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EasyMinoriiVIArpeggios

EasyandEssentialiiVIArpeggiosforGuitarWrittenBy:MatthewWarnockPublishedBy:GuitarforLifeLLCCopyright2018GuitarforLifeLLC


TableofContentsHowtoUseThiseBook5ArpeggioRhythms5ArpeggioPatterns5ArpeggioOrnamentsOneOctaveArpeggiosTwoOctaveArpeggiosExtendedArpeggiosParallelm7b5ArpeggiosVoiceLeadingArpeggiosbVI7-V7SubArpeggiosJazzStandardSoloingStudiesAbouttheAuthor


HowtoUseThiseBookWelcometotheEasyMinoriiVIArpeggioseBook,greattohaveyouhere!BeforeyoudiveintothearpeggiosinthiseBook,takeaminutetolearnhowthebookandthismaterialisorganized.Aswell,theinformationinthischapterhelpsyougetthemostoutofeveryminuteyouspendontheseexercisesinthepracticeroom.Tobegin,youlookatthedifferentprogressionsfoundinthiseBookandthatyoucanusetoworkanyarpeggioshapesbelow.

MinoriiVIVariationsThereareanumberofminoriiVIvariationsthatyoucanusetolearnandpracticeanyarpeggioyoulearninthiseBook.Thesevariationsarefoundinmanyjazzstandards,andthereforeareessentiallearningsoyou’repreparedtojamonanyjazztune.Tobegin,here’sanintrotoeachofthoseprogressions.MakesuretoworkthearpeggioshapesinthiseBookovereachofthesevariationsindifferentkeysinyourstudies.


MinoriiVShortandLong

ThefirstvariationoftheminoriiVIthatyouworkoninthiseBookistheiiV.Thisprogressionisfoundinmanyjazzstandards,andit’softenusedoveronebar,thoughtwo-barversionsareusedaswell.Here’sanexampleofaminoriiVprogressioninCmtoplay,getintoyourearsandfingers,andusetostudythearpeggiosinthiseBook.

Here’sthelongversionoftheminoriiVprogressionthatyoucantryoutandworkwitheacharpeggioyoulearninthiseBook.


MinoriiVIShortandLong

YoualsoworkonaddingthetonicminorchordtoformthefullminoriiVIprogressioninyourstudies.Asyoudiscoverinalaterchapter,thetonicminorchordisoftenwrittenasm7,butyouplayitasm6,m6/9,mMaj7,etc.InthisexampleyouhavetheIm6/9variationinthelastbaroftheprogression.Giveitatry,getthesechordsintoyourfingersandears,thenworkanyarpeggioyoulearninthiseBookoverthisprogression.

Here’sthelongversionoftheminoriiVIprogressiontocheckout,playthrough,andgetintoyourearsandfingers.


MinoriiVIbIIIShortandLong

YoucanalsoaddthebIIImaj7chordattheendoftheprogression,especiallyinaturnaroundsituation.ThebIIImaj7chordistherelativemajorchord,soit’sdirectlyrelatedtothetonicminorchordandminorkeyyou’rein.TrythisshortexampleouttogetthesoundofthisminoriiVIvariationinyourearsandunderyourfingers.

Here’sthelongversionoftheiiVIbIIIminorprogression.TakeaminutetoplaythroughthesechordsandgetthemintoyourearsandfingerstoprepareyourforthisprogressioninthiseBook.


AddingRhythmsInthefirstchapter,youlearnaboutaddingrhythmstoarpeggiosinyourstudies.Theserhythmselevateyourmusicianship,challengeyourtechnique,andprovidevarietyinyourarpeggiosoloinglines.Makesuretoapplyatleastonerhythmtoeveryarpeggioshapeyoulearntogetthemostoutofyourarpeggioworkout.

AddingPatternsTherearepickingpatternsandarpeggiopatternsincludinginthesecondchapterofthiseBook.Thesepatternsaredesignedtochallengeyourtechnique,helpyoumemorizearpeggioshapes,andgiveyoumaterialtouseinyoursolos.MakesuretoapplyatleastonepatterntoeveryarpeggioshapeyoulearninthiseBooktogetthemostoutofthoseshapesinyourplaying.

AddingOrnamentsYoualsolearnclassicchromaticornamentsinthethirdchapterthatyoucanaddtoanyorallofthearpeggiofingeringsinthiseBook.Theseornamentselevateanyarpeggioinyoursolos,somakesuretoworkatleastoneornamentoneveryarpeggioshapeyoulearn.


ChapterLicksAfteryoulearnthedifferentarpeggiofingeringsineachchapter,thereare3licksthatusethosearpeggiosoverdifferentprogressions.Workontheselicks,learnthemindifferentkeys,addthemtoyoursolosovertunes,etc.Thishelpsyoutakethearpeggioshapesintomusicalsituationsasyouexpandontheseshapesinyourimprovisations.

ChapterSolosAttheendofeachchapterisasolothatusesthematerialpresentedinthatchapteroverajazzstandard.Thesesolospresentthematerialfromthatchapterinamusicalsituationtohelpyoubringtheseconceptsintoyourownsolos.Workonthesesolos,atleastreadthroughthemforafewdays,beforemovingontothenextchapter.

StandardStudiesAttheendofthiseBooktherearethreestandardsoloingstudies,writtenoverlongertunesthanthechaptersolos.Thesearefullsolosthatyoucanlearn,breakdown,andstealideasfromtoaddtoyourownplaying.EachoneusesadifferenttechniqueanddrawsfromthematerialinthiseBook,includingarpeggioshapes,subs,ornaments,rhythms,etc.


ThesearetheculminationofallthematerialinthiseBook,butyoudon’thavetowaituntilyoufinishthewholebooktostartonastudy.Afteryougetthroughachapter,youcanchallengeyourselfbyworkingonastandardsolostudyasyoualsoworkonthebookexercises.There’snorightorwrongwaytoworkonthosestudies,sotrythemout,comebacktothemwhenyou’reready,andhavefunwiththosesolos.

BackingTrackProgressionsinEveryKeyTherearebackingtracksprovidedinall12keysforthe4longminoriiVIvariationsandoneshortvariationswiththiseBook.Tohelpyouquicklyfigureoutwhatchordsareusedineachprogression,andoneachtrack,theretheyare.

MinoriiVBackingTrackChords

HerearethechordchangesusedforthelongminoriiVbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMinor=Dm7b5G7altØ DbMinor=Ebm7b5Ab7altØ DMinor=Em7b5A7altØ EbMinor=Fm7b5Bb7altØ EMinor=F#m7b5B7altØ FMinor=Gm7b5C7altØ GbMinor=Abm7b5Db7altØ GMinor=Am7b5D7altØ AbMinor=Bbm7b5Eb7altØ AMinor=Bm7b5E7altØ BbMinor=Cm7b5F7altØ BMinor=C#m7b5F#7alt


MinoriiVIBackingTrackChords

HerearethechordchangesusedfortheminoriiVIbackingtracks,bothshortandlong,includedinthiseBookforyoutopracticewith.

Ø CMino=Dm7b5G7altCm7Ø DbMinor=Ebm7b5Ab7altDbm7Ø DMinor=Em7b5A7altDm7Ø EbMinor=Fm7b5Bb7altEbm7Ø EMinor=F#m7b5B7altEm7Ø FMinor=Gm7b5C7altFm7Ø GbMinor=Abm7b5Db7altGbm7Ø GMinor=Am7b5D7altGm7Ø AbMinor=Bbm7b5Eb7altAbm7Ø AMinor=Bm7b5E7altAm7Ø BbMinor=Cm7b5F7altBbm7Ø BMinor=C#m7b5F#7altBm7

MinoriiVIbIIIBackingTrackChords

HerearethechordchangesusedforthelongminoriiVbIIIbackingtracksincludedinthiseBookforyoutopracticewith.

Ø CMinor=Dm7b5G7altCm7Ebmaj7Ø DbMinor=Ebm7b5Ab7altDbm7Emaj7Ø DMinor=Em7b5A7altDm7Fmaj7Ø EbMinor=Fm7b5Bb7altEbm7Gbmaj7Ø EMinor=F#m7b5B7altEm7Gmaj7Ø FMinor=Gm7b5C7altFm7Abmaj7Ø GbMinor=Abm7b5Db7altGbm7Amaj7Ø GMinor=Am7b5D7altGm7Bbmaj7Ø AbMinor=Bbm7b5Eb7altAbm7Bmaj7Ø AMinor=Bm7b5E7altAm7Cmaj7Ø BbMinor=Cm7b5F7altBbm7Dbmaj7Ø BMinor=C#m7b5F#7altBm7Dmaj7


ExtendedArpeggiosAfteryouworkontwo-octavearpeggios,youbringextendedarpeggiosintoyourvocabularyoverminoriiVIchords.Extendedarpeggiosgobeyondtheloweroctaveasyounowinclude9ths,11ths,and13thsinyourshapes.HerearetheextendedarpeggioformulasforeachchordintheminoriiVIprogressionbeforedivingintotheseshapesbelow.

Ø iim7b5=1b3b5b7b911b13(FromtheLocrianmode)Ø V7alt=13#5b7b9#9#11(FromtheAlteredscale)Ø Im7=1b35b791113(FromtheDorianmode)Ø bIIImaj7=13579#1113(FromtheLydianmode)

Nowthatyouknowwhatextensionsyouuse,andwhatscale/modethosenotescomefrom,timetoworktheseshapesontheguitar.Startwithaddingoneextendedarpeggioatatimetoyoursolos,fortherestofthechordsuseoneandtwo-octaveshapesyoualreadyknow.Overtimeyouaddmoreextendedarpeggiosuntilyoucanplayovereachchordwiththesenewshapes.Thenblendthemwithshapesyoualreadyknowtointegratethemorganicallyintoyoursolos.


ExtendedArpeggioShapesHerearetheextendedarpeggiosfortheiim7b5V7altIm7bIIImaj7progressiontogetunderyourfingersandintoyourears.Becausetherearevariationsonthisprogression,youcanstartwiththeiiV,ortheiiVI,orthefulliiVIbIIIprogressioninyourstudies.Aslongasyoucoverthesevariationsinyourstudies,especiallysoloingwiththeseshapesoverbackingtracks,you’redoingwell.Extendedshapesworkwellonslowertemposongsorwhenyouhaveoneortwobarsperchord,ormore.Whenthere’smoreroominthesongortempo,youhavemoreroomtocoveronthefretboard.Theseextendedshapeshaveeverythingyouneedtoopenupyourfretboardandcovermoregroundwhenneededinyoursolos.Aswell,extendedarpeggiosbringnewcolorssuchas9ths,11ths,and13ths,intoyourarpeggiolines.Thisgivesyoualargermelodicpalettetodrawfromcomparedtothetwo-octaveshapesyoulearnedinthepreviouschapter.Asyouworkontheshapesbelow,hereareimportantandbeneficialexercisesthatyoucanuseforanyoralloftheseshapes.Youdon’thavetomastereveryexercisebeforemovingontothenextsectionornextchapter.But,workingafewoftheseexercisesgivesyouthefoundationneededtomoveforwardandexcelwiththelaterexercisesinthiseBook.Startwithafew,workthemoverthebackingtracks,andthenmoveontothenextsectionandchapterofthiseBook.


Overtime,comebacktotheseshapesandwork2-3moreexercisestocoverthemfurtherinyourstudies.Afterafewroundsofreturningtotheseexercisesyoucancovereveryexercisewiththeseshapesinyourstudies.Herearethoseextendedarpeggioexercisestoexploreinyourpracticeroutine.

Ø Learnoneshapeatatimeandmemorizeeachshapeasyougo.Ø Playeacharpeggioup,down,andalternatingupanddown.Ø Skiparoundthearpeggio,soplayR-5-3-7forexample.Ø Singeachnoteasyouplaythroughanyarpeggioshape.Ø Putonabackingtrackandsolowiththesearpeggioshapes.Ø Repeatbysoloingovertheotherbackingtracksinthatkey.Ø Moveontootherkeysandsolooverthosebackingtracks.Ø Adddifferentrhythmstoyoursoloing.Ø Adddifferentornamentstoyoursoloswiththesearpeggios.Ø Addpickingpatternstotheseshapesinyoursolos.Ø Writeout3-5licksusingthesearpeggioshapesinthoselines.Ø Writeoutanetudeoverajazzstandardprogression.Ø Writeoutasolooverajazzstandardwiththesearpeggiosshapes.Ø Solowiththeseshapesoverfulljazzstandardswhenready.

Nowthatyouknowhowtopracticetheseextendedarpeggioshapes,it’stimetotakethemtothefretboard.


3ExtendedArpeggioLicksTohelpyoutaketheseextendedarpeggiostoamusicalsituation,herearethreeclassiclickstolearnandaddtoyoursoloingvocabulary.Hereareessentialexercisesthatyoucanustopracticetheselickstoensureyougetthemostoutoftheminthepracticeroom.Youdon’thavetodoeