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13 Tharpeggios

The document provides guidance on playing 13th arpeggios to connect chords in a fluid manner that remains true to the song structure. It recommends beginning with arpeggio studies using the basic triad and then adding extensions like the 7th, 9th, 11th, and 13th notes. Specific instructions are given to play each note of the arpeggio on a different string while moving around the fretboard between positions rather than staying in one place.

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Andres Aguirre Sandoval
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55 views2 pages

13 Tharpeggios

The document provides guidance on playing 13th arpeggios to connect chords in a fluid manner that remains true to the song structure. It recommends beginning with arpeggio studies using the basic triad and then adding extensions like the 7th, 9th, 11th, and 13th notes. Specific instructions are given to play each note of the arpeggio on a different string while moving around the fretboard between positions rather than staying in one place.

Uploaded by

Andres Aguirre Sandoval
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOC, PDF, TXT or read online on Scribd
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13th Arpeggios

Fluidity is achieved through connecting the changes musically and passing


through leading tones (3rd and 7th) in the voicings of the changes (harmonic
structure of the song...)

Beginning with "Arpeggio" studies can help you get from one chord to
another in a fluid manner ... while still remaining true to the song ..
remember that the audience will stay with you as long as they
RECOGNIZE what you are playing exception would be in a Jazz Club
where you could go a bit more outside the structure however, for all our
intents and purposes, we will remain in the structure.

...the starting point would be to connect your choral points in the changes
always keeping in mind the Harmony (the changes) and the Melody (the
Head)... I suggest arpeggios in the following manner

( and their extensions )

1. Cmaj7 extends into C-E-G-B-D-F-A


2. Dm7 extends into D-F-A-C-E-G-B
3. Em7 extends into E-G-B-D-F-A-C
4. Fmaj7 extends into F-A-C-E-G-B-D
5. G7 extends into G-B-D-F-A-C-E
6. Am7 extends into A-C-E-G-B-D-F
7. Bm7b5 extends into B-D-F-A-C-E-G
8. Cmaj7 is the 8th step, identical to the first step.

First, thoroughly explore the basic triad of the extended forms --- example,
from C-E-G-B-D-F-A -- just play the 1 - 3 - 5 (Major) ... then add the major
7th (B), then add the 9th. (D), then addthe 11th (F), then the 13th (A)....

...now, as a starter, play each arpeggio starting from the 1 (root of the
chord) on the 6th string ... then move to 3 on the 6th. string, then 5 on the
6th. string ... don't progress on to the extensions until you have fully
applied all the majors, minors, dominants, half-dims. in all keys up and
down the neck ... (a really good practice is to play 2 notes per string, for
example, Gmaj7- play G (3rd fret of e the 1st string) to B (pinky on the 7 th
fret of same string) the cross over happens on the 5th (D) to the A string,
5th fret and to F# on the D string, 4th fret to G, same string, 5th fret. That is
one octave complete G Maj7 arpeggio.

1
The same can be played with starting with G on the 3rd fret of the E
string(6th) and cross over right away to the 2nd fret of the A string, moving to
the 5th fret of same string for the D note

The general rule is to not use more than 2 notes per string (this rule is
broken all the time by Johnny Smith, Van Eps, Jimmy Bruno, Hank
Garland, Robert Conti, et. al.)

...Remember to start the sequence (1 - 3 - 5) on each string and to move


the same to the next string ... you can approach this inn a few ways ... you
can play 1 or 2 ( 1 - 3) notes of the triad on one string or crossover and
play the first note on one string and the next two on the next string.....

..the point is tomove on the fretboard .. DON'T get lulled in finding that you
can do everything from one posiition -- that is a guitarist's trap ... it can be
a sure-fire killer of chops ... it's OK for some situations ... but mostly
MOVE....

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