SMG Arpeggio Compendium Complete Book For Guitar PDF

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 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 tonics
These exercises begin with triad arpeggios and progress to more elaborate and complex
structures (9 ths, 11 ths, 13 ths, 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 one’s musical concept in the following ways: instrumental technique, tone
production, 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 to
include a wide variety of fingering and picking schemes to serve as models for any/all
other individual musical creations. These pages are offered to be included into the guitar’s
large and exalted literature.
Scott McGill
10 August 2007
With love to Meredith and Declan
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
Topics
Two- and Three-Octave Arpeggios
Major, Minor, Augmented, Diminished, Sus4, 6 ths, 7 ths, 9 ths, 11 ths, 13 ths
Scales Derived From Arpeggios
Arpeggios on Scales (Permutations)

Octave Displacement
Arpeggios (Two Notes per String)

Single-String Arpeggios, Diatonic Cycles (Triads, 7 ths, 9 ths, 11 ths, 13 ths), Overlaps, Variants
Position Studies
Major and Minor Tonalities with Permutations, Combined Minor Scales
Open-String Arpeggios, Arpeggios with Harmonics
Triad Inversion Arpeggios
Exotic and Synthetic Scales
Polytonal Arpeggios
2, 3, 4 Triads with Inversions, 2, 3 7 th Chords and Alterations, Twelve-Tone Arpeggios, Articulations
Quartal Arpeggios
th th
Triads, Diatonic,
Arpeggios, Alteration,
Inversions, Octave4-, 5-, 6-Note, Polytonal 4 Chord Arpeggios, Inversions, 12-Tone 4 Chord
Displacement
Scott McGill's Biography

Proclaimed “The Thinking Man’s Yngwie Malmsteen” by celebrated jazz-fusion author and
critic, 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 (“Girls
Just Want to Have Fun”) and went on to receive his B.M. in Jazz Performance at Temple
University, graduating Summa Cum Laude. He continued his studies for the next ten years
with legendary jazz/avant-garde composer Dennis Sandole, who also trained jazz greats
John Coltrane, Pat Martino, and James Moody, among others.
Scott’s international recording career has spanned the last ten years, performing as
both a solo artist and a member of such bands as The Hand Farm, Finneus Gauge, McGill
Manring 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 guitar
technique and improvisation. He is a Senior Lecturer in Jazz Guitar and an ensemble
director 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.
6th Chord Arpeggios
Maj 6
   �   � 
  � � �
�  � �
    

4

3
2
1


3 3
�
2 1

3
4
1

Min 6
�    �  � �  � � �  m
  �   
1 4 3 1 1 4 3 1 4
    � 
The Guitar Arpeggio Compendium — Two-Octave Arpeggios 9

7th Chord Arpeggios
Maj 7
   � 
  
 � 
 � � �  � � �
Maj
    
3 2

1

3 4 3 2 1

2

1
4
  �
  �
min 7 (version 1)
�    �  �  � �  � � 
m
    
1 4 3 1 3 1 4 3 1
    � 
�   
min 7 (version 2)
�    �  � �  � � � 
m
      
1 4 3 1 1 3 2 1 3
   �
�   �  
 
 �
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 7 5
�  �  �  �   � �  � �  Cm7b
      

1 4 2 1 3 1 4 2 4
   �
Cº7
   �    �  � �  � � � 
dim 7
�

1
 
4 2 1 1 4
  
2 1 4

   �
dim/Maj 7 Cº/Maj7
  
   
 
 
 
 
 � 
 
� �
 � 
 � �
 �
4 2 1 1 4 2 1 1 2

   �  �
Dom 7sus4
 C7sus
    �    � �  � �  � � �
3 4 1 1 3 4 1 4 2
   �

Maj 7 5
   
   
 � 
 � � �  � � �
CMaj7b
     
4 3   
1 1 4 3 1 1 2
   �  �

   
Maj 7 5
�   �  �  � �  � � �
CMaj #
     
4 3 2 1 2 3 1 3 4
   �
�  
min/Maj 7
�    �   � �  � � 
Cm/Maj
       
1 4 3 2 3 1 1 4 1
2
   �
min 7 5 Cm #
�    �    �  � �  � � � 
    
1 3 4 1 1 3 4 1 3
4
   �
Dom 7 5 Cb
 �    �   �  �  � �  � � 
1 4 2 1 3 2 1 4 1
   �
     �  �  � �
Dom 7 5 C#
 �    �      �   � 
1 4 3 1 1 4 3 1 3
   �

9th Chord Arpeggios
Maj 9
�    
�  
  �
 
 �
 � � �  � � � 
CMaj
   
1 4 2

 

1 4 4 3
�
2

1

2 4
�
min 9
 �  �   �  � � �  �  � �  Cm
      
1 3 2 1 4 1 3 2 1 3 4
    � 
Dom 9
�   �  �   �  � � �  �  � �  C
      

1 4 2 1 4 1 4 2 1 3 4
   �
�  
min 9 5
�  �  �  �  � �  � � � 
Cm b
      
1 4 2 1 4 3 1 3 1 3 4
   �
min 9 5
�   � �   �  � � �  �  � � 
Cm #
    
1 3 4 1 4 1 3 4 1 3 4
   �

 
�    �    �  � � �  � � � � 
dim 9 Cº9
 
1 4 2 1 1 1 4 2 1 4 1 1
   �  �
dim/Maj 9 (version 1)
�     �    �  � � � �  � � � 
Cº/Maj9
     
