Building Bebop Vocabulary Vol

8/12/2019 Building Bebop Vocabulary Vol

http://slidepdf.com/reader/full/building-bebop-vocabulary-vol 1/10

Chapter 2 - Arpeggio Practice Patterns

(This is a preview of the Building Bebop Vocabulary Vol. 2 ebook fromwww.mattwarnockguitar.com. Click to view the full ebook page here.)

Click to Buy the full Building Bebop Vocabulary Vol. 2 eBook From MattWarnockGuitar.com

http://www.mattwarnockguitar.com/building-bebop-vocabulary-vol-2-dominating-dominant-7th-chords




http://www.mattwarnockguitar.com/

http://www.mattwarnockguitar.com/



When learning arpeggios for Dominant 7th chords, or any chords for that matter, youoften find yourself at a point where you can outline the chord changes in a meaningfulway by applying different arpeggios to a progression, but that your lines tend to sound abit plain after a while if you are only using arpeggios in your jazz guitar solos.

To help bring an added level of interest, and create the “tension and release” sound thatis so important to finding a jazz sound in your playing, I have written out 8 of my favoriteBebop Arpeggio Patterns in this chapter that will add chromaticism to your arpeggiobased lines and phrases.

As well, there are 10 Practice Tips to start this chapter that will help you get thesechromatic arpeggio patterns into your fingers, ears and allow them to come out in anorganic fashion when you add them to your jazz-guitar solos and lines.

So, let’s begin by looking at how you can practice each Bebop Arpeggio Pattern before

we dive into the patterns themselves.

10 Arpeggio Patterns Practice Tips

Here are 10 of my favorite ways to practice these, or any, Arpeggio Pattern in order tofully get the sound of each idea into your ears, get the lines under your fingers, andbring these phrases into your jazz-guitar solo in a natural and fluid manner.

1. Practice 1 Arpeggio Pattern in 1 key over a variety of tempos.2. Practice 1 Arpeggio Pattern in 12 keys over a variety of tempos.3. Play the plain arpeggio up and down for a given chord, followed by the arpeggio with

a practice pattern immediately after.4. Sing the root of any chord while playing the arpeggio pattern on your guitar.5. Play a chord on the guitar and sing the arpeggio pattern with your voice.6. Put on a 7th-chord vamp and solo over that chord using only 1 arpeggio pattern.7. Put on a ii V vamp and solo over the 7th chord using 1 or more arpeggio practice

patterns.8. Put on a ii V I vamp and solo over the 7th chord using 1 or more arpeggio practice

patterns.

Bonus Exercise

Though each Bebop Arpeggio Pattern in this chapter is written out over a7th Arpeggio, to make it easier to read and quickly apply to the guitar, besure to apply all of these patterns to 9th, 13th, 7#11, 9#11 and 13#11Arpeggios to bring these patterns to all of the Arpeggios you’ve explored inthis book.







9. Solo over a Jazz Blues Chord Progression and use 1 or more arpeggio patterns asthe bases for your lines over each 7th chord in the tune.

10. Solo over a tune such as “Jordu,’ or “Rhythm Changes,” and use 1 or more patternsto outline the 7th-arpeggios that come up during the progression.

Now that you know how to practice these Bebop Arpeggio Patterns, let’s take a look ateach one written out over two-octave 7th arpeggios in various keys on the neck.

Approach Note Below

The first pattern that you will explore is probably my favorite Bebop Arpeggio Pattern to

practice and use in my improvised lines.

Here, you are adding 1 approach note below each of the notes in the arpeggio, 1/2-stepbelow each note.

This means that if you are playing A7, as in the example below, instead of playing A-C#-E-G, you play G#-A, C-C#, D#-E and F#-G as you approach each chord tone by a half-step below.

Audio Example 11

To help get you started with this approach in an improvised setting, here is an examplelick I worked out over a ii-V-I progression with the 1/2-step below approach being usedover the A7 chord in bar 2 of the progression.






Audio Example 12

Approach Note Above

In this Bebop Arpeggio Pattern, you use the opposite approach as the first lick, as youwill be adding a half-step approach to each note in the arpeggio from above, rather thanbelow as you did in the previous pattern.

This means that instead of playing Bb-D-F-Ab, a plain Bb7 arpeggio, you will now playB-Bb, Eb-D, Gb-F, and A-Ab as you bring a chromatic approach note above each notein the arpeggio.

Audio Example 13

Here is a sample lick using the 1/2-step above pattern over the Bb7 in the second bar ofthis ii-V-I progression in the key of Eb Major. Try learning this lick in the given key,before taking it to the other 11 keys, tunes you know, and finally writing out licks of yourown using this Bebop Arpeggio Pattern as the basis for your lines.






Audio Example 14

2 Approach Notes Below

A variation of the first pattern in this chapter, here you will be adding two chromaticnotes below each note in the underlying arpeggio.

So, if you are playing C7, C-E-G-Bb, you now add two chromatic notes below each ofthose chord tones to build the pattern, ending up with Bb-B-C, D-D#-E, F-F#-G and Ab-A-Bb as you new pattern, which you can see in the tab and notation below.

Audio Example 15

Here is a ii-V-I lick in the key of F major where I used the two-note approach pattern

over the C7 chord in bar two of the phrase. Because you are now using 3 notes for eachchord tone in the pattern, it takes up more space in your lines when using this pattern.So you will target few notes within a bar, as I did here, but it is still an effective andinteresting pattern nonetheless.






Audio Example 16

2 Approach Notes Above

Here is the partner lick to the previous pattern, as here you will be adding in twochromatic notes above each note in the arpeggio.

If you have a D7 chord, as you do below, rather than playing D-F#-A-C, the plainarpeggio, you will now be playing E-Eb-D, Ab-G-F#, B-Bb-A and D-Db-C as the BebopArpeggio Pattern over this chord.

Audio Example 17

To get you started with this pattern, here is a sample line written out over a ii V I chordprogression in the key of G Major.

I used the two chromatic-notes above pattern over the D7 chord in bar 2 of theprogression, in this case targeting the 7th and 3rd of the underlying chord.

Practice this lick in the given key at different tempos before taking it to the other 11 keysand applying it to tunes you know or are working on in the woodshed.






Audio Example 18

Enclosure 1

Another favorite Arpeggio Pattern of mine is the Enclosure 1, which uses one approach-note above and one approach-note below each chord tone of the underlying chord.

In the case of the example below, rather than play Eb-G-Bb-Db, the plain arpeggionotes, you are playing E-D-Eb, Ab-F#-G, B-A-Bb, and D-C-Db to create this Enclosurepattern over the Eb7 chord.

Audio Example 19

After working this pattern in a number of different tempos and keys around the neck,you can apply it to your soloing practice, as I did in the ii-V-I lick in the key of Ab majorbelow.

Here I enclosed the 5th, Bb, and 3rd, G, of the underlying Eb7 chord. Due to the lengthof the pattern, you’ll only be able to do a few enclosures per bar before you run out ofroom, as was the case in this line where I chose two notes to enclosure rather than tryto force in any more within this short span of time.






Double Enclosure Below

In our last two Bebop Arpeggio Patterns, we’ll be looking at combinations of DoubleEnclosures, as in the first example below which uses one chromatic above and two

chromatic-notes below each note in the arpeggio.

For the given G7 chord, instead of playing G-B-D-F, the plain arpeggio, you will now beplaying Ab-F-F#-G, C-A-A#-B, Eb-C-C#-D and Gb-Eb-E-F as you work this patternthrough the notes of the underlying arpeggio.

Audio Example 23

And here is an example lick written out over a ii-V-I chord progression in the key of Cmajor, where I use the Double Enclosure 1 pattern over the G7 in bar 2 of the phrase.

Audio Example 24






Double Enclosure Above

The final Bebop Arpeggio Pattern that we will look at uses one note below and twoabove each chord tone in the underlying arpeggio. So, if you have a B7 like the given

example, instead of playing B-D#-F#-A, the plain arpeggio, you now play, A#-C#-C-B,D-F-E-D#, F-G#-G-F#, and G#-B-Bb-A over the underlying chord.

Audio Example 25

To finish off this chapter on Bebop Arpeggio Patterns, here is an example ii-V-I lick inthe key of E major for you to check out in the woodshed. Practice this line in E majorbefore moving to the other 11 keys, and as always work it over various tempos andbring it into your soloing practice ideas as well.

Audio Example 26




Building Bebop Vocabulary Vol

Documents

Transcript of Building Bebop Vocabulary Vol