I6
3I6I2 7

4) |

| (s

t4

Major 7b5 Chord Form *


os{z
7 t3

Scale/Mode Lydian
3l6l2l#4 7

Arpeggio-_>
3 b5I7

usl7I3

#41713 215 6l2

'{

t
D5

o)
#4

b5

zXs

o o

zXs

z{s{z{s

x
o5

x
7

zXs

b5I7

osYz
3

316

F4

2l5 #417

2I5I3I6

b5I7

os{z
3

b5I 7

l5

Chord Type: Major 7#5 Chord Form -*


-> Arpeggio
7

Scale/Mode: Lydian-aug
3I6I2I#417
t4 17 13 l#5
z

7 l3I#5
#5

7 13 I#5

6 r2
#5

.t

OIGX,
#4 7 13 #5
15

713

2) | (713

r5
+4

x
7 Is
#5
e

7 13

7 13

t5

t5

sI6
2 #4

#4

#5

#5

#5

o t+\z
z

316

#4 2 #5
3I6

Is
#5

#5

t r 4 17
e

#5 3I6

Ie
#5

2 #5

#5
a

3I6I2I#4I7
F5

16

Major add9 Chord Form+


s)
3

scate/Mode: lonian
3I6I2 7
6

Arpeggio-+
e
q

5 7t3 2I5 I4

16 | 2

(.)
q

t
9I5

| 41612

215l713

J,q

x
eI5
9I5

o
9I5

z {s {z {s
(+
3I6

J,q

2ls

o
5I3
o

J,q
2IsfeIo

215

3I6

5I3

s)

t7

Scale/Mode:

Chord Form ->


q

Arpeggio
9 7

lonian
3I6I2
A

s7

L Ll__

7 Iz
5
I

713

2I5-qIalz

5I713

e I517 J3

5I713

2 15 17 l3
4

3I6 9I5 215

3I6 9I5 7
5

gXs
7

215
7

2 I513
A

16

2I5I3I6
A

I
6

3I6I2
A

18

Chord Type: Minor triad Chord Form --+ Arpeggio


b3I5

Scale/Mode:

Dorian
6I2

oe{s}
5) b3 b3

4 I b 7I b s I 5
215-41612 b3 b7Ib3

I
b3
he

4l6

l2

b7 Ib3 2t5 b3
4

5 b3 b3

o
5 b3

b3

F
he

I
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## !_
b3

215

s)
b3

s)

zY5
b3 4 tb7

s)
b3 b3

2l5 b3 612

4 lb7

us{s

+dozfs{s

l9

ChordType: Minor 6th Chord Form -+


he

Scale/Mode: Dorian

Arpeggio ->
b3I s

5 b3

b3

b3
c

o
b3 b3

4T6T2
b7 Ib3 215 b3
4

o
5

b3

b3

o
5
he

215
he

Jo
b3

4Ib7I2Is

b3
h

a
b3

4 I b 7I 2 l 5
b3
o

b3

2Is
b3

4 tb7

5 b3
o
b

215
b3

4 tb7 6I2

b3I 5

b3I5

-4^b7it3I5

z0

Minor 6i9 Chord Form -*


he

Scale/Mode: Dorian
6l2
4 lb7 Ib3I 5

# Arpeggio
6Ie

os{s
6I9

ttl qilT
he

6I9

z
he

5 r4

ffi
4t6 t2 b7Ib3

6I9

2l5 b3

9Is
he

215 b3
o
A

b3
o

4 lb7 I 2 I 5
h?

b3

o
6

9I5

b3
n

l"#
zY5
b3

l-lb3

215

s)

915
he

4 lb7

9I5

9I5
o3

zl5
he

4 lb7 612

6 t9 b3I 5 b3I5

4 lb7lb3 I 5

2l

Chord Type: Minor 7th Chord Form -->


b7Ib3

Scale/Mode: Dorian

Arpeggio #

b7Ib3

o
5
he

oz{o

5
h?

o
5

215 b3
o +

b7 b3 b3

4 lb7 I 2 I 5
h {

b7
he

o
5
Fte

b7

*#: !l_
a

215 b7 b3

4 Ib7

uL
he

b7

he

4 Ib7 612

b7Ib3I 5

ozdoo{ s

4 t b 7I b 3I s

22

Scale/Mode: Chord Form --+


r(li'

Arpeggio-->
b3I 5 7

Melodic Min.
6l2
4

b3I5
7

b3I 5

5 b3 b3

5L
b3

2Is14I6
b3

b3

b3 517

a
5t7

4l6 b3

l2 b3

21517 b3

J.q

517 b3 b3

215l7

t
5

b3
o

215 b3

z Ib3

7Ib3 5

7Ib3

sl
4

lI.u-L
b3

5 b3

b3I5
1

b3I s

23

Chord Type: Minor 7b5 Chord Form --+


b7Ib3 b5
ob

Scale/Mode: Locrian

Arpeggio-->
b7Ib3

b7

b3

os{oz{os

b5 I b7Ib3

O
b3

os{oz{os

b2IbsIb7 Jb3
b3lb6z t

o
b5

b2Ib5

b3
o5

b3

o
b7 b3

b 3I b 6 b5 4 tb7 b2Ib5

4 b2Ib5

b7
b5

b3Ib6

ob

b3

o
b5 b3

b7

b3

#
D/

b7 b3Ib6

b3 I b6 lbzl 4 Yb7 b5

b5

b3

o
b7
b5

b3Jb6Ib2I 4 Ib7 b5 4 I b7Jb3 b2 Ib5 b6Ib2

b7 Ib3 b5

1A

Minor addg

Scale/Mode:

Chord Form ->


b3I 5

Arpeggio
os{s}
I
h2

Dorian
4

t.gtr)-t.,

s)

liz

915
he

t_ t_

2X 5f , + f o{ z
b3

rTi'
b7Ib3 416 12

o
9I5
o5

-I
215
he

bTIos
4

e 15
h? ha

o
o Yq
he

215 b3
A

4 [b7l 2l 5 b3

b3 5

o
e I5
b3

915
ha

915 b3
9

b3
9

b 3I 5

25

Chord Type: Minor 9th Chord Form -->


b7Ib3 l s
o

Scale/Mode: Dorian

Arpeggio -->

4 T6 T2 b7Ib3 215 b3
4

9I5
h?

b3 b7I9

215
ha o

b7Je I5

4IOzIzIs

b7I9

o
eIs
h?

o z { s{ s
he

4 I b 71 2 I 5
he

215
he

4 lb7

b3

e 15
b3
q

b7

b7

b7Ib3 I s

26

Chord Type: Minor 11th


Chord Form -> Arpeggio -->

Scale/Mode: Dorian

tl

11

416 l2 b7Ib3 b7Ib3

b7Ib3

2Is
b3
1l

b3

215
11

b3

11

b3

b7 b3

11lb7 b3

4Ib7I2I5 b3

11Ib7 b3

b3

rr{oz
b7Ib3

b3

11Ib7

1,1,* l+
he

4 Ib7

612 1 1 I O ZI b 3 I 5 4tb7lb3I5

27

Chord Type: Dominant 7th Chord Form --> Arpeggio--*


?

Scale/Mode: Mixolydian
316I2 4 Ib7
e

b7
?

o/

s)

5 b7

215 -4

a I2
b7

3 41612 b7 215

b7

b7
J

b7

b7

316 b7 5
ol

4 I b 71 2 l 5 2I5I316
b7 4 lb7

5I3

Ia

5I3 b7

2I5I3
3I6I2

J6
4 tb7

b7

b7

4 Ib7

28

Chord Type: Dominant 7#1 1 Chord Form --* ArPeggio*


b7
+A t-

Scale/Mode: SuperLocrian

b7
#4

b7

o
!4N7

#4 lb7

#4 lb7

b2 I b5Ib7 Ib3

o
t4 lb7
+ A t-

b3 I#5 :2 Ib5

osd+s
#4 b7

_Ll
b7

3 ) | (b2Ibs

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

b7
#4

#4 #4
LtA

b7

b3I#5Ib2) | (b7
hq

D/

b7Ib3 b2Ib5 #5 Ib2

29

Chord Type: Dominant 7b9 Chord Form --)


b7
?

Scale/Mode: Diminished h/w

-+ Arpeggio
b7

b9

b9

hq

ho

nq

0l

b7

5 ) | (3 b3
b9
67

3 ) | (be b7 5

6 lbzI#4
b7) | ( 5

b2l*q ) | (os

o
5
D9

r7) l(5

b2I#4) | (Os
5I3I6
b9

b3) | (bzl | (b7

g,\6J I +.
b2 I#4

sfs{o
b9 ov

b3) | (b2 3I6 5


b9
+A

b7

b7Ib3I5

30

Chord Tvpe: Dominant 7#9 Chord Form --> Arpeggio --+


b7 3

Scafe/Mode: Blues
+ I o z J o ss I
#A

5 -,4 b7 l#9 b3 M lb7Ib3

b7I*e

o
#9

I4
b7)#9
a

-l- L
5+fozfos
5

a o

9to
5

b7I#s

b3

4 #4

b7

l^7

(+\oz
#9 #4 b3

b7 #9

o
#9

b7 #9

4 lb7 #4
5
he

sIs
b7 b3

^L'7

#4

5 r3
o/

b3

e-D
4 tb7
#4

b7l#eI 5

b7l#eI 5

4 Ib7Ib3I5

31

Chord Type: Dominant 7b5b9 Chord Form -D

Scale/Mode:

---) SuperLocrian Arpeggio


b5
b7

b7 Ib3 3
b9

b5 b9 I b5 Ib7
e

b2Ib5

3 I#5 Ib2

b9

b7

b3I#5 Ib2Jb5lozlos
?