1 4 2 3 1 4 2 1 1 2 4
   �  �
Cº/Maj9
    �     �  � �
dim/Maj 9 (version 2)
� �  � � � �
 
4 2 1 1 3 4 2 1 1 2 4
   �  �
Dom 9sus4 C9sus

  �  �   �  �  �  � �  �  � �
    
1 1 3 1 4 1 1 3 1 3 4
   �  �
Maj 9 5 CMaj9b
     �     �  � � � �  � � � �
4 3 1 1 3 4 3 1 1 2 4
2
   �  �

Dom 9 5 (version 1)
�  �     �  � � � �  � �  � C9#
    

2 1 4 1 4 4 3 2 1 2 4
     �
Dom 9 5 (version 2)
�     � 
 � 
 �     � �  �  � � 
C9#
     
1 4 3 1 4 1 4 3 1 3 4
   �
�
Dom 7 9 (version 1)
 �     �  � � � �  � �  � C b9
       
1 4 2 1 3 4 3 2 1
 2 3 1 2 4 1 2
   � �   
Dom 7 9 (version 2) C b9
 �     �    �  � � �  �  � � 
1 4 2 1 3 1 4 2 1 3 4
   �
Dom 7 9 (version 1)
 C #9
 �     �   �  �  � � �  � � � 
1 4 2 1 1 3 2 1 3 1 4
   �  �

  
� 
Dom 7 9 (version 2) C #9
�   �  
   �
 � �  �
 � � � 
   
1 4 2 1 1 1 4 2 1 3 1
   �
�
Dom 7 9 5 (version 1)
�    �  � �  �  � �   C b9b
    �   

1 4 3 1 4 3 2 1 4 1 2 1 2 3 1 2
   � �   
  �
Dom 7 9 5 (version 2)

   �      �  � �  �  � �
� �
C b9b
 
2 1 3 1 4 2 1 3 1 3 4
   �
Dom7 9 5 C b9#
  �  �   �  �  �  � �  �  � �
 
2 1 4 1 3 2 1 4 1 3 4
   �
Dom 7 9 5 C #9b
� 
  
 
 
 
 �
  
� 
 
�  �
 �
 
 �
 � �
 
1 4 2 1 1 2 1 3 1 2 4
   �  �

Dom 7 9 5
�      �  �  � � �  � � �  C #9#
      
1 4 3 1 1 2 1 1
 3 1 4 3
   �  �
�   �  �  
Maj 6/9
 �  � � �  �  � �  CMaj%
 
1 4 2 4 3 1 4 2 1 3 4

   �

min 6/9
�      � 
 �     � � �  �  � � 
Cm%
 
1 4 3 1 1 1 4 3 1 4 1
   �  �

11th Chord Arpeggios
Maj 9#11
�   �   � 
 �
  �  � � �  � � �  �
CMaj9#
          
 
2 1 4 3 1 4 3 2 1 4 1 3 4
2
   �  �
min 11
 �   �  �  
  �  � � � � � � � 

Cm
            �
 
2 1 4 2 1 4 1 4 3 2 1 3 4
   �  �
Dom 11
 �    �    �  �  � �
�
C
        � �  � �  � �
 
4 3 1 3 2 1 4 3 2 1 1 3 4
   �  �
min 11 5
 �  �  Cm b
   �    �       � � � �  � � �  �
3 1 4 3 2 1 4 3 2 1 1 2 4
   �  �
min 11 5
  �  �   �
 
 �
  �
 
 �
Cm #
    
    � �  � �  � �
 
3 1 1 2 1 4 3 1 2 4 1 2 4
   �  �
   �  � � � �  �  � � � 
dim 11 Cº
�     �  �  
 
1 4 2 1 1 3 1 4 2 1 1 2 4
   �  �

  
dim/Maj 11
 � �  
 
 �
  �
 �
 � �
Cº/Maj
�    
    � 
 �
 
  � � 
 
1 4 2 3 1 4 1 4 2 3 1 2 4
   �  �
Maj 9 11 5
  �   �    �  �  �  � � �  � � �  � CMaj9# #
       
2 1 4 2 1 4 2 1 1 4 1 3 4
   �  �

min/Maj 11
 � 
 �
  �  � �  � � �  Cm/Maj
� �
    
2
3
1 4 2
�      �
1 3 2 1 1 4 1 2 4

   �  �
 � 
Dom 11 5
 �   �
 
 �
  �
 
 �  �
C b
    
    � �
  �
  ��
  
2 1 3 2 1 4 3 2 1 4 1 3 4
   �  �
 
Dom 11 5
 �   �
 �

 �
  �
 
 �  � � �
C #
    
    � �
  �
 
  
3 2 1 2 1 4 2 1 1 3 1 3 4
   �  �
3 2 1 3 2 1
OR: etc...
   �
  �   �
Dom 11 9
 �     �  �  �  � � �  � � �  � C b9

       
2 1 4 2 1 4 3 2 1 4 1 3 4
   �  �

Dom 11 9
�     �  �    �  � � � �   � � � �  C #9
      
1 4 3 1 1 3 1 4 2 1 1 2 3
2
   �  �
 �  �  �  � � �
C b9b
Dom 11 9 5
 �   �   

      � � �  �
2 1 3 2 1 4 3 2 1 4 1 3 4

   �  �
Dom 11 9 5
 �
 �    � 
 �
  �  � �  �  C b9#
         
3 2 1 2 1
  �  �   � �
4 2 1 1 3 1 3 4 1 1 3 1 2 3
   �  � �   
   �  � � � �  � � � � � 
C #9b
�   
Dom 11 9 5
 �
  

    
1 4 2 1 1 3 1 4 1 1 1 2 3
   �  �
Dom 11 9 5
� 
   �   �   �  � � � �  � � � � �  C #9#
     
1 4 3 1 1 3 1 4 3 1 1 2 3
2
   �  �
Dom 9 11
 � 
�    �  �  � � � � 
C9#

    �  � � �  �

2 1 4 2 1 1 4 3 2 1 1 2 4
3
   �  �

Maj 13#11
  
 � 
 �  � �
 CMaj #
 �   � �     � �   � � � �  � 
 
2 1 4 3 1 1 4 1 4 2 3 1 1 2 4
2
   �  �
min 13
   �
  �
 
 �  � �
 Cmin
�   
  �   �     �   �  � � � 
 
1 3 2 1 4 1 4 1 3 2 1 4 1 2 4
   �  �
Dom 13

 �   
 �     �  �  �  � � � � � � � �  � �
C

 
4 3 1 4 3 2 1 4 3 2 1 4 1 2 4
   �  �
min 13 5
  �  �  �  Cm b5
   �    �      � � � �  � � �  � �
2 1 3 4 3 2 1 4 2 1 1 4 1 2 4
4
   �   �
�   �   �  �  �  � �  � �  Cm #5
 
min 13 5
 
  
    � �  �  � �
  
 
3 1
 
1 4 3
�
2 1

4 2
�
3 1

4 1 3 4
dim 13
 �  
 �  �  � �
 Cºb
  �     �     � �  �  � �  � �
 
3 1 4 2 3 1 4 1 4 2 1 1 1 2 4
   �  �

dim/Maj 13
    �
  �
 
 �
  �
Cº/Maj
   �
 
  
 
    �
 �
 �
 
 �
 �
  � � �
   
4 2 1 1 3 1 2 4 2 1 1 4 1 2 4
   �  �
Maj 13 11 5

 �   
 � 
 �
 
 � � �
CMaj # #5
�    �
 
  
 �
    �
 �
 
   �  � �  

  
1 4 3 1 4 1 4 1 4 3 2 1 1 3 4
   �  �
min/Maj 13 Cm/Maj
  �    � �    �  �  �  � � � �  � � �  � �
 
2 1 4 4 2 1 4 4 2 1 1 4 1 2 4
3
   �   �
Dom 13 5
 �  �  �  C b5
 �    �  �  �  
1 4 2 1 4 1 4 1 3
� � �  �  �  � � 
1 1 4 1 2 4
4
   �  �
�
Dom 13 5
   �
  �
 
 �
  � �
C #5
   
 
 �
 
 �
 
   �
 �
   
 �
 �  � �
   
3 2 1 3 2 1 4 1 4 3 1 4 1 3 4
   �  �
Dom 13 9
   �
  �
 
 �
  � 
C b9
  � 
 
 �
 �
 
    �
 �
   � � � �  �

  
2 1 4 2 1 1 4 1 4 2 1 4 1 2 4
3
   �  �

Dom 13 9
 �   
 � 
 �
 
 � � 
C #9
  �  
 
  
 
    �
 �
 �
  �
 �
 �
  � �
 
2 1 4 2 3 1 4 1 4 2 1 1 1 2 4 1 1 4 3
   �   � �  
Dom 13 9 5
�   �
   �
 
 � 
 �
 
 � �
  
 � �
  C b9b5

   
  
    �
 �
 �
 �
  � �
 
2 1 3 2 1 1 4 3 2 1 4 2 1 2 4
3
   �  �
Dom 13 9 5 C b9#5

�    �  � �    �  �  �  � � �  �  �  � � 
 
1 4 3 1 3 1 4 1 4 3 1 4 1 3 4
   �  �
Dom 13 9 5
 �  �  �  C #9#5
   �    � �    
2 1 4 3 4 1 4 1
� � �   � � �  � �
4 3 1 3 1 3 4

   �  �
Dom 13 11
 �    �
  �
 
 �
  � 
C #
  �  
 
  
     �
 �
   � � � �  �
 
 
2 1 4 2 1 1 4 1 4 2 1 4 1 2 4
   �  �
  � �   � �    �  �  �  � � �   � � �  � � 
Dom 13 11 5 C # #5
   
3 2 1 2 1 1 4 1 4 3 1 4 1 3 4
   �  �

Dom 11 13
 � �
    �
  �
 
 �
  � 
C b
   
 
  �
 
    �
 �
 �  �
 �
 �
  � �
 
4 3 1 4 3 2 1 4 3 2 1 4 1 3 4
   �  �
�
Dom 11 9 13
�  �
 
 �
   C b9b
  � 
      �      � �  � � � �  � �
�
 
4 3 1 3 1 1 4 1 4 2 1 4 1 3 4
   �  �
Dom 11 9 13 C #9b

   �   � �    �  �  �  � � �   � � �  � �
 
4 3 1 2 3 1 4 1 4 2 1 4 1 3 4
   �  �
Dom 11 9 13 5
 �  �  �  C b9b b5
 �    �  � �    
1 4 2 1 2 1 4 1
� � �   � �  � � 
4 1 1 4 1 2 4

   �  �
Dom 11 9 13 5

    �
  �
 
 �
  � � �  �  � � � �  C #9b b5
�  � 
     �     
 
1 4 2 1 1 2 4 1 4 1 1 4 1 2 4
   �  �
Dom 7 9 11 13

 �   �
  �
 
 �
  �  � � �  � �
C7b9# b
  � 
 
  �
 
    �
 �
 
  
 
2 1 4 3 1 1 4 1 4 2 1 4 1 2 3
   �  �

Dom 7 9 11 13
 �   �
  �
 
 �
  �   C7#9# b
  �  
 
  �
 
    �
 �
 
  �
 �
 �
 �  � 
 
2 1 4 2 3 1 4 1 4 2 1 1 1 2 3
   �  �
Dom 13 9 11
 �    �
  �
 
 �
  � � � �  � � �  � � C b9#
  
     �      
 
4 3 1 4 2 3 1 4 3 2 1 3 1 2 4
   �  �
Dom 13 9 11
   � 
  �
 
 �
 �   � � �  � � 
C #9#
  � 
 
  
 
    �
 �
 �
 
 
2 1 4 2 3 1 4 3 2 1 4 3 1 2 4
   �  �
Dom 13 9 11 5

 �   �
  �
 
 �
  � � �  �  � �  � � C b9# #5
 �  
     �      
 
2 1 4 3 1 1 4 1 4 3 1 4 1 3 4
   �  �
Dom 13 9 11 5

  �
  �
 
 �
  �  C #9# #5
�   
   �  �     � �  � �  � � �  
  
1 4 3 1 1 4 3 1 4 3 1 4 1 3 4
2
   �  �

Arpeggios In Three Octaves
Major
  �  � 
 Maj
 
 �      � � � �  � �
      

 
2

1
 4 4 3
  �
1

2

1 1 4
 � 
  �   �    � �
minor min
� 
   � �  � � 
      

1 2 1 1 3 2 4 1 1 4
   �

Augmented
 �  �  � 
 &
�   �      � �  � � 
  
     

1 3 2 1 2 1 1 4 1 4
   �
diminished

  �  � º
�   �
       � � �  � � 
      
  
1 3 1 2 3 1 4 1 3 4
   �
Sus4
  
  �  � �
 sus
�    �   � � � � 

      
 1 4 1 1 1
 3 2 3 1 4
   �
The Guitar Arpeggio Compendium — Three-Octave Arpeggios 28

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)
 �  
  �
  �
  � �  � � �  � �  m
�   �      
 

1 4

3 
1 4

2
�
1 3 3

2

1 1 4
 
min 6 (version 2)
   �    �
 
 �  �  � �  � � �  � � m
  �
 

2 1 4 4 2 1 4 3 2 1 4 1 4
   �

Seventh Chord Arpeggios
Maj 7
  �  �
 
 � 
 �  �  � � �  �  �
GMaj
  �  �      
  

2 1 4 3 4 3 2 1 2 1 4 1 2
2 3
3 4
   �
min 7
   � 
 �
 
 �  �  � Gm
�   �      � �  � � � 

  
 
1 4 3 1 1 3 2 1 3 1 4 1 3
   �

Dom 7
  
 �
 
 � 
 
 �
  �  �

G
  �    � �
  � � 
  


2 1 4 2 4 3 1 4 2 1 4 1 3
2 4
   �
min 7 5
 �
 
 � 
 �  � �  � �  �  �
Gm b
  �  �   �   
  

2 1 3 2 4 2 1 4 2 1 3 2 4
   �
min 7 5
  �
  �  � Gm #
�  
  �   �
 
 
 
 �  � �  � � � 
 
1 3 4 1 1 3 4 1 2 1 1 3 4
2
   � �

dim 7
  
  �    �  �
 
 � 
 �  �  � �  � � �  Gº7
� 
 
1 4 2 1 1 4 2 1 4
 1 3 1 4
4
   �

dim/Maj 7
  �   �
 
 
 �  �  � � � � 
 Gº7
� 
 �       
 � �
 
1 3 1 1 2 1 3 4 1 4 1 1 2
   �
Dom 7sus4 G7sus
   �  �  �  �  �  �  �  �  �  �  �  �
1 1 3 1 3 1 3 2 4 1 3 1 3
1 3 4
   �
Maj 7 5
  � 
 �
 
 � 
 �  �  �  �  �  � GMaj7b
  � �  �  
2 1 3 1 2 1 3

1 2 1 3 3
1
4
2
   �
   � 
 �
Maj 7 5 (version 1)
  �    
 �
  �  � � �  � � 

GMaj7#
�  �   
 

1 4 3 1 2 1 1 4 2 1 4 2 3
   �
 � 
 �
Maj 7 5 (version 2)
  �    
 �
  �  � � �  �  �

GMaj7#
  � �   
 

2 1 4 1 2 1 1 4 2 1 4 3 4
1 2
   �

min/Maj 7
  �
 
 � 
 �  �  � � �  � �  Gm/Maj
�        �  
 
1 3 2 1 4 2 1 1 2 1 4 1 2
2 3
3 4
     �
Dom 7 5
  � 
 �
 
 � 
 �
  �  �  �  �  �

Gb
  � �  �  
 

2 1 3 1 3 2 4 1 3 2 4 1 3
   �
Dom 7 5 G#
  �  �    �  �  �  �  �  � � �  �  �
 
2 1 4 2 4 3 2 1 2 1 4 1 3
2 4
   �

9th Chord Arpeggios
 �  � 
 �
 
 � 
 � GMaj
 �  �  � �  �  � �
Maj 9
�  � 
  �    
 
2 1 4 1 4       
2 1 4 1 4 2 1 4 1 2 4
  �
min 9
    � 
 �
 
 � 
 � �  � � �  �  � �  Gm
   
�   �      
   
  
1 3 2 1 4 1 3 2 1 4 2 1 4 1 2 4
3
  �
   � 
 �
 
 � 
 � G
 �  �  � �  � � � 
Dom 9
�   
 �     
        
1 4 2 1 4 1 4 2 1 4 2 1 4 1 2 4
3
  �
min 9 5
    � 
 �
 
 �  � �  � � �  �   Gm b
� 
   �          � �
       
1 4 2 1 4 1 3 1 1 4 2 1 3 1 2 4
3
  �
  �  
 �
 
 �
  �
 � Gm #
  �  � � �  �  � � 
min 9 5
�  �  
 �      
          
1 3 4 1 4 1 3 4 1 4 2 1 1 1 3 4
3 2 2
  � �

dim 9
    
 �
 
 �
  �
 � Gº9
�    �
  �        �  � � �  � � � � 
       
1 4 2 1 1 1 4 2 1 1 3 2 1 1 3 4
   � � �
 � 
 �
 
 �  � �  �
   �  �    �  
dim/Maj 9 Gº/Maj9
�
    � �  �  � � 
   
1 3 1 1 4 1 4 2 3 1 3 1 4 1 2 4
2
  �
 �  � 
 �
 
 �  �  � � G9sus
Dom 9sus4
  � �   �
 
  
     �
  �
 
 � �  � �  �
       

1 1 3 1 4 1 1 3 1 4 1 1 3 1 3 4
2
   �
   �   �  �   �  �  �  � �  �  � �  � � � 
Maj 9 5 GMaj9b
�
         
1 4 1 1 4 2 1 3 1 4 2 1 3 1 2 4
   �
Maj 9 5 GMaj9#
   �      �  �  
�  �  ��  � � � � � � �  �
  
2 1 4 2 1 4 3 2 1 4 2 1 4 1 2 4
 �   

� 
 �
 
 �  � �  � �
 �  
  �  �      
min/Maj 9
�
Gm/Maj9
   �  �  � � 
     
1 3 2 1 4 1 4 2 3 1 2 1 4 1 2 4 2
   � 
� 
 �
 
 �  � �  � 
  
 � �   �  �   
Dom 9 5 G9b
   � �  �  � �
      
2 1 3 1 4 2 1 3 1 4 2 1 3 1 2 4
3
   �
� 
 �
 
 �  � �  � �
�  
  �  �   �   
Dom 9 5 G9#
   �  �  � � 
       
1 4 3 1 4 1 4 3 1 4 2 1 4 1 2 4
3
  �
Dom 7 9
�     � 
 �  �     
 �
 
 
� 
 � 
 �
 �  � � �  �  � � 
G b9
         
1 4 2 1 3 1 4 2 1 4 2 1 4 1 3 4
   �
Dom 7 9 G #9
�   
    � 
 
 
 
 �
 
 �
 
 
� 
 � 
 �
 �
  �
 �
 �
  � � � � 
     
1 4 2 1 1 1 4 2 1 1 2 1 4 1 2 4
3
   � �

� 
 �
 
 �  � �  � �  
 �  �   �  �   
Dom 7 9 5 G b9b

        �  � � �
   
2 1 3 1 4 2 1 3 1 4 2 1 3 2 4 1
3 3
  �
� 
 �
 
 �  � �  � �
�  
  �  �   �   
Dom 7 9 5
   �  �  � � 
G b9#
       
1 4 3 1 3 1 4 3 1 3 2 1 4 1 3 4
4
 �

Dom 7 9 5
 � 
 �
 
 �
  � G #9b
  �   �

   �    
    �  � � �   � �  �
         
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
  � � � �  
Dom 7 9 5
 � � 
 �
 
 �  � �  � � �  G #9#
�   �            �  � � � � 
       
1 4 3 1 1 4 3 2 1 1 2 1 4 1 2 4
   �  �
G%
Maj 6/9
  �  �        �  �  �  � �  � � �  � � �  �
       
2 1 4 1 1 1 4 2 1 1 2 1 4 1 3 4
  �  �

min 6/9
 �  �
 
 �  �  %
�    �
    
  
 
     �
  �
 � �  � � � � 
       
1 4 3 1 1 1 4 3 1 1 2
 1 4 1 3 4
  �  �

Maj 9 11
  �
  �
 
 �
  �  GMaj9#

  �        
  � 
   �  � �  � �  � �  � �
�
     
2

1 4 4 2
 �  �
1 4 3 1   3 2
�
1 2 3 1 4 1 2
3
4
 �  �
 
 �
  �  Gm
Min 11
  �   �  �  
 
 �
 
 
   �
 �
 �
 �
 � �   � � �  �
           
2 1 4 2 1 4 1 4 1 3 2 4 3 2 1 4 1 2 4
   �  �  �
 �
  �
 
 �
  �  G
Dom 11
 �  
  �   �  
 �
     �
 �
 � �  � �  � �  � �
    
2 1 4 2 1 4 2 1 4 1 1 4 2 3 1 4 1 3 4
  � � �
 �
  �
 
 �
  �  Gm b
Min 11 5
 �    � �   
 
 �
 
 
   �
 �
 �
 �
 � �  � � �  �
             

1 4 3 2 1 4 1 4 2 1 1 4 3 2 1 4 1 2 4
   � �
Min 11 5
�   �
  �
 
 �
 
 �  Gm #
   �   �   
 
  
    �
 �
 �
 �
  �  �  �  � �
        

3 1 1 2 1 4 1 3 4 1 1 4 2 1 1 3 1 2 4 4 1 1
   �  � � �

 �
  �
 
 �
  �
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 4
3
  � �
GMaj9# #

 �
  �
 
 �
  �  Gm/Maj
min/Maj 11
�     �    �
 
 �
 
 
   �
 �
 �
 
 � � �  � � � � 
       

1 4 3 2 1 3 2 1 1 4 1 4 3 2 1 4 1 2 4
  � � �
 �
  �
 
 �
  �  G b
Dom 11 5
  �   �   � 
 
 �
 
 
   �
 �
 �
 �
  � �  � � �  �
      

2 1 3 2 1 4 2 1 3 2 1 4 2 3 1 4 1 3 4
3 4
 � � �
Dom 11 5
�  �  
 �
  �
 
 �
 
 �
 � 

G #
   �  �       �
   �
 �
 �
  � � 
  � �  � �
    
3 2 1 3 1 4 2 1 1 4 1 4 2 3 1 4 1 3 4 4 1 2 1 1 2
3
  � � � �
Dom 11 9
  �           
 �  
�  �  
� � �  � �  � �  � �  � � G b9
    
2 1 4 4 2 1 4 3 1 3 2 1 2 3 1 4 1 3 4
 � � �
Dom 11 9  �  � G #9
 �    
 � �  
  � 
   �    � � �  
� � � �  �  � � � 
1 4 2 1 1 3 1 4 2 1 1 3 2 3 1 4 1 2 3
2 3 4
  �  � �

�  �
  �
 
 �
  � G b9b
  � �  � � �  �  � �  � �
Dom 11 9 5
  
 �  �   �       
      
2 1 3 2 1 4 2 1 3 2 1 4 2 3 1 4 1 3 4
   � �
�  �
  �
 
 �
  �  G #9b
Dom 11 9 5
�     � �
   
 
  
 
   �
 �
 �
 �
 � �   � � � � 
       

1 4 2 1 1 3 1 4 1 1 1 3 2 3 1 4 1 2 4
2 3
   � �
 �  �
  �
 
 �
  �
 � �  � �  � �  � �  � �
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
 �    �  � � 
�  G #9#
 �   
1
 � �  �  
4 3 1 1 2 1
� � � � 
4 3
�   � � � � 
1 1 3 2 3 1 4 1 2 3
  �  � �

�  �
  �
 
 �
  �  G9#
Dom 9 11
  �    �  � 
 
  
 
   �
 �
 �
 �
 � �   � �  � � 
    
2 1 4 2 1 4 1 4 2 1 1
 4 2 3 1 4 1 2 4
3
   � �
  �
  �
 
 �
  � 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
   � �
  �
  �
 
 �
  �  G7b9#
Dom 7 9 11
 �     

          
   �
 �
 � �  � �  � �  � � 
    
2 1 4 3 1 1 4 3 1 2 1 1 2 3 1 4 1 3 4
  �  � �
�    � �     �    �  � 
 �  � � �  � � � �   � � � �  
Dom 7 9 11 G7#9#
    

1 4 2 1 1 3 1 4 2 1 1 4 2
 3 1 4 1 2 4
  �  � �

  �
  �
 
 �
  � 
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# #


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
  �  � �

Scales Derived From Arpeggios
All arpeggios can be arranged stepwise to form a scale:
Dom13 9 C13 9 C13 9
      
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.
        �  � � � �  � � � �
Maj 7 9 CMaj7#9 CMaj7#9 (pentatonic)
    
4 3 2 1 1 4 3 2 1 1 4 1
2
   �
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
       �
The Guitar Arpeggio Compendium — Scales Derived from Arpeggios 45

Arpeggios On Scales (Permutations)

An arpeggio of a scale can be formed by arranging the scale in order of every other note.
Major Arpeggio

Perform the arpeggio starting on every 'C' note on the fingerboard, using all four fingers as
a starting point. Play ascending and descending utilizing consecutive right-hand pickstrokes
where 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
       
The Guitar Arpeggio Compendium — Arpeggios on Scales 46


3 2 1 3 1 2

4 3 2 1 3 4
  �   �
The Guitar Arpeggio Compendium —Arpeggios on Scales 47

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.

Apply to all previous fingerings. Apply shifting
principle to 2nd, 3rd, 4th, 5th, 6th, & 7th note
1 1 4 3 1 4 3
   � 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:

1 4 1 4 2 1 4
Apply octave displacement principles to all previous examples.
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: Then with one note: With shifts:

 
1 4

1 4 1
�
3 4

2
 
1 4
�
1 4 1 4 1
�
1 4 1 4 1 4
Overlap using two per string: Apply principles to a single string:

1 4 1 3 1 4 1 3 2 4 1 4 1 4 2 4 1 4 1 4 1 3 1 4
1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4 1 4
   � �
Exhaust all possibilities - use octave displacement.
The arpeggio can be played as a series of triads using an overlap principle.
Descending:
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:
� 

�
��

Descending:
2 1 4 2 1 4 2 1 4 2 1 4 2 1 4 1 1 4 2 1 4
   
�    �  � �

�
�  �

1 4 2 1 4 3 1 4 2 1 4 2 1 4 2 1 4 3 1 4 2
       �  � �

Triad arpeggios across the neck in a diatonic cycle of 4ths (start on every scale degree):
 � �     
��      � 
  �  
     etc...
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
     � � 
� � �
� � �
   �
  
            
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:

       
      
   
etc...
Apply all previous picking and fingering sequences. Overlap with 7th, 9th, 11th, and 13th
arpeggios.
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
 �  �  �  � �
Stretch:

��
3 2 4 1 3 2 1 4 4 3 2 1 4 3 2 1
  �  �   �  �
Two to a string:
�
��
1 4 1 4 1 4 1 1 4 1 4 1 4 1
3 2
    � 
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 1 1 1 4 3 1 3 4 1
4 2
   �   �

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
��

��
�
� � �
� � �
��
�
� � � �
�
� ��
4 3 2 1 3 2 1 4 3 2 1 4 1 4
   �   �
Apply all previous principles. Explore all possibilities.

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

C: 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:
C m Em F G m º C
  � 
� �     � �  �   � � �  
1 4 2 3 4 1 1 4 3 2 4 1 1 4 2 3 4 1 1 4 2 2 4 1 2 1 4 4 1 2 4 3 1 1 2 4
       ��   ��         
Full-position studies:
m Em F
� � � � � �  �     � � � � � � �  �      �
   
2 1 3 4 2 1 1 4 4 1 1 1 3 2 4 1
   � �    1 4 2 3 1 1 1 4 4 1 1 2 3 2 4 1
   � �   
G m º C
� � � � �  �    � � � � �  �  �     �
   
2 1 3 4 2 1 1 4 4 1 1 1 3 2 4 1 1 4 2 3 1 4 1 4 4 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 1 2
3
 �   � � �  �   � � �
� � ��
� ��
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:
��
2
 
4 1
��
2
 
4 1 1
 �
4 1 2

4
�
1
 
1 2 4

1
 �
4 3

1
 �
3 4
 �
1 3

4
Practice in all 12 keys. Apply all previous formats to diatonic triads. Extend triad studies
to diatonic 9th, 11th, and 13th chords.

Triads placed on the natural minor scale:


Cmin: ° 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.
Cm Dº Eb Fm Gm b b Cm
�  � � 
   
      

1 4

3

2

4 1

1 4

2

3

4 1 1

4

3

2   

4 1 1

4 2

3

4


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

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):

Em
    
    
Descend
  
12th 0 0 12th 5th 12th 12th 5th 12th 5th 5th 22nd 5th
 �   �  �
Explore other possibilites of open string notes and harmonics, combined with stopped
(fretted) notes. The open-string notes and harmonics can serve as either extensions
or alterations.
The Guitar Arpeggio Compendium — Arpeggios with Open Strings 58

Arpeggios based on triad inversions (four-note)
� � � � � � � � � �
� �
� � � � � �
��
Combined fingerings (reverse to descend):
Apply various combinations of pickstrokes and slurs.
� � � � � �
� ��
 ��
4 3 1 1 3
   �   �   �  �
1 1 1 3 4 2 1 3 2 1 1
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 3 1 4
2 2 2
   �   �   �  �  �
 �
The Guitar Arpeggio Compendium — Triad Inversions 59

Figurations (four-note):

Experiment with other permutations. Extend to 5, 6, 7, etc. note figures. Repeat procedure
using Cmin, C+, and C triads. Apply to any three-note chords (triads).
The Guitar Arpeggio Compendium — Triad Inversions 60
Scales
Apply all arpeggio studies discussed thus far on scales (diatonic and otherwise) to the
following modal, synthetic, and ethnic scales. Analyze diatonic triads, 7th, 9th, 11th, and
13th chords in each scale.
Harmonic Minor 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

The Guitar Arpeggio Compendium — Scales 61
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
��
��

Develop arpeggios from all scale types:
Japanese (Pentatonic)


Six Tone Symmetrical (Hexatonic)


Enigmatic (Heptatonic)



Symmetrical Diminished (Octatonic)

� � � � � �
��
��
� � � � � �
 ��
Apply all previous fingering and picking principles.

             
Two seventh chords:

        ��
1 4 1 4 1 3
4
1 4
CMaj7 BbMaj7+5
   � (2nd inv.) (2nd inv.)
CMaj7 B Maj7+5
Three seventh chords:

             
   
               �
� �
       
 �
1 4 1 1 4 2 1 3 1 3 2 4
GMaj7b5 F7 E7b5
(1st inv.) (1st inv.)
   �
GMaj7 5 F7 E7 5
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.

           
                       � 
G
�
Eb

2 1 4 4 3 1 3 2 1 2 1 4
(G is duplicated)
   �  �
G E G E
Explore all possibilites with duplicated notes. Exhaust all combinations.
   

Two altered triads:
              
         
              ��
 ��
2 0 0 4 1 1 2 1 4 2 1 4
Gsus F#sus
or Asus4 or G#sus4
3
    �   � (2nd inv.) (2nd inv.)
The Guitar Arpeggio Compendium — Polytonal Arpeggios 67

Twelve-Tone Arpeggios
Twleve-tone sets can be made into arpeggios. Here is an example using two distinct whole-
tone hexachords:
��
� � �  �              � � 
      
D9# #
G9# # D9# #
G9# #
2 1 4 1 4 3 1 1 4 2 1 4
  �
Experiment with triads,

any/all altered all combinations
7th chords,of etc.
polytonal
Createtriads, 7th,formations
arpeggio 9th, and 11th
from chords. Combine
twelve-tone sets
of original creation, or from any of the modern masters of this technique (Schoenberg, Berg,
Webern, Boulez, etc...).
The Guitar Arpeggio Compendium — Twelve-Tone Arpeggios 68

Articulation
Although picking patterns have been included for virtually every note, based on the
direction of the phrase the student is strongly encouraged to experiment with
ascending and descending slurs (hammer-ons and pull-offs) in all examples. Just
one slur changes all of the pick strokes and can create a completely different sound.
     �  
  
   � � �  
G Maj7
             �
Maj
   
2 1 4 3 4 3 1 1 2 1 4 2 3
   �
Also experiment with notes on different strings being attacked by the fretting hand only
("hammered" or "tapped" notes). (. = tapped note)
� �  

G Maj
         
 �
Maj
     
2 1 4 4 3 1 2 1 1 4
   �
All of arpeggios can be played with strict alternate picking as well. This would be excellent
practice for developing accurate crosspicking, and would yield beneficial results for both
hands. Start with both a downstroke and upstroke and alternate the pick strokes.
The Guitar Arpeggio Compendium — Articulation 69

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
       �
The Guitar Arpeggio Compendium — Quartal Arpeggios 70

6-note:

7-note: = Locrian Scale

4-note Chord Inversions
               
     
1 2 3 4 2 4 1 3 1 2 1 4 3 4 1 2
   �   �   �  �
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.

Twelve-Tone Arpeggio in Perfect 4ths With

Octave Displacement
(Multiple Fingerings)
                      
Stretch
1
 
1 1

4 1 4 1
  �
1 1 4 1

4
Reverse
1 1 4 3 1 4 1 1 4 3 1 4
Stretch      �
1 1 1 4 1 4 1 1 1 2 1 4
Stretch      �
1 4 1 4 1 4 1 4 1 4 1 4
Stretch    �
� �

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:
    Augmented Cycle

       

� � �
1 1 1 4 1 1 1 4 1 4 1 4
     � �
3-note chords:
Diminished Cycle
        �
    
  � � �
1 1 1 3 1 4 1 1 4 3 1 4
       �

Complete Chromatic
Perfect 4th Diads in twelve Tones:

   

                      � � � � � �
1 3 1 4 1 4 2 1 3 1 4 1 4 2 1 3 1 4 1 4 2
2 4 1 4 1 3 1 2 4 1 4 1 1 2 4 1 4 1 3 1
   �      �      �   etc...
(descend in whole steps)
The cycle descends in whole steps
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
        �  �  �

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

With love to Meredith and Declan

Fretting Hand 1 = Index Finger

= Slur (“Hammer-on” or “Pull-off”)

Scales Derived From Arpeggios

Arpeggios on Scales (Permutations)

Arpeggios (Two Notes per String)

Open-String Arpeggios, Arpeggios with Harmonics

Triad Inversion Arpeggios

Exotic and Synthetic Scales

Scott McGill's Biography

6th Chord Arpeggios

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 9

7th Chord Arpeggios

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 10

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 11

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 12

9th Chord Arpeggios

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 13

Dom 9sus4 C9sus

Maj 9 5 CMaj9b

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 14

Dom 7 9 (version 2) C b9

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 16

Dom 7 9 5 C #9b

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 17

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 18

11th Chord Arpeggios

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 19

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 20

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 21

13th Chord Arpeggios

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 23

Maj 13 11 5

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 24

Dom 13 9 5 C b9#5

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 25

Dom 11 9 13 C #9b

Dom 11 9 13 5

Dom 7 9 11 13

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 26

Dom 13 9 11 5

Dom 13 9 11 5

The Guitar Arpeggio Compendium — Two-Octave Arpeggios 27

Arpeggios In Three Octaves

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 28

Sixth Chord Arpeggios

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 29

Seventh Chord Arpeggios

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 30

Dom 7sus4 G7sus

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 31

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 32

9th Chord Arpeggios

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 33

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 34

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 35

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 36

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 37

11th Chord Arpeggios

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 38

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 39

The Guitar Arpeggio Compendium — Three-Octave Arpeggios 40

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