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Superimposed Arpeggios

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David Moorhead
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54 views2 pages

Superimposed Arpeggios

Uploaded by

David Moorhead
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Superimpose diatonic arpeggios over the various chords in your chord progression.

Initially,
we’ll only take into consideration diatonic chord progressions, but eventually extend this
thought into chord progressions that include borrowed chords.

Each of the chords in our major key have 4 notes, a triad (major or minor [chords]) and an
added 7 (major or minor [interval]).

Cmaj7: CEGB Available tensions: D (9) A (13)


Dmin7: DFAC Available tensions: E (9) G (11) B (13)
Emin7: EGBD Available tensions: A (11)
Fmaj7: FACE Available tensions: G (9) B (#11) D (13)
G7: GBDF Available tensions: A (9) E (13)
Amin7: ACEG Available tensions: B (9) D (11)
Bmin7(b5): BDFA Available tensions: E (11) G (b13)

For each of those chord tones, select a diatonic arpeggio that starts on that same note and
superimpose it over the chord in your chord progression.

Cmaj7: CEGB

Use Cmaj7, Emin7, G7, and Bmin7(b5).

Cmaj7: C (1/root) E (maj 3rd) G (perfect 5th) B (maj 7th)

In respect to the notes in the Cmaj7 chord the added arpeggios create upper extensions that
include not only the chord tones from the Cmaj7 chord, but also tensions on the Cmaj7 chord
that allow your playing to sound more complex and ‘out’.

The listed relationships of the following chord tones will coincide with the way they relate to
the Cmaj7 chord and not the root of the chord from which they are derived. Notes in italics
are tensions.

Emin7: E (maj 3rd) G (perfect 5th) B (maj 7th) D (maj 9)


G7: G (perfect 5th) B (maj 7th) D (maj 9) F (perfect 11)
Bmin7(b5): B (maj 7th) D (maj 9) F (perfect 11) A (maj 13)

Use your ears to decide which notes seem best to use. These notes are all diatonic to the key
of C major so there will not be dramatic dissonance, but some notes will seem more pleasing
than others and this is subjective conversation as with all music.

The intervallic relationships chord to chord will clearly change as well as the relationships
between the upper extension arpeggios and the chord you’re studying.
Key Of C
arpeggio exercise

C maj7 D -7 E -7 F maj7 G7 A -7
4
&4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï Ï

T 9 10 9
8
A 9 10 9 12 10 9 12 10
B 8 12
10
10
8 12
12
10 8 12 10 12

7 (b 5) C maj7
B min D -7 C majE -77
Ï F maj ÏG Ï Ï Ï
7 7
w
Ï Ï Ï Ï
Ï ÏÏ Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
&Ï

10 12 10 13 15
10 12 10 13 12 10 13 12
10 9 12 10 9 12 10 12
9 12 10 12

©2020

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