b9

b5Ib7

o
b5Ib7
b9

b3I#s
2

b9Ibs b7 b5
o/

beIb5

3 b7 b2Ib5

b2Ibs
b3 I#5

t
b5
e ho

o/

b7

b2los
o9

b3I*s
3 b7

b7 3

b7 b5

.osY*sYbe
e
hE

b5

b9
o5

b7

osf*s Yoe)| (oz


3 b7 Ib3
hE

Is

b9
h(

b9

b2Ib5

#5 lb2

JZ

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


b7 3 I#5 b7 I#9 3 I#5 #9
e

O
#5
b7 Tffi

b7 I#9

b2 I b5Ib7

#5

b3 I#5

92,[bs
b7 I#9 b7 I#9

#5

.#5-L

b3 I#5

b2Ibs
b7 #5
b2Ib5

b3 I#5

28
b7

*s{+s

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


osd+s doz

(*r

-I(.

b7

#5

b7

ltltr.
#5 b7 l#9
F3

JJ

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


o/

Scale/Mode:

Arpeggio---> SuperLocrian
b7

e {+sfos
#5 Ibg

3 I#5 Ibe
b7

o
ol

#5
b9

#5
b9

#5
b9 b7 b7

b3 I#5 3 b2Ib5 b2Ib5

b3 I#5

b7

b2Ib5

QrFu
b7
htr

osd+s {oz

#sIb9
3

b7

lsYog
#5 b7

o/

34

Chord Type: Dominant 7b5#9 Chord Form -*


b7 b5 b5 b 5I b 7 #9
a

Scale/Mode: SuperLocrian

Arpeggio*
b7 l#9

ho

b5Ib7

bs I b7I#e

o os{oz{os o
J

.t

3 b7
fo

b5 b7
o5

o
b5 #9

b3 I#5
a

b2Ib5
b7

b2Ib5

b3 I#5

b7 b5 f9

t
o5

b7

#9

b2Ib5

b3 I#5

usY#sYbz
b5 3

o/

b5 b7I#9

35

Chord Type: Dominant 9th Chord Form --#


b7 3
c
q

Scale/Mode: Mixolydian

Arpeggio-+
3
o
F

b7

3
q

3
o

0l
e

ffi

ffi
e

b7I9

b7Ie 15

.t

ozls{s

b7Ie I5 5 ffiI 3
b7

5 ffi{3
b7
e
AA WI
,a'7

2I5I3
3I6I2 5 4 lb7

16
4 Ib7

36

Chord Tvpe: Dominant 9b5 Chord Form ->


h'7

Scale/Mode. Lydian b7

Arpeggio-->
e Ios
b7
J

b5 9

b7

.t

6sYoi

b 5I b 7

612 #4 lb7

215

ffi
o5

3 b7I 9

ffi
b7I9

bTIe

b7I I

b7

.t

b7

9Ibs
b7

9 Ibs

37

Chord Type: Dominant 9#5 Chord Form ->


DI

Scale/Mode:

Arpeggio ---> Mixolydian b6


q

3 I#5
q

3 I#5

ffi
#5

2 b7

o/

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THE PROGRESSIVE GUIIARIST SERIES li


TheBEST se/ies of itskind!

Eochbook uses o cleor, simple formot to teoch the skills ond informotion necessory to o developing musicion,

Lotqrski byDon K

ARPEGGIOS

(:3093GTX) S^cr.rs eoch orpeggio in five positions in o simple c cgrom formot, Forevery orpeggio the corresocrding chord form ond scole pottern ore olso
Q^a)\a/n

AN INTRODUCTION TO CHORDTHEORY (F3096GTX) A procticol, stepby stepopprooch to the fundomentols of chordconsfruction, onolvsis ond function,

MOVEABLE CHORDS (F309sGTX) CHORD EMBELLISHMENTS (:3397GTX) An excellent, systemotic opproochto building o S^cvys how to embellish ond enhonce ony chord comprehensive chordvocobulory. 40 Shows difrl. -hnr.i nrnrrro55i6ntO OChieVe new Ond mOfe ferent chordtypesin everyprocticolfingering on guitor i^-eresting the sounds, neck, Allfingerings ore bosedon five bosichondshopes,
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CHORD ORBITS (Fs09tcTX) PATTERNS SCALE progres(F3O92GTX) Explore thesound ondshope ofo chord's
sion up ond down the fingerboord, Eoch chord type ispresented in eightfingerings usingo cyclic diogrom which shows thot ofterthe eighthfingerpoint ing you willhove orrivedbock otthe storfing - one octove higher, positions This book illustrotes, infivedifferent ollthe modes of the mojor, hormonic minor,melodic minor,pentotonic,blues,diminished ond whole tone scoles, Don olsoshowsthe primoryuses for eoch scole,with on exompleof eoch,
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rsBN0-7692-0956-4

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