jazzlinkenterprises.com...2 Table of Contents • Introduction 3 • Dale Bruning Biography 4 •...

1

Dale Bruning’s

Jazz Guitar Series, Volume II:

Phrasing and Arpeggios

ISBN: 0-9633047-1-2

Copyright 2010 by Dale Bruning

All rights reserved

Jazz Link Enterprises Publisher3721 Columbia Drive • Longmont, CO 80503

303-776-1764

http://www.jazzlinkenterprises.com

[email protected]

For all works contained herein:Unauthorized copying, arranging, adapting, recording, transmitting via computer service carriers, or public perfor-

mance is an infringement of copyright. Infringers are liable under the law.

Cover photo/Dale at the beach photo and all engraving by Jude Hibler - JLE OwnerPhoto of Gene Bertoncini, Bill Frisell, Dale Bruning, and Ron Miles by Marc Sabatella

www.marcsabatella.comSoftware used for the music engraving - Avid’s Sibelius 6.2 for the Mac

Layout done in Adobe’s InDesign CS

2

Table of Contents• Introduction 3• Dale Bruning Biography 4• Legend 5

Triad Arpeggios 6Distribution 1, 1, 1 7

• Root Position 8• 1st Inversion 9• 2nd Inversion 10

Distribution 1, 2 11

• Root Position 12• 1st Inversion 13• 2nd Inversion 14

Distribution 2, 1 15 • Root Position 16• 1st Inversion 17• 2nd Inversion 18 Two-String 7th Chord Arpeggios 19

Distribution 2, 2 20

• Root position: 2-8vas: M 7 - m6 21• Root position: 2-8vas: m 7 (+5) - M 7 (+5) 22 • Root position: 2-8vas: M 7 (-5) - 6 (sus 2) 23

• Root position: 3-8vas: M 7 - m 6 24• Root position: 3-8vas: m 7 (+5) - M 7 (+5) 25 • Root position: 3-8vas: M 7 (-5) - 6 (sus 2) 26 • 1st Inversion: 3-8vas: M 7 - m 6 27• 1st Inversion: 3-8vas: m 7 (+5) - M 7 (+5) 28• 1st Inversion: 3-8vas: M 7 (-5) - 6 (sus 2) 29• 2nd Inversion : 3-8vas: M 7 - m 6 30• 2nd Inversion : 3-8vas: m 7 (+5) - M 7 (+5) 31• 2nd Inversion : 3-8vas: M 7 (-5) - 6 (sus 2) 32• 3rd Inversion: 3-8vas: M 7 - m 6 33• 3rd Inversion: 3-8vas: m 7 (+5) - M 7 (+5) 34• 3rd Inversion: 3-8vas: M 7 (-5) - 6 (sus 2) 35

Three-string 7th Chord Arpeggios 36

Distribution 2, 1, 1 37

• Root position: 2-8vas: M 7 - m 6 38 • Root position: 2-8vas: m 7 (+5) - M 7 (+5) 39• Root position: 2-8vas: M 7 (-5) - 6 (sus 2) 40

• 1st Inversion: 2-8vas: M 7 - m 6 41• 1st Inversion: 2-8vas: m 7 (+5) - M 7 (+5) 42• 1st Inversion: 2-8vas: M 7 (-5) - 6 (sus 2) 43• 2nd Inversion : 2-8vas: M 7 - m 6 44• 2nd Inversion : 2-8vas: m 7 (+5) - M 7 (+5) 45• 2nd Inversion : 2-8vas: M 7 (-5) - 6 (sus 2) 46• 3rd Inversion: 2-8vas: M 7 - m6 47• 3rd Inversion: 2-8vas: m 7 (+5) - M 7 (+5) 48• 3rd Inversion: 2-8vas: M 7 (-5) - 6 (sus 2) 49


• Root position: 2-8vas: M 7 - m 6 51 • Root position: 2-8vas: m 7 (+5) - M 7 (+5) 52• Root position: 2-8vas: M 7 (-5) - 6 (sus 2) 53• 1st Inversion: 2-8vas: M 7 - m 6 54• 1st Inversion: 2-8vas: m 7 (+5) - M 7 (+5) 55• 1st Inversion: 2-8vas: M 7 (-5) - 6 (sus 2) 56• 2nd Inversion : 2-8vas: M 7 - m 6 57• 2nd Inversion : 2-8vas: m 7 (+5) - M 7 (+5) 58• 2nd Inversion : 2-8vas: M 7 (-5) - 6 (sus 2) 59• 3rd Inversion: 2-8vas: M 7 - m 6 60• 3rd Inversion: 2-8vas: m 7 (+5) - M 7 (+5) 61• 3rd Inversion: 2-8vas: M 7 (-5) - 6 (sus 2) 62


• Root position: 2-8vas: M 7 - m 6 64 • Root position: 2-8vas: m 7 (+5) - M 7 (+5) 65• Root position: 2-8vas: M 7 (-5) - 6 (sus 2) 66• 1st Inversion: 2-8vas: M 7 - m 6 67• 1st Inversion: 2-8vas: m 7 (+5) - M 7 (+5) 68• 1st Inversion: 2-8vas: M 7 (-5) - 6 (sus 2) 69• 2nd Inversion : 2-8vas: M 7 - m 6 70• 2nd Inversion : 2-8vas: m 7 (+5) - M 7 (+5) 71• 2nd Inversion : 2-8vas: M 7 (-5) - 6 (sus 2) 72• 3rd Inversion: 2-8vas: M 7 - m 6 73• 3rd Inversion: 2-8vas: m 7 (+5) - M 7 (+5) 74• 3rd Inversion: 2-8vas: M 7 (-5) - 6 (sus 2) 75

Practical use of 7th Chord Arpeggios 76

• Jude’s Blues 77• Roller Coasting with George 78•Nanc, Pam, Paul, Scot 79797

• Thank You’s/Looking Ahead 80

• JLE Ad 81

3

Introduction

Since completing Volume I over ten years ago, I’ve been trying to use it effectively with students. Their requests about Volume I are:1. more instruction regarding arpeggios, scales, and intervals2. How to distribute notes of those three tools over the fi ngerboard3. How to correlate note distributions with phrasing requirements. Thus, I’m attempting to provide an approach that has helped me regarding arpeggios, scales, and intervals, but one at a time - at the suggestion of my business partner, Jude Hibler. Volume II, then, deals with just triad and 7th chord arpeggios with some basic broken chord patterns.I’m using chord voicing terminology to provide an easy-to-recognize nomenclature (see Legend). Because this coverage does not deal with upper partials (9ths, 11ths, 13ths, etc.), nor does it provide all possible permutations, nor does it examine the use of arpeggios negotiating chord progressions or modes, it is, perhaps, best viewed as foundational. However, since the focus is still on phrasing and articulation, and since legato should be viewed as the norm, upward and downward slur markings will be found throughout Volume II and beyond. Arpeggios on a more comprehensive level will be forthcoming in future volumes. The purpose of Volume II is to seearpeggios more clearly on the fi ngerboard. (You won’t play what you don’t hear; likewise, you won’t play what you don’t see.) Much has been written about the value of repetition of basic exercises to build acute visualization of note sequences, to build fi nger memory, to add to the brain’s storehouse of compositional devices, and so forth. Repetition of appropriate phrasing and articula-tion with such tools is immensely valuable as well. Two types of rhythmic interpretation are common to jazz performances: 1) an even eighth-note feeling such as found in most Latin music, bossa nova,Jim Hall’s Careful or Herbie Hancock’s Maiden Voyage, for example, and 2) the uneven eighth-notes, triplet subdivisions, shuffl e-time feel of the swing infl ection. With continuous even eighth-note patterns, the common phrasing is to slur into the upbeat. With continuous swing eighth-note patterns, the common

phrasing is to slur into the downbeat. Also, typical articula-tion for even eighth-note patterns is to give a slight accent slight accent slightto the downbeat. Typical articulation for the swing feel is to give a more pronounced accent to the upbeat in eighth-note patterns. However, upbeat accents can vary in intensity in keeping with the tune, tempo, dynamics, stylistic differenc-es, one’s interpretations, and so on. But that upbeat accent contributes greatly to the pulse - the swing feel - that we experience with a song. Attacking all notes is not an uncommon sound; it’s the norm in some settings. But applying conventional phrasing and articulation to arpeggios is what we’ll strive for where distribution of notes allows. We’ll be inconsistent at times due to distribution/fi ngering limitations. How-ever, the overall effect will be consistent with jazz perfor-mance. As regards picking: use the thumb (extended, natu-rally) and index fi nger (slight bend in the tip segment) to slight bend in the tip segment) to slightgrasp the pick, with the other fi ngers slightly bent toward the palm - not a fi st, not extended, just relaxed. Having a relaxed right hand is very important, I think. The fi ngers tend to “fan out” slightly as you move in a fi rst (1) to sixth (6) string direction, and “close up” slightly, moving in a sixth (6) to fi rst (1) string direction, while maintaining con-tact with the fi nger rest (pick guard) throughout with the “outside” part of the little fi nger. Start an attack with the pick perpendicular to the string. As you push with the thumb for a down stroke, the left part of the pick (looking down) angles left part of the pick (looking down) angles left down very slightlytoward the fi nger rest. As you push with the index fi nger for an up stroke, the right part of the pick (looking down) right part of the pick (looking down) rightangles up very slightly toward the bass side of the bridge. Reviewing information on page 16 of Volume I of this series should help with regard to picking. It’s found under the heading of “The Swing Infl ection.” (Volume I emphasizes phrasing and articulation in various melodic settings, setting the stage for more thorough coverage in subsequent volumes.). However, all of the above about picking simply represents suggestions, things that have worked for me. Try these suggestions and take from them what works best for you. Here we go!

4

Dale Bruning Biography

Born in Carbondale, Pennsylvania, Dale Bruninggrew up under the infl uence of hearing the big bands of Duke Ellington, Count Basie, Benny Goodman, Woody Herman, and Artie Shaw while living near New York City. He recalled hearing the rhythm guitar of Count Basie’s mainstay for 50 years, Freddie Green,as being one of his early infl uences. As a little boy, Dale fi rst learned to play the piano. His next instru-ments were the tuba, double bass, and drums before turning his full attention to the guitar. He has worked in New York City, New Jersey, New England, Cuba, and other parts of the United States. When he enrolled at Temple University in Philadel-phia, he also studied with the highly regarded educa-tor Dennis Sandole. He graduated from Temple with a Bachelor’s degree in psychology and a minor in music education. (There were no jazz guitar studies at that time.) Moving to Denver in 1964 with his family, he has since become the cornerstone of jazz in the Rocky Mountain area. In 2006, he was honored with his own (standing-room-only) Dale Bruning Celebration Day.Special guests Gene Bertoncini and Bill Frisell fl ew in for the occasion. (Bassist) Michael Moore would also have been there but for an engagement in Dave Brubeck’s Quartet. While Dale continues his private teaching practice, he has taught at the University of Northern Colorado in Greeley and the University of Colorado at Denver. As well, he is a composer, arranger, clinician, and author.

Throughout his career, he has worked with such lumi-naries as Dizzy Gillespie, Jim Hall, Red Norvo, Michael Moore, Marian McPartland, Gene Bertoncini, Gus Johnson, Specs Wright, Bill Frisell, Ron Miles, Nancy Wilson, Ethel Ennis, Carl Fontana, Phil Urso, Chet Baker, and Bruno Carr, among many others. In 1996, he joined forces with Jazz Link Enterprises OwnerJude Hibler. She is a writer, photographer & videographer, CD and concert producer, graphic artist, co-author with Joe Pass of Joe Pass Improvising Ideas (Mel Bay Publisher © 1994), and narrator for Dale and her JLE Timeless Music of Great Composer Concerts. Since 1996, they have both presented several dozen of their signature concerts, and have recorded a number of CDs on their label with Dale as leader. Those CDs and books are available at their www.jazzlinkenterprises.comwebsite. In addition to his own CDs, he appears on many other recordings, as well. Their concerts are based on the music of The Great Com-posers, like Duke Ellington, George Gershwin, Billy Stray-horn, Antonio Carlos Jobim, Benny Golson, Tadd Dam-eron, Johnny Mandel, Cole Porter, and Jerome Kern, among many others. Dale writes new arrangements for his various sized ensembles, while Jude researches, writes and reads her script throughout each performance. Jude Hibler - Owner, Jazz Link Enterprises - November, 2010

Gene Bertoncini, Bill Frisell, Dale Bruning & Gene Bertoncini, Bill Frisell, Dale Bruning & Gene Bertoncini, Bill Frisell, Dale Bruning Ron Miles jam together during The Dale Bruning Celebration Day, September 23, 2006.

Broomfi eld, Colorado. Photo by Marc Sabatella. marcsabetella.com Dale enjoying the Oregon Beach, 2006Photo by Jude Hibler

5

. stacatto: play note (or chord) short, regardless of written note value

> Accent mark. Accent receives full value.^ Accent mark. Accent played short.

∆ The delta sign is Dale Bruning’s preference to indicate Maj 7th chords.

crescendo

decrescendo

Rest stroke (picking):

Following attack (≥or ≤), bring pick to rest on adja-≤), bring pick to rest on adja-≤cent higher or lower string. Free stroke (picking):

Following attack (≥or ≤), pick remains free, sus-≤), pick remains free, sus-≤pended close to string just played.

Chord Voicing Nomenclature:Triad ArpeggiosRoot position: Root, 3rd, 5th1st Inversion: 3rd, 5th, Root2nd Inversion: 5th, Root, 3rd

7th Chord ArpeggiosRoot position: Root, 3rd, 5th, 7th1st Inversion: 3rd, 5th, 7th, Root2nd Inversion: 5th, 7th, Root, 3rd3rd Inversion: 7th, Root, 3rd, 5th

Sliding Signs Between two notes, whole step apart, same fi nger, slide two frets Between two notes, half-step apart, same fi nger, slide one fret

Legend

f circled numbers above notes = strings

1 unencircled numbers below notes = fi ngerings

ext fi nger extensions, usually the fi rst or fourth fi nger stretches one fret

dbl ext double extension of fi rst fi nger two frets dbl ext double extension of fi rst fi nger two frets dbl ext below normal fi rst fi nger position or 4th fi nger two frets above normal 4th fi nger position.position: one set of 4 frets adjacent

shiftpositions: moving from one set of 4 frets adjacent to another set of 4 frets adjacent

gliss slide two frets or more toward a tone, not at- taking directly

≤ ≤ ≤ up stroke with pick

≥ down stroke with pick

m squeeze shift: at the change of string, one fi nger holds position while shifting fi n- ger contracts (squeezes), usually distance of one fret toward holding fi nger. The purpose is to shift down or up one position. (Can be 2 frets at times)

U fermata: hold note (or chord) approximately twice the written value or follow conductor’s baton.

∑ legato marking above note for one note. Note is played long. Use continuous pressure with left-hand fi nger.

U

UorSlur - use hammer-on for upward slur; use pull-off for downward slur

Notes sound connected - no pause be-tween notes

Between two notes, half-step apart, same U Between two notes, half-step apart, same

m

Between two notes, whole step apart,

6

Triad Arpeggios

Distribution refers to the number of notes per each string as indicated at the top of each line (staff). Distribution is the same for all lines (staves) that follow. Play arpeggios ascending and descending.

Sometimes a slur between notes of two neighboring positions might seem impossible, or at least impractical. Try it anyway, and then decide.

In addition to the four main triads (major, minor, diminished and augmented), I’ve added a major “fl at 5” triad and three triads with suspensions. These added triad arpeggios are common sounds in jazz performance.

Triads and their arpeggios are not only building block sounds, but provide chords-within-a-chord recognition (C Ma7 contains a C major triad and an E minor triad, etc.), as well as triads representing up-per partials (9ths, 11ths, 13ths) superimposed over 7th chords, etc. These observations apply harmonically and melodically.

Some sounds - the three notes of a triad arpeggio - can have more than one name. Here’s an ex-ample: 1st inversion F (sus 2) = 2nd inversion C (sus 4) = incomplete Root position G7 (sus 4).This is not unusual. However, it’s perhaps best to think of them one at a time when playing a family of arpeggios (All arpeggios having a common Root).

Do all triad arpeggios through all 12 Roots, all chord qualities, three distributions, Root, 1st, and 2nd inversions through the cycle of 4ths.

7

With a root position 1, 1, 1 distribution two sets of 2-8va triad arpeggios are shown: one set starting on the f (sixth) string, and one starting on the e (fi fth) string.

The lower 8va to the higher 8va sometimes necessitates a position shift; that’s indicated. Slur-ring is indicated where possible to achieve at least some legato. (With a normal size hand, one can hammer-on or pull-off up to a perfect 4th interval, perhaps. Just below or beyond the 12th fret that interval enlarges somewhat.)

With 1st inversions - 1, 1, 1 distribution lower 8va to higher 8va is just a neighboring position shift mostly, done fairly easily with extended fi ngering.

With 2nd inversion 1, 1, 1 distribution, the set starting on thef (sixth) string doesn’t require position shifts, for the most part. The set starting on the e (fi fth) string would require a neighboring position shift, mostly.

Consecutive Picking: For the most part, I recommend the following:1) When moving in a f (sixth) to a (fi rst) string direction, start each “new” string (at the change of string) with a down stroke ( ≥).

2) When moving in a a (fi rst) to f (sixth) string direction, start each “new” string (at the change of string) with an up stroke (≤).≤).≤

3) Alternate with more than one note per string.

Legato Picking: When slurring, use a rest stroke (down stroke or up stroke) on the initial note to insure ad-equate presence for both notes - or all three, perhaps - involved in the slurring.

The triad arpeggios are shown ascending only. No pick markings are shown, then. But apply the above recommended picking principles ascending and descending to all triad arpeggios, all distri-butions.

Triad Arpeggios: Distribution 1, 1, 1

8

Triad ArpeggiosDISTRIBUTION: 1, 1, 1

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9


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3

ext

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10


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11

With a distribution of 1, 2 we can employ the same distribution/fi ngering throughout 3-8vas, each looking, feeling the same, with the same phrasing. If you play each 8va as an eighth-note triplet in 3/4 time descending, the phrasing is typical of eighth-note triplets in a swing setting. Here, we’re shifting positions throughout, 8va to 8va, mostly.

* With distribution 2, 1, or 1,2 , one can attack all notes - if that’s appropriate.

Remember: Make your fi ngers follow your eyes, not vice versa.

Triad Arpeggios: Distribution 1, 2

12

Triad ArpeggiosDISTRIBUTION: 1, 2

34&2

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Root position

1

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ext

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sus 4

1 3 * 1 1 3 * 2 2 4

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sus +4

2 3 * 1 2 3 * 2 3 4

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* Shift positions

0 4 m% 3 ext1 4ext * 3 1ext 4ext

œ œ œœ œ œ

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13


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14


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15

Next, with a distribution of 2, 1 we can employ the same distribution/fi ngering throughout 3-8vas, each looking, feeling the same. And the phrasing is the same in each 8va. If you play each 8va as an eighth-note triplet in 3/4 time ascending, the phrasing is typical of eighth-note triplets with a swing infl ection - attack the 1st and last, slurring into the middle eighth note. As in the 1, 2 distribution, we shift positions throughout 8va to 8va, mostly.

Ascending with distribution 2, 1 and descending with distribution 1, 2 makes that eighth-note triplet phrasing in a swing setting consistent. That’s optional.

Triad Arpeggios: Distribution 2, 1

16


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4ext

2 * 1 4 2 * 1 4ext2

&1ext

sus 4

ext4 2 m% 1ext 4ext

ext

2 * ext1 4

ext 2

&1 *

sus +4

4 1 1 * 4 1 2 * 4 1

&1

sus 2

* Shift positions

3 3 * 1 3 3 * 2 4 4

œ œ œœ œ œ

œ œ œ

œ œb œœ œb œ

œ œb œ

œ œb œbœ œb œb

œ œb œb

œ œ œ#œ œ œ#

œ œ œ#

œ œ œbœ œ œb

œ œ œb

œ œ œœ œ œ

œ œ œ

œ œ# œœ œ# œ

œ œ# œ

œ œ œœ œ œ

œ œ œ

17


34&1

ÊM

1st InversionRoot = D

4 4 *

Â

1

‰

4 4 *

„

1

‚

4 4

·

&1ext

m

4 4 1 4 4 1 4 4

&1

o

3 4

m%

ext1

ext

3 4

*

1

ext

3 4

&ext

1ext

+

4 3

m%

ext1 4 3

* ext

1ext 4 3

&

1

M-5

3 4

m%

1 3 4

*

* 1 3 4

&1

sus 4

3 3

*

1 3 3 * 2 4 4

&

1

sus +4

2 2

*

* 1 2 2 4 4 4

&0

sus 2

* Shift positions

4 4ext1 4

ext4 m% 1ext ext4 4

œ# œ œœ# œ œ

œ# œ œ

œ œ œœ œ œ

œ œ œ

œ œb œœ œb œ

œ œb œ

œ# œ# œœ# œ# œ

œ# œ# œ

œ# œb œœ# œb œ

œ# œb œ

œ œ œœ œ œ

œ œ œ

œ# œ œœ# œ œ

œ# œ œ

œ œœ œ œ

œ œ œœ

18


34&dbl

1ext

ÊM


4 3dbl

Â

1

‰

4 3

„

m% 1ext

‚

4 3

·

&

dbl1ext

m

4 2 1ext

ext

4 2 m%

dbl

1 4 2

&1

o

* 4 2

dbl

1ext * 42

dbl

1

ext

* 4 2

&1

ext

+

4 3 m% 1ext

4 3 * 1ext

4 3

&1 *

M (-5)

4 3 1ext *4 3 1 * 4 3

&1

ext

sus 4

4ext

4 1ext

4ext

4 m% 1ext ext4 4

&1

sus +4

* 3 4 1ext *3 4 1 * 3 4

&1ext

sus 2

* Shift positions

4ext

2 m%ext1 4

ext2 * ext

1 4ext

2

œ œ œœ œ œ

œ œ œ

œ œ œbœ œ œb

œ œ œb

œb œ œbœb œ œb

œb œ œb

œ# œ œœ# œ œ

œ# œ œ

œb œ œœb œ œ

œb œ œ

œ œœ œ œ

œ œ œœ

œ œœ# œ œ

œ# œ œ œ#

œ œ œnœ œ œ

œ œ œ

19

Again, distribution refers to the number of notes per each string as indicated at the top of each line (staff). Distribution is the same for all lines (staves) that follow. Fingerings and position shifts are as shown. Chord-voicing nomenclature (labeling) identifi es the starting note for each broken chord pattern. Slurs are included throughout.

Articulations (accents - see Introduction) are not included, except for the 1, 2, 1 distribu-tion, as an example, because the appropriate accents depend, in part, on whether you begin any arpeggio on the downbeat or upbeat. Of course, appropriate slurring is also a function of starting either on the downbeat or upbeat.

However, all these broken chord patterns start on down beats. A slight accent on the down-slight accent on the down-slightbeat while slurring into the upbeat is generally consistent with an even eighth-note sound/feel. A more pronounced accent on the upbeat while slurring into the down beat is what we’ve come to associate with a strong swing feel/infl ection.

When creating an even eighth or swing eighth feel, it’s seldom that we’ll “bat 1000” regard-ing our typical slurring patterns. But, if we can think legato with appropriate articulations, our overall presentation will have a more vocal-like quality to it. Being more vocal-like with one’s instrument has been a matter of pride for centuries. Also, many guitarists have been infl uenced by horn phrasing.

The horns, after all, gave us our vocabulary in jazz. (Django Reinhardt was infl uenced by Louis Armstrong; Charlie Christian, obviously, listened to the infl uential horn players, especially saxophonists of his day, like Lester Young, Coleman Hawkins, and Ben Webster.) The guitar is percussive by nature; it’s a challenge to take a more legato approach to playing melody on guitar. That’s why I’ve indicated slurring whenever feasible to create more legato type sounds. Attacking all notes, however, may be appropriate at times.

Do all 7th chord arpeggios through all 12 Roots, all chord qualities, 4 distributions, Root, 1st, 2nd, and 3rd inversions through the cycle of 4ths.

Reminder: Most chords (arpeggios) can have more than one name. Example: 3rd inversion Gm6 = Root position Em7 (-5), etc. It’s perhaps best to think of them one at a time, however.

Two-string 7th chord arpeggios afford the possibility of two slurs within the scope of four eighth notes (Root to 3rd, 5th to 7th; 3rd to 5th, 7th to Root, etc.). To accomplish such slurs, how-ever, sometimes requires some severe stretching (fi nger extensions).

It’s worth the effort. Give it a try.

7th Chord Arpeggios[Two-String to Start]

20

7th Chord Arpeggios: Distribution 2, 2

First a 2, 2 distribution two-8va ascending and descending root position (Root = C) pattern is shown. That will be the model for Root position, 1st, 2nd, and 3rd inversions with other distributions.other distributions.other

Root position (Root = G) 2, 2 distribution three-8va ascending only pattern is shown next, followed by the same pattern with 1st, 2nd, and 3rd inversion 7th arpeggios.

A 2, 2 distribution seems to lend itself nicely to a three-8va model, with each 8va hav-ing the same look, feel, etc., as the guitarist ascends and descends the fi ngerboard in a some-what diagonal fashion. With 1st, 2nd, and 3rd inversion 2, 2 distributions any two of the three 8vas can be played separately, ascending and descending, if so desired. A slightly accented downbeat, followed by a slur into the upbeat seems natural with any 2, 2 distributions creating an even eighth-note feel.

However, starting on the “and” of 4 or “and” of 1 could create a swing feel with up-beats being more sharply accented, followed by slurs into downbeats - shuffl e-time, in other words. Try it!

1. Change the fi ngering, if you like, but maintain the distribution in the interest of consistent phrasing.

2. When shifting to neighboring positions, use the fi nger on the last note played on the previ-ous string as a reference for locating the fi rst note played on the next string (new string) where possible.

SlidingSliding one or two frets (common practice) helps shift to neighboring positions. Arbitrarily, I’ve indicated a shift in positions only where two frets or more are involved, mostly.

ExtendingExtending a fi nger one or two frets extends any given position by a half or whole step. Keep the other unextended fi ngers in their original position for reference, maintaining your place and for facility.

As explained on page 7, I recommend consecutive and legato picking techniques for 7th chord arpeggios, as well. When two-8va ascending and descending patterns are shown, an example of the picking will be indicated on the fi rst line. Picking is the same for most lines that most lines that mostfollow.

Since the three-8va models are shown ascending only, and must be played ascending and descending, no pick markings will be shown to avoid confusion. However, it’s simply down strokes ascending and up strokes descending.

21

7th Chord ArpeggiosDISTRIBUTION: 2, 2

Sometimes a squeeze shift can involve a 2-fret shift.

44&dbl

1ext

Ü

Â≥7

2-8 va'sRoot PositionRoot = C

3 1

‰≥

4ext dbl

1ext

„≥

3 mm%1

‚≥

4ext

4ext

‚v

1 mm% 3

„v

dbl1ext

4ext

‰v

1 3

Âv

dbl1ext

&1

ext

6

4 2 4 mm%1ext

4 mm% 2 4 4 2 mm% 4 1extmm% 4 2 4

ext1

&dbl

1ext

7

3 1 4dbl

1ext

3 mm%1 4 4 1 mm%3dbl

1ext

4 1 3dbl

1ext

&ext1

Üm 7

3 mm% 1ext4

ext1 3 mm%1

ext4 4

ext1 mm%3 1

ext4

ext1 mm% 3 ext1

&ext1

m 7

3 mm% 1 4 1ext

3 mm% 1 4 4 1 mm%3 ext1 4 1 mm% 3 ext1

&1

ext

m 6

3 2 4 mm%ext1 3 mm%2 4 4 2 mm%3 ext1 mm% 4 2 3 1ext

œ œ œœ œ œ œ

œ œ œ œ œ œ œ œ œ

œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ

œ œ œœb œ œ œ

œb œb œ œ œ œb œ œ œ

œ œb œœ œ œb œ

œ œ œ œb œ œ œ œb œ

œ œb œœb œ œb œ

œb œb œ œb œ œb œ œb œ

œ œb œ œœ œb œ œ œ œ œb œ œ œ œb œ

22


44&ext1

Âm7 (+5)

2-8vasRoot Position

3 mm%2

‰

4 1ext

„

3 * 2

‚

4 4

‚

2 * 3

„

1ext

4

‰

2 mm%3

Â

1ext

&1

ext

m7 (-5)

3 1 4ext

1ext

3 mm%1 4ext

4ext

1 mm% 3ext1 4

ext1 3 1

ext

&1

ext

o 7

3 1 4 mm%ext1 3 mm%1 4 4 1 mm%3 1

extmm% 4 1 3 1

ext

&dbl

1ext

+7

3 2 4dbl

1ext

3 mm%2 4 4 2 mm%3dbl

1ext

4 2 3dbl

1ext

&dbl

1ext

7 (-5)

3 1ext

4dbl

1ext

3 1 4ext

4ext

1 3dbl

1ext

4 1ext

3dbl

1ext

&dbl

1ext

Ü7 (+5)

* Shift positions

3 2 4ext dbl

1ext

3 mm% 2ext4 4

ext2 mm%3

dbl1ext

4ext

2 3dbl

1ext

œ œb œ#œb œ œb œ#

œb œb œ# œb œ œb œ# œb œ

œ œb œbœb œ œb œb

œb œb œb œb œ œb œb œb œ

œ œb œbœ∫ œ œb œb

œ∫ œ∫ œb œb œ œ∫ œb œb œ

œ œ œ#œb œ œ œ#

œb œb œ# œ œ œb œ# œ œ

œ œ œbœb œ œ œb

œb œb œb œ œ œb œb œ œ

œ œ œ#œ œ œ œ#

œ œ œ# œ œ œ œ# œ œ

23


44&dbl

1ext

Ü

Â7 (-5)

2-8 va'sRoot Position

3 1ext

‰

4ext dbl

1ext

„

3 1

‚

dbl4ext dbl

4ext

‚

1 3

„

dbl1ext

4ext

‰

1ext

3

Â

dbl1ext

&1

ext

Ü7 (sus 4)

4ext

1 4ext

1ext ext

4 mm%1ext4 4

ext1 mm%4

ext1

ext4

ext1

ext4 1

ext

&1

ext

7 (sus 4) or m7 (sus 4)

ext4 1 4 1

ext4

extmm%1 4 4 1 mm%4

ext1

ext4 1

ext4 1

ext

&dbl

1ext*

Ü7 (sus +4)

4ext

1 4ext dbl

1ext

* 4extmm%1

ext4 4

ext1 mm%4

ext*dbl

1ext

4ext

1 4ext

*dbl

1ext

&

dbl1ext

7 (sus +4)

* 4ext

1 4dbl

1ext

* 4ext

1ext

4 4 1ext4 *

dbl1ext

4 1 4ext

*dbl

1ext

&1

6 (sus 2)

* Shift positions

3 mm%2 4 mm%1 3 * 2 4 4 2 * 3 1 mm%4 2 mm%3 1

œ œ œbœ œ œ œb

œ œ œb œ œ œ œb œ œ

œ œ œœ œ œ œ




œ œ# œœ œ œ# œ

œ œ œ œ# œ œ œ œ# œ

œ œ# œœb œ œ# œ

œb œb œ œ# œ œb œ œ# œ


24


44&dbl

1

Ü

Ê 7

3 - 8 va'sRoot Position

3 1

Â

4ext dbl

1ext

‰

3 1

„

4ext dbl

1ext

‚

3 1

·

4ext

&ext1

6

ext

4 2 4 m%ext1 4 2 4 * ext

1 4 2 4

&dbl

1ext

7

3 1 4dbl

1ext

3 1 4dbl

m% 1ext

3 1 4

&1ext

Üm 7

3 m%1 4ext ext

1 3 m% 1 4ext

1ext

3 m% 1 4ext

&

ext1

m 7

3 m%1 4 1ext

3 m%1 4 m% 1ext 3 m%1 4

&1

ext

m 6

* Shift positions

3 2 4 m%ext1 3 2 4 * 1ext

3 2 4

œ œ œœ# œ œ œ

œ# œ œ œœ# ˙

œ œ œ œœ œ œ œ

œ œ œ œ ˙

œ œ œœ œ œ œ

œ œ œ œœ ˙

œ œb œœ# œ œb œ

œ# œ œb œœ# ˙


œ œ œb œœ ˙

œ œb œ œœ œb œ œ

œ œb œ œ ˙

25


44&1

Êm 7 (+ 5)


3 m% 2

Â

4 ext1

‰

3 m% 2

„

4 1ext

‚

3 m% 2

·

4

&ext1

ext

m 7 (- 5)

3 1 4ext1

ext 3 14ext m%

m%

ext1 3 1 4ext

&ext1

o 7

3 1 4 m% 1ext 3 1 4 * 1ext 3 1 4

&dbl

1ext

+ 7

3 2 4dbl

1ext

3 2 4dblm% 1

ext3 2 4

&

dbl1ext

7 (- 5)

3 1ext

4dbl

1ext

3 1ext

4dbl

m% 1ext

3 1ext

4

&

dbl1ext

Ü 7 (+5)

* Shift positions

3 m%1 4dbl

1ext

3 m%1 4dbl

1ext

3 m% 1 4

œ œb œ#œ œ œb œ#

œ œ œb œ#œ ˙

œ œb œbœ œ œb œb

œ œ œb œbœ ˙


œb œ œb œbœb ˙


œ œ œ œ#œ ˙


œ œ œ œbœ ˙

œ œ œ#œ# œ œ œ#

œ# œ œ œ#œ# ˙

26


44&1ext

Ü

Ê 7 (- 5)


3ext1

Â

ext4

dbl1ext

‰

3ext1

„

ext4

dbl1ext

‚

3ext1

·

ext4

&ext1

dbl

Ü 7 (sus 4)

ext4 1 4ext 1ext

4ext

1 4ext ext

1ext4 1 4

ext

&ext1

7 (sus 4)orm7 (sus 4)

4ext 1 4 1ext ext4 1 4 m%ext1 ext4 1 4

&1 *

Ü 7 (sus + 4)

4ext1 4 1

ext* 4

ext1 4 1 * 4 ext

1 4

&1

7 (sus + 4)

* 4 ext1 3 1

ext *4

ext1 3 1 * 4 1ext

3

&1

6 (sus 2)

* Shift positions

3 m% 2 4 m% 1 3 m% 2 4 * 1 3 m%2 4

œ œ œbœ# œ œ œb

œ# œ œ œbœ# ˙


œ# œ œ œœ# ˙

œ œ œœ œ œ œ

œ œ œ œœ ˙

œ œ# œœ# œ œ# œ

œ# œ œ# œœ# ˙


œ œ œ# œœ ˙


œ œ œ œ ˙

27


44&1

Ü

Ê

7

3 - 8va's1st InversionRoot = D

4 3

Â

4 * 1

‰

4 3

„

4 * 1

‚

4 3

·

4

&1

6

4 1 4 * 1 4 1 4 * 1 4 1 4

&1

7

4 2 4 * 1 4 2 4 * 1 4 2 4

&1

ext

Üm 7

4 3 4 m%1ext

4 3 4 * 1ext4 3 4

&1

ext

m 7

4 2 4 m%ext1 4 2 4 * 1ext 4 2 4

&1

ext

m 6

* Shift positions

4 1 4 m% 1ext 4 1 4 * 1ext 4 1 4

œ# œ œ# œœ# œ œ# œ

œ# œ œ# œ ˙

œ# œ œ œœ# œ œ œ

œ# œ œ œ ˙


œ# œ œ œ ˙

œ œ œ# œœ œ œ# œ

œ œ œ# œ ˙


œ œ œ œ ˙


œ œ œ œ ˙

28


44&1

ext

Ê

m 7(+ 5)

3 - 8 va's1st InversionRoot = D

4ext

2

Â

4 m%1ext

‰

4ext

2

„

4 * 1ext

‚

4ext

2

·

4

&1

ext

m 7 (- 5)

3 2 4 m% 1ext 3 2 4 * 1ext 3 2 4

&1ext

o 7

3 1 4 m%1ext

3 1 4 * 1ext3 1 4

&1ext

+ 7

4 1 3 m% 1ext 4 1 3 * 1ext 4 1 3

&1

7 (- 5)

3 2 4 * 1 3 2 4 * 1 3 2 4

&1ext

Ü 7 (+ 5)

* Shift positions

4 2 3 m%1ext 4 2 3 * 1ext 4 2 3

œ œ# œ œœ œ# œ œ

œ œ# œ œ ˙


œ œb œ œ ˙

œ œb œb œœ œb œb œ

œ œb œb œ ˙

œ# œ# œ œœ# œ# œ œ

œ# œ# œ œ ˙

œ# œb œ œœ# œb œ œ

œ# œb œ œ ˙

œ# œ# œ# œœ# œ# œ# œ

œ# œ# œ# œ ˙

29


44&1

Ü

Ê

7 (- 5)

3 - 8 va's1st InversionRoot = D

3 3

Â

4 * 1

‰

3 3

„

4 * 1

‚

3 3

·

4

&1

Ü 7 (sus 4)

3 2 3 * 1 3 2 3 * 2 4 3 4

&1

7 (sus 4)or m 7

3 1 3 * 1 3 1 3 * 2 4 2 4

&1

Ü7 (sus + 4)

2 1 2 * 1 2 1 2 4 4 3 4

&2

7 (sus + 4)

3 1 3 * 2 3 1 3 4ext

4 2 4

&0

6 (sus 2)

* Shift positions

4 1 4 1ext4

ext1 4 m% 1

ext4ext

1 4

œ# œb œ# œœ# œb œ# œ

œ# œb œ# œ ˙


œ œ œ# œ ˙


œ œ œ œ ˙


œ# œ œ# œ ˙


œ# œ œ œ ˙

œ œ œœ œ œ œ

œ œ œ œœ ˙

30


44&1

Ü

Ê

7

3 - 8 va's2nd InversionRoot = C

4 1ext

Â

4 m%1ext

‰

4 1ext

„

4 * ext1

‚

4 1ext

·

4

&1

ext

6

3 1 4extm%1 3 1 4

ext * 1 3 1 4ext

&1ext

7

3ext1 4 m%1

ext3 1

ext4 * 1ext

3 1ext

4

&1

ext

Üm 7

4 1ext

3 m% 1ext 4 1ext 3 * 1ext 4 1ext 3

&1

m 7

4 1 4 * 1 4 1 4 * 1 4 1 4

&1

m 6

* Shift positions

3 1 4 * 1 3 1 4 * 1 3 1 4


œ œ œ œ ˙


œ œ œ œ ˙


œ œb œ œ ˙

œ œ œ œbœ œ œ œb

œ œ œ œb ˙

œ œb œ œbœ œb œ œb

œ œb œ œb ˙


œ œ œ œb ˙

31


44&2

Ê

m 7(+ 5)


4 1

Â

4 * 2

‰

4 1

„

4 * 2

‚

4 1

·

4

&

ext1

m 7 (- 5)

4 1 4 m%1ext 4 1 4 * 1ext 4 1 4

&1ext

o 7

3 1 4 m% 1ext

3 1 4 * 1ext3 1 4

&2

+ 7

4 1 4extm% 2 4 1 4

ext *2 4 1 4

ext

&1

ext

7 (- 5)

4 1 4ext

1ext

4 1 4ext

m% 1ext

4 1 4ext

&1

Ü 7 (+ 5)

* Shift positions

4 1ext4 * 1 4 1ext

4 * 1 4 1ext4

œ# œb œ œbœ# œb œ œb

œ# œb œ œb ˙

œb œb œ œbœb œb œ œb

œb œb œ œb ˙

œb œ∫ œ œbœb œ∫ œ œb

œb œ∫ œ œb ˙

œ# œb œ œœ# œb œ œ

œ# œb œ œ ˙

œb œb œ œœb œb œ œ

œb œb œ œ ˙


œ# œ œ œ ˙

32


* Shift positions

44&1

Ü

Ê

7 (- 5)


ext4 1

Â

4ext

1ext

‰

4ext

1

„

4ext

m% 1ext

‚

ext4 1

·

4ext

&1

ext

ext

Ü 7 (sus 4)

4 1ext

4ext ext

1 4 1ext

4ext

m% 1ext

4 1ext

4ext

&1

7 (sus 4)or m 7

4ext1

ext4 1 4 1

ext ext4 m% 1 4 1ext ext4

&1ext

Ü7 (sus + 4)

4 1ext * 41

ext 4 1ext*4 1

ext4 1ext*

4

&1

7 (sus + 4)

4 1 * 4 ext1 4 1 * 4 1 4 1 * 4

&1

6 (sus 2)

3 1 3 * 1 3 1 3 * 2 4 2 4

œb œ œ œœb œ œ œ

œb œ œ œ ˙

œ œ œœ œ œ œ

œ œ œ œœ ˙


œ œ œb œœ ˙


œ# œ œ œœ# ˙


œ# œ œb œœ# ˙


œ œ œ œ ˙

33


* Shift Positions

44&1

Ü

Ê

7

3 - 8 va's3rd InversionRoot = G

2 1

Â

4 * 1

‰

2 1

„

4 * 1

‚

2 1

·

4

&0

6

2 1 4 1ext3 m% 1 4 m% 1

ext 3 m% 1 4

&1ext

7

2 1 4 m% 1ext 2 1 4 * 1ext 2 1 4

&2

Üm 7

3 1 4extm% 2 3 1 4

ext * 23 1 4ext

&1

ext

m 7

2 1ext

4 m% 1ext

2 1ext4 * 1ext

2 1ext4

&0

m 6

3 1 4ext1

ext3 1 4ext m% 1ext 3 1 ext4


œ# œ œ œ ˙

œ œ œœ œ œ œ

œ œ œ œœ ˙


œ œ œ œ ˙

œ# œ œb œœ# œ œb œ

œ# œ œb œ ˙

œ œ œb œœ œ œb œ

œ œ œb œ ˙


œ œ œ œbœ ˙

34


* Shift positions

44&1

ext

Ê

m 7(+ 5)


2 1ext

Â

ext4 1

ext

‰

2 1ext

„

4ext

m% 1ext

‚

2 1ext

·

ext4

&1

m 7 (- 5)

3 1 4 * 1 3 1 4 * 1 3 1 4

&0

o 7

3 1 4 m%1ext

3 1 4 * ext1 3 1 4

&1

ext

+ 7

2 1 4ext

1ext

2 1 4ext

m% 1ext

2 1 4ext

&1

7 (- 5)

3 2 4 * 1 3 2 4 * 1 3 2 4

&1

Ü 7 (+ 5)

2 1 4extm%1 2 1 4

ext* 1 2 1

ext4

œ œ œb œ#œ œ œb œ#

œ œ œb œ# ˙

œ œ œb œbœ œ œb œb

œ œ œb œb ˙

œb œ œb œbœb œ œb œb

œb œ œb œb ˙

œ œ œ œ#œ œ œ œ#

œ œ œ œ# ˙


œ œ œ œb ˙

œ# œ œ œ#œ# œ œ œ#

œ# œ œ œ# ˙

35


* Shift positions

44&1

Ü

Ê

7 (- 5)


2 1

Â

3 * 1

‰

2 1

„

3 * 2

‚

3 2

·

4

&1

Ü 7 (sus 4)

2 2 4 * 1 2 2 4 * 1 2 2 4

&1ext

7 (sus 4)or m 7

2 2 4 m%1ext 2 2 4 * 1ext 2 2 4

&1

Ü7 (sus + 4)

2 3 4 * 1 2 3 4 * 1 2 3 4

&1

ext

7 (sus + 4)

2 3 4 m%1ext

2 3 4 * 1ext2 3 4

&0

6 (sus 2)

3 0 4ext1

ext3 1

ext ext4 m% 1ext 3 1ext 4ext

œ# œ œ œbœ# œ œ œb

œ# œ œ œb ˙


œ# œ œ œ ˙


œ œ œ œ ˙


œ# œ œ# œ ˙


œ œ œ# œ ˙

œ œ œœ œ œ œ

œ œ œ œœ ˙

36

Three-String 7th Chord Arpeggios

Utilizing three strings for playing 7th chord arpeggios is probably a more common ap-proach for many guitarists. There’s certainly less left-hand movement over all with three string 7th chord arpeggios than with two strings. However, there’s a bit of a trade-off: three strings affords more economy of movement; two strings allows for more control over phrasing.

I’m inclined to want to visualize arpeggios ascending - scales and intervals, as well - along (head nut toward soundbox) the fi ngerboard, rather than across (in position, 6th to 1st string); and descending, vice versa. Moving diagonally provides the same view/distribution/location of notes position to position, 8va to 8va, somewhat like the piano keyboard. Focus on this as you play 8va to somewhat like the piano keyboard. Focus on this as you play 8va to somewhat8va, ascending and descending, and reap the visual benefi ts.

My mentor, Dennis Sandole, would often advise concentrating on performing the notes in-volved in any given situation, regardless, rather than dwelling too much on any technical diffi culties or challenges presented. Dennis didn’t expect miracles, but he was defi nitely a “mind over matter” advocate.

37

7th Chord Arpeggios:Distribution 2, 1, 1

2, 1, 1 distributions starting on downbeats seem to have a natural even eight-note feel. Again, starting the arpeggios on an upbeat could, with appropriate phrasing and articulation, cre-ate a swing feel, if so desired.

One could change the rhythms to something potentially more interesting than just a steady sequence of eight notes. Eight note triplets, dotted quarter notes followed by eighth notes, an eighth and two sixteenths, etc., could work easily. It’s up to our imagination. Just keep the note sequence in tact to preserve a perceived arpeggiated melody.

Slurring three eighth notes in sequence with just one initial attack is possible where three notes are on the same string, of course. Apply a fi rm touch with the left hand, keeping fi ngers engaged on notes already played when ascending. Anticipate notes (fi ngering) when descending, placing fi ngers fi rmly on notes yet to be heard before the pull-off, etc. Attacking the fi rst note and then hammering on two frets ascending, or attacking the fi rst note and then pulling off, two frets descending, etc., might seem hard at fi rst, but a fi rm touch with fi ngers continuously engaged helps the slurred notes to have presence. Sliding more than one fret creates a bit of a glissando sound, but that’s okay. (Johnny Hodges, lead alto with Duke Ellington, was know for his effective glisses.)

Some fi ngerings may seem a bit awkward because of the fi nger extensions (stretching). Change the fi ngering wherever and whenever you like; just maintain the note distribution over the strings involved.

I recommend this consistency in the interest of the same phrasing when playing arpeggio to arpeggio, say, in the diatonic cycle of 2nds (scale tone 7th chords) ascending or descending, or other similar sequential broken chord patterns. (Sometimes new, interesting ideas surface when we force ourselves away from favorite fi ngering patterns.)

With the right hand, rest strokes (see Legend) seem best applied to the initial attack with slurring so that adequate presence can be discerned for all notes involved.

The fi rst line provides another example of the typical picking techniques to be applied. Where slurring is prevented because of the distance between notes on the same string, once again, apply those picking principles outlined on page 7.

38

7th Chord ArpeggiosDISTRIBUTION: 2, 1, 1

* Shift positions

44&1

Ü

Â≥7


4 2

‰≥

1

„≥

1ext

„

4 3

‚≥

2

·≥

2

·v

3

‚v

4

„v

ext1 1

„

2

‰v

4

Âv

1ext

&1

ext

6

4ext

3 1 * 1ext4 3

ext1 1

ext3 4

ext1 * ext

1 3 4ext

1

&1

ext

7

4 2

ext

1ext**ext

1 4 3 1 1 3 4ext1 1

ext2 4 1

ext

&1

Üm 7

4 3 1 1 4 4 3 3 4 4 1

**

1 3 4 1

&1

m 7

4 3

m%

1**

1 4 4 2 2 4 4 1 1

m%

3 4 1

&1

m 6

4 3


1ext *

1* 4 4 1 1 4 4 1

**

* 1ext3 4 1

œ œ œœ œ œ œ










39


**

**

**

**

*

** **

*

** **

* Shift positions** Slide 2 frets: gliss

44&1

Âm 7 (+5)


4 4

‰

1 *

„

1

„

3 4

‚

1

·

1

·

4

‚

3

„

1 * 1

„

4

‰

4

Â

1

&1

m 7 (-5)

4 2 1 %* 1

ext

4 3 2 2 3 4 1

ext

*% 1 2 4 1

&1

o 7

4 2 1ext

1 4 3 1 1 3 4 1ext1 2 4 1

&1

ext

+ 7

4 3 1ext

* 1ext

4 4 1 1 4 4 1ext

*ext1 3 4

ext1

&1

7 (-5)

4ext

2 1 * 1 4ext

3 2 2 3 4ext

1 * 1 2 4ext 1

&ext1

Ü 7 (+5)

4 3 1 1ext

4 4 2 2 4 4 1ext

1 3 4 1






œ∫ œ∫ œb œb œ œ∫ œb œb œ







40


** **

** **

* Shift positions** Slide 2 Frets: gliss

* *

44&1

Ü

Â7 (-5)


4ext

2

‰

mm%1

„

1ext

„

4 2

‚

2

·

2

·

2

‚

4

„

1 1ext

„

mm%2

‰

ext4

Â

1

&1

ext

Ü7 (sus 4)

ext4 2 1 1

ext ext4 3 2 2 3

ext4 1

ext1 2

ext4 1

ext

&1

ext

7 (sus 4) or m7 (sus 4)

4ext

2 1ext

* 1ext

4ext

3 1 1 3 4ext

1ext

* 1ext

2 4ext ext

1

&1

ext

Ü7 (sus +4)

dbl4

ext2 1 1

ext dbl4ext

2 1 1 2dbl

4ext

1ext

1 2dbl

4ext

1ext

&1

ext

7 (sus +4)

dbl4

ext2 1

ext*

ext1

dbl4

ext3 1 1 3

dbl4ext

1ext

* 1ext

2dbl

4ext

1ext

&2

6 (sus 2)

4 4 1 1 3 4 1 1 4 3 1 1 4 4 2



œ œ œœ œ œ œ









41


44&1

Ü

Â7

2-8 va's1st InversionRoot = C

4 3

‰

dbl1ext*

„

1

„

4 4

‚

1ext

·

1ext

·

4

‚

4

„

1 *dbl1ext

„

3

‰

4

Â

1

&2

6

4ext

2ext1 * 2 4ext

3 1 1 3 4ext

2 * 1ext2

ext4 2

&2

7

4ext

3 1ext*

1 4 3 1ext ext

1 3 4 1 * 1ext3 4

ext2

&ext1

Üm 7

4 3dbl

1ext

* 1 4ext ext4 1 1 4

ext4

ext1 *dbl

1ext

3 4ext1

&1

m 7

4ext

3ext1 * ext

1 4 3ext1 1

ext3 4

ext1 * 1ext

3 4ext

1

&1

m 6

* Shift positions

ext4 2

ext1 * 1 4ext

3 1 1 3 4ext

1 * 1ext2 4

ext1



œ œ œb œœ œ œb œ œ œb œ œ œ œb œ œ

œb œ œ œœb œ œ œ œ œ œ œb œ œ œ œb

œb œ œb œœb œ œb œ œ œb œ œb œ œb œ œb


42


44&1

ext

Âm7 (+ 5)


4ext

2

‰

dbl1ext

*

„

1ext

„

4ext

3

‚

ext1

·

1ext

·

3

‚

4ext

„

1ext *dbl

1ext

„

2

‰

4ext

Â

ext1

&1

m7 (- 5)

4 3 1ext *

1 4 4 1 1 4 4 1 * 1ext3 4 1

&1

o 7

4 2 1ext *

1 4 3 1 1 3 4 1 * 1ext2 4 1

&1

+ 7

4ext

2dbl

1ext*

1 4ext

3 1ext ext

1 3 4ext

1 *dbl

1ext

2ext4 1

&2

7 (- 5)

4 3ext1 * 2 4 4 1 1 4 4 2 * 1ext

3 4 2

&1

Ü 7 (+ 5)

* Shift positions

4ext

3dbl

1ext*

1ext

4 3dbl

1ext dbl

1ext

3 4ext1 *

dbl1ext

3 4ext

1

œb œ# œb œœb œ# œb œ œ œb œ# œb œ œb œ# œb

œb œb œb œœb œb œb œ œ œb œb œb œ œb œb œb

œb œb œ∫ œœb œb œ∫ œ œ œ∫ œb œb œ œ∫ œb œb

œ œ# œb œœ œ# œb œ œ œb œ# œ œ œb œ# œ

œ œb œb œœ œb œb œ œ œb œb œ œ œb œb œ

œ œ# œ œœ œ# œ œ œ œ œ# œ œ œ œ# œ

43


44&2

Ü

Â7 (- 5)


4 4

‰

1ext*

„

1

„

3 4

‚

1ext

·

1ext

·

4

‚

3

„

1 * 1ext

„

4

‰

4

Â

2

&2

Ü7 (sus 4)

4 3dbl

1ext*

2 4 4ext1 1

ext4 4 2 *dbl

1ext

3 4 2

&2

7 orm 7 (sus 4)

4 2dbl

1ext*

2 4 3ext1

ext1 3 4 2 *

dbl1ext

2 4 2

&3

Ü 7 (sus + 4)

4 3dbl

1ext*

3 4 4 1ext

1ext

4 4 3 *dbl

1ext

3 4 3

&3

7 (sus + 4)

4 2dbl

1ext*

3 4 3ext1

ext1 3 4 3 *

dbl1ext

2 4 3

&ext1

6 (sus 2)

* Shift positions

4ext

2ext1 *

ext1

ext4 3 1 1 3 4

ext ext1 * 1ext

2 4ext ext

1




œ# œ œ œœ# œ œ œ œ œ œ œ# œ œ œ œ#

œ# œ œb œœ# œ œb œ œ œb œ œ# œ œb œ œ#

œ œ œœ œ œ œ


44


44&1

Ü

Â7

2-8 va's2nd InversionRoot = C

4ext*

2

‰

1 *

„

1

„

4ext

2

‚

1

·

1

·

2

‚

4ext

„

1 * 1

„

2 *

‰

4ext

Â

1

&2

6

4 2 1 * 2 4 3 2 2 3 4 2 * 1 2 4 2

&2

7

4ext

2 1 * 1 4 2 1 1 2 4 1 * 1 2 4ext2

&1

Üm 7

ext4 * 2 1ext * 1 ext4 2 ext1 ext

1 2 4ext

1 * ext1 2 * ext4 1

&2

m 7

ext4 2 1

ext *1 4 2 1

ext1

ext2 4 1 * 1ext

2 4ext

2

&2

m 6

* Shift positions

4 2ext1 * 2 4 3 1 1 3 4 2 * 1ext

2 4 2




œ œ œ œbœ œ œ œb œb œ œ œ œb œ œ œ

œ œb œ œbœ œb œ œb œb œ œb œ œb œ œb œ


45


44&3

Âm 7(+5)


4ext

2

‰

1ext *

„

3

„

4ext

3

‚

1

·

1

·

3

‚

4ext

„

3 * 1ext

„

2

‰

4ext

Â

3

&1

m 7 (-5)

4ext

2 1ext *

1 4ext

3 1 1 3 4ext 1 * ext1 2 4ext 1

&1

o 7

4 2ext1 * 1 4 3 1 1 3 4 1 * 1ext

2 4 1

&3

+7

4ext

2 1 * 2 4 2 1 1 2 4 2 * 1 2 4ext 3

&1

7 (- 5)

4ext

2 1 * 1 4ext3 2 2 3 4

ext1 * 1 2 4ext

1

&2

Ü 7 (+ 5)

* Shift positions

4ext *

2 1 * 2 4ext2 1 1 2 4

ext2 * 1 2 * 4

ext2

œ# œb œ œbœ# œb œ œb œb œ œb œ# œb œ œb œ#

œb œb œ œbœb œb œ œb œb œ œb œb œb œ œb œb

œb œ∫ œ œbœb œ∫ œ œb œb œ œ∫ œb œb œ œ∫ œb

œ# œb œ œœ# œb œ œ œ œ œb œ# œ œ œb œ#

œb œb œ œœb œb œ œ œ œ œb œb œ œ œb œb


46


44&1

Ü

Â7 (-5)


dbl4ext

2

‰

1 *

„

ext1

„

4ext

2

‚

1

·

1

·

2

‚

ext4

„

1ext *

1

„

2

‰

dbl4ext

Â

1

&1

Ü7 (sus 4)

4ext

1 1 * 1 4ext2 2 2 2 4

ext1 * 1 1 4ext

1

&1

7 (sus 4) or m7 (sus 4)

4 1 1 * 1 4 2 2 2 2 4 1 * 1 1 4 1

&1

Ü7 (sus +4)

4ext

1 2 * 1 4ext2 3 3 2 4

ext1 * 2 1 4ext

1

&1

7 (sus +4)

4 1 2 * 1 4 2 3 3 2 4 1 * 2 1 4 1

&2

6 sus 2

* Shift positions

4 2dbl

1ext*

2 4 3ext

1 1ext

3 4 2 *dbl1ext

2 4 2


œ œ œœ œ œ œ





œ# œ# œ œ œ œ# œ œ œ


œ# œ# œ œb œ œ# œ œb œ


47


44&2

Ü

Ê7

2 - 8 va's3rd InversionRoot = C

3 2

Â

1ext

‰

4

‰

4 m%2

„

1

‚

1

‚

2

„

m%4

‰

4 1ext

‰

2

Â

3

Ê

2

&1

6

4 3 1*** 1 4 3 2 2 3 4 1 *

**1 3 4 1

&1

7

3 2 1ext

3 ***

3 2 1 1 2 3*** 3 1ext 2 3 1

&3

Üm 7

4 2 1 4ext

4 2 2 2 2 4 4ext1 2 4 3

&2

m 7

4 2 1 4 *** 4 2 2 2 2 4*** 4 1 2 4 2

&1

m 6

* Shift positions

4 2 1***

** Slide 2 frets: gliss

1 4 2 2 2 2 4 1 ***

1 2 4 1


œ œ œœ œ œ œ







48


* Shift positions** Slide 2 frets: gliss

44&1

Êm 7 (+5)


3 1

Â

1ext

‰

2

‰

4 2

„

3

‚

3

‚

2

„

4

‰

2 1ext

‰

1

Â

3

Ê

1

&2

m 7 (-5)

4 2 1ext

4 ***

4 2 1 1 2 4 ***

4 1ext

2 4 2

&1

o 7

4 2 1ext

* 1 4 2 1 1 2 4 1 * 1ext

2 4 1

&1

+ 7

3 2 1 ***

1 3 2 2 2 2 3 1 *** 1 2 3 1

&2

7 (-5)

4 3 1ext

4*** 4 3 1 1 3 4

*** 4

ext1 3 4 2

&2

Ü 7 (+5)

3 2 1 4 4 m%2 2 2 2 m% 4 4 1 2 3 2

œb œ œb œ#œb œ œb œ# œ# œb œ œb œ# œb œ œb

œb œ œb œbœb œ œb œb œb œb œ œb œb œb œ œb

œ∫ œ œb œbœ∫ œ œb œb œb œb œ œ∫ œb œb œ œ∫

œb œ œ œ#œb œ œ œ# œ# œ œ œb œ# œ œ œb

œb œ œ œbœb œ œ œb œb œ œ œb œb œ œ œb

œ œ œ œ#œ œ œ œ# œ# œ œ œ œ# œ œ œ

49


* Shift positions** Slur more like gliss

44&3

Ü

Ê7 (-5)

2-8 va's3rd InversionRoot = C

4 3

Â

1ext

‰

ext4

‰

4 3

„

1

‚

1

‚

3

„

4

‰

4ext

1ext

‰

3

Â

4

Ê

3

&2

Ü7 (sus 4)

3 3 1ext

4 4 4 mm%1 1 mm%4 4 4 1ext 3 3 2

&1

7 (sus 4) or m7 (sus 4)

3 3 1ext

3 ***

3 3 1 1 3 3 ***

3 1ext

3 3 1

&2

Ü7 +4

3 4dbl

1ext

3 3 4 1 1 4 3 3 dbl1ext 4 3 2

&1

7 (sus +4)

3 4 1ext

3 ***

3 4 1 1 4 3 ***

3 1ext

4 3 1

&1

6 (sus 2)

4 1 1 ***

1 4 1 2 2 1 4 1 ***

1 1 4 1




œ œ œ# œœ œ œ# œ œ œ# œ œ œ œ# œ œ

œb œ œ# œœb œ œ# œ œ œ# œ œb œ œ# œ œb

œ œ œœ œ œ œ


50

Distribution 1, 2, 1

A 1, 2, 1 distribution, especially Root position, seems to be a familiar arpeggio fi ngering for most. This distribution/fi ngering fi ts inside of familiar scale fi ngerings, involves minimal extensions, is mostly “in position,” feels comfortable, etc. but, I draw attention to this distribution because it lends itself, when starting on the downbeat, to getting a strong swing feel with appro-priate phrasing and articulation for Root position and 1st, 2nd, and 3rd inversion arpeggios, as well.

With this distribution, a benefi cial exercise to try is: Establish a strong swing feel with Root position two-8vas ascending and descending fol-lowed by the same chord, same quality, same pattern continuous (without losing a beat) with 1st inversion, then 2nd inversion, then 3rd inversion arpeggios.

Make the starting note on the same string where possible. Don’t try for speed, just ac-curacy and a strong swing feel. Remember, let fi ngers follow the eyes - not vice versa. Speed will develop naturally with repetition.

Articulations (accents) are above the notes on the “and” of each beat for the fi rst line. Ar-ticulation is the same for all lines that follow. Tie the “and” of four, 1st measure, to the “downbeat” of one, 2nd measure for a nice syncopated swing-feel effect - as shown in the fi rst line - if you’d like.

A picking sample is again provided on the fi rst line.

51


* Shift positions

44&2

Ü

Â≥

7

2 - 8 va'sRoot position

1

‰>≥

4 m%1

„≥>

2

„

m%1

>‚≥

4 3

·>≥

3

·

4

‚>v

1 m%2

„>v

1

„

m%4

v>

1

‰

2

Âv

&2

6

1 4 1 4 * 1 4 1 1 4 1 * 4 1 4 1 2

&2

7

1 4 m%1 3 m%1 4 2 2 4 1 m% 3 1 m% 4 1 2

&2

Üm 7

1ext

4 m%1 2 1ext

4 3 3 4 1ext

2 1 m%4 1ext

2

&2

m 7

1ext 4 m%1 3 m%1 4ext 3 3 4ext 1 m%3 1m% 4 1ext 2

&2

m 6

1ext

4 1 4 * 1 4ext2 2 4

ext1 * 4 1 4 1ext 2

œ œ œœ œ œ œ










52


44&2

Âm7 (+5)


1ext

‰>

ext4 1

„>

3

„

m%1ext

>‚

4ext

2

·>

2

·

4ext

‚>

1extm%3

>„

1

„

4ext

>

ext1

‰

2

Â

&3

m7 (-5)

1 4 m%1 3 m%1 4 3 3 4 1 m% 3 1 m% 4 1 3

&3

o 7

1 4 m%1ext

3 m%1 4 m% 1 4

U

1 m%4 1 m%3 1extm%4 1 3 0

U

&2

+7

1 4ext

1 3 m%1 4ext

2 2 4ext

1 m%3 1 4ext

1 2

&2

7 (-5)

1 3 m%1 3 m%1 3 2 2 3 1 m% 3 1 m% 3 1 2

&2

Ü 7 (+5)

1ext4 m%1 2 m%1 4

ext3 3 4

ext1 m%2 1 m%

ext4 1 2






œ∫ w œ∫ œb œb œ œ∫ œb œb œ w







53


* Shift positions

44&2

Ü

Â7 (-5)


1

‰>

3 mm%1

„>

2

„

mm%1

‚>

3 3

·>

3

·

3

‚>

1 mm%2

>„

1

„

mm% 3

‰>

1 2

Â

&1

Ü7 (sus 4)

1 3 mm%1 1 2 4 3 3 4 2 1 1 mm%3 1 1

&1

7 sus 4 or m7 sus 4

1 3 1 3 * 2 4 2 2 4 2 * 3 1 3 1 1

&1

Ü 7 +4

2 3 mm%1 1 3 4 3 3 4 3 1 1 mm%3 2 1

&1

7 sus +4

2 3 1 3 4ext

4 2 2 4 4ext

3 1 3 2 1

&2

6 sus 2

0 4 1 4 mm%ext1

ext4 2 2 4

ext ext1 mm% 4 1 4 0 2



œ œ œœ œ œ œ









54


* Shift positions

44&3

Ü

Â7

2 - 8 va's1st InversionRoot = C

1

‰>

4ext

1

„>

4ext

„

* 1

>‚

4ext

1

·>

1

·

4ext

‚>

1 *

>

4ext

„

1

„

4ext

‰>

1 3

Â

&3

6

1 3 1 4extm% 2 4 2 2 4 2 m% 4

ext1 3 1 3

&3

7

1 4 1 4ext *

1 4 1 1 4 1 * 4ext

1 4 1 3

&2

Üm 7

1 4ext

1ext

3 * 1ext4 1 1 4

ext1 * 3 1

ext4

ext1 2

&2

m 7

1 4 1ext

3 1 4 1 1 4 1 • 3 1ext

4 1 2

&2

m 6

1 3ext1 3

•

m% 2 4 2 2 4 2 m%3 1ext

3 1 2







55


44&2

Âm 7 (+5)

2 - 8 va's1st InversionRoot = C

2

>‰

4 1ext

„>

3

„

* 2

>‚

4 1

>·

1

·

4

‚>

2 * 3

>„

1ext

„

4

‰>

2 2

Â

&2

m 7 (-5)

1ext

4 1ext

3 m%1ext4 2 2 4

ext1 m%3 1

ext4 1

ext2

&3

o 7

1 4 m%ext1 3 m%1 4 m% 1 4

U

1 m% 4 1m%3 1extm% 4 1 3

ext1

U

&3

+ 7

2 4 1ext4 * 2 4 1 1 4 2 * 4ext 1 4 2 3

&3

7 (- 5)

1ext

4 1 4extm%1 4ext 2 2 4ext 1 m%4ext 1 4 ext1 3

&3

Ü 7 (+ 5)

* Shift positions

2 4ext

1ext4 * 2 4ext

1 1 4ext

2 * 4ext1 4

ext2 3

œb œ# œb œœb œ# œb œ œ œb œ# œb œ œb œ# œb

œb œb œb œœb œb œb œ œ œb œb œb œ œb œb œb

œb œb œ∫ œœb œb œ∫ œ

wb œ œ∫ œb œb œ œ∫ œb œb w

œ œ# œb œœ œ# œb œ œ œb œ# œ œ œb œ# œ

œ œb œb œœ œb œb œ œ œb œb œ œ œb œb œ

œ œ# œ œœ œ# œ œ œ œ œ# œ œ œ œ# œ

56


44&3

Ü

Â7 (-5)


1ext

‰>

4ext

1

„>

4ext

„

mm%ext1

‚>

4ext

1

·>

1

·

4ext

>‚

1extmm%4

ext

>„

1

„

4ext

‰>

1ext

3

Â

&3

Ü7 (sus 4)

1ext

4 1ext ext

4 mm%1 4ext

1 1 4ext

1 mm% 4ext

1ext

4 1ext

3

&3

7 (sus 4) or m7 (sus 4)

1ext

3ext1

ext4 1 4 1 1 4 1 4

ext1

ext3 1

ext3

&4

Ü 7 +4

1ext

4 1ext***

4 1

mm%

4ext

1 1 4ext

1

mm%

4 ***1

ext4

ext1 4

&4

7 (sus +4)

1ext

3ext1

***4 1 4 1 1 4 1 4 *

**1

ext3 1

ext4

&1

6 (sus 2)

* Shift positions

1 3 1


3 * 2 4 2 2 4 2 * 3 1 3 1 1





œ# œ œb œœ# œ œb œ œ œb œ œ# œ œb œ œ#

œ œ œœ œ œ œ


57


44&2

Ü

Â7


1

>‰

2 1

>„

4

„

4

>‚

4 3

·>

3

·

4

‚>

4 4

>„

1

„

2

>‰

1 2

Â

&3

6

1ext

3m%1 4 m% 1 4 3 3 4 1 m%4 1 m%3 1ext

3

&3

7

1 3 m%1 4 m%2 4 3 3 4 2 m% 4 1 m% 3 1 3

&3

Üm 7

2 3 1 4ext

4 4 2 2 4 4 4ext

1 3 2 3

&3

m 7

1 3 1 4extm%2 4 2 2 4 2 m%4

ext1 3 1 3

&3

m 6

1ext

3ext1 4 m%1 4 2 2 4 1 m%4 1

ext3

ext1 3





œ œb œ œbœ œb œ œb œb œ œb œ œb œ œb œ


58


44&4

Âm 7(+5)


1

‰>

3 1ext

>„

4ext

„

2

>‚

4 2

·>

2

·

4

‚>

2 4ext

„>

1ext

„

3

‰>

1 4

Â

&2

m 7 (-5)

1 3 1ext

3 m%2 4 2 2 4 2 m%3 1ext

3 1 2

&3

o 7

1 4m%1ext

3 m%1 4 m%1 4

U

1 m%4 1 m%3 1extm% 4 1 3 1

ext

U

&4

+ 7

1 3 m%1ext 4 2 4 3 3 4 2 4 1extm%3 1 4

&2

7 (- 5)

1 3 m%1 3 m%2 4 3 3 4 2 m%3 1 m%3 1 2

&3

Ü 7 (+ 5)

1 2ext1 4 3 4 3 3 4 3 4 1

ext2 1 3

œ# œb œ œbœ# œb œ œb œb œ œb œ# œb œ œb œ#

œb œb œ œbœb œb œ œb œb œ œb œb œb œ œb œb

œb œ∫ œ œbœb œ∫ œ œb

wb œb œ œ∫ œb œb œ œ∫ œb wb

œ# œb œ œœ# œb œ œ œ œ œb œ# œ œ œb œ#

œb œb œ œœb œb œ œ œ œ œb œb œ œ œb œb


59


44&1

Ü

Â7 (-5)


1

‰>

2 1ext

>„

2

„

3

‚>

4 3

·>

3

·

4

>‚

3 2

„>

1ext

„

2

>‰

1 1

Â

&2

Ü7 (sus 4)

1 2 mm%1 3 3 4 4 4 4 3 3 1 mm%2 1 2

&3

7 (sus 4) or m7 (sus 4)

1 3 * 1 3 2 4 4 4 4 2 3 1 * 3 1 3

&2

Ü7 (sus +4)

1 2 * 1 2 2 3 4 4 3 2 2 1 * 2 1 2

&3

7 (sus +4)

1 3 * 1 2 1 3 4 4 3 1 2 1 * 3 1 3

&4

6 (sus 2)

* Shift positions

1 4ext1 4

extmm%1 4 1 1 4 1 mm%4

ext ext1 4 1 4


œ œ œœ œ œ œ





œ# œ# œ œ œ œ# œ œ œ


œ# œ# œ œb œ œ# œ œb œ


60


44&4

Ü

Ê7


1ext

Â>

4 m%ext1

‰>

4

‰

ext1

„>

4 3

‚>

3

‚

4

>

1ext

„

4

>‰

ext1

‰

m%4

>Â

1ext

4

Ê

&2

6

1ext

4 m%ext1 2 1

ext4 3 3 4 1

ext2

ext1 m%4 1

ext2

&3

7

1ext

4 m% 1ext

3ext1 4 3 3 4 1

ext3

ext1 m%4 1

ext3

&4

Ü 7 m

1ext

3 m%1ext

4 1ext

3 3 3 3 1ext

4ext1 m% 3 1

ext4

&3

m 7

1 3 m%1 4 1 4 4 4 4 1 4 1 m% 3 1 3

&2

m 6

1ext

ext

3 m% 1 3 1 4 4 4 4 1 3 1 m%3 1ext

ext

2


œ œ œœ œ œ œ







61


44&3

Êm 7 (+5)


1ext

Â>

3 m%2

‰>

4

‰

1ext

„>

3 4

‚>

4

‚

3

„>

1ext

4

‰>

2

‰

m%3

Â>

1ext

3

Ê

&3

m 7 (-5)

1 3 1ext

4 1 4 3 3 4 1 4 1ext

3 1ext

3

&3

o

1ext

ext

3 1 4 m%1ext

3 m%1 4

U

1 m%3 1extm% 4 1 3 1

extm%4 1

U

&3

+ 7

1ext

4 m%2 4 1ext

4 4 4 4 1ext

4 2 m%4 1ext

3

&3

7 (-5)

1ext

4 1ext

4 1ext

4 2 2 4ext1 4

ext1 4 1

ext3

&4

Ü 7 (+5)

1ext

4 m%2 4ext

1 4ext

4ext

4ext

4ext

1 4ext

2 m%4 1ext

4

œb œ œb œ#œb œ œb œ# œ# œb œ œb œ# œb œ œb

œb œ œb œbœb œ œb œb œb œb œ œb œb œb œ œb

œ∫ œ œb œbœ∫ œ œb œb

w∫ œb œb œ œ∫ œb œb œ œ∫ wb

œb œ œ œ#œb œ œ œ# œ# œ œ œb œ# œ œ œb

œb œ œ œbœb œ œ œb œb œ œ œb œb œ œ œb

œ œ œ œ#œ œ œ œ# œ# œ œ œ œ# œ œ œ

62


* **

* * *

*

* Shift positions** Slur more like gliss

* *

*

44&4

Ü

Ê7 (-5)

2-8 va's3rd InversionRoot = C

1ext

Â>

4 1ext

‰>

ext4

‰

1

„>

4ext

3

‚>

3

‚

4ext

„>

1 4ext

‰>

1ext

‰

4

Â>

1ext

4

Ê

&4

Ü7 (sus 4)

ext1 4

ext1 4

ext1

ext4

ext3 3 4

ext1

ext4

ext1

ext4

ext1 4

&3

7 (sus 4 )or m7 (sus 4)

1ext

4ext

1 4 1ext ext

4 3 3ext4 1

ext4 1 4

ext1

ext3

&4

Ü 7 (+4)

1ext**

4ext ext

1 4 1ext**

4ext

2 2 4ext **

1ext

4 1ext

4ext **

1ext

4

&3

7 (sus +4)

ext1 **ext

4 1ext

3 1ext**

4ext

2 2 4ext**

1ext

3 1ext

4ext**ext

1 3

&3

6 (sus 2)

1 3 1 3 1 3 4 4 3 1 3 1 3 1 3




œ œ œ# œœ œ œ# œ œ œ# œ œ œ œ# œ œ

œb œ œ# œœb œ œ# œ œ œ# œ œb œ œ# œ œb

œ œ œœ œ œ œ


63

Root position 7th chord, 1, 1, 2 distributions feel and sound like Root position 1, 1, 1 distri-bution triad arpeggios, followed by adding a 7th on the fi nal string ascending. If 1, 1, 1 distribution triad arpeggios have become familiar, this makes adding the 7th easier visually and mechanically. Of course, with 1st, 2nd, and 3rd inversion 1, 1, 2 distributions the effect is similar as we add the missing chord tone on the fi nal string in sequence.

Once again, some fi ngering might feel awkward - double extensions - etc., as well as some position shifts. Change fi ngerings if you like, but maintain the note distributions. I’ve attempted to keep fi ngerings logical (not impossible) within each 8va, and yet, still logical and smooth lower 8va to higher 8va or vice versa. Admittedly, fi ngerings might change somewhat if one were playing only the higher or lower 8va without any continuation into the next 8va above or below.

As I mentioned earlier, one might change the rhythms eventually for variety’s sake. But keep the distribution and broken chord pattern in tact. Varied rhythms create new challenges for both left-hand fi ngering and right-hand picking techniques.

Try something new, something different, something challenging to both left and right hand, a slightly altered view of the fi ngerboard as you add to your storehouse of compositional devices.

A reminder: Press fi rmly with left-hand fi ngering when slurring three eighth notes in se-quence with just one initial attack. Slur just the fi rst two notes if you prefer. Of course, attacking all notes is always possible, but I’m trying to put emphasis on a more legato sound.

Extended fi ngers and position shifts with 3rd inversion 1, 1, 2 distribution arpeggios might seem awkward,

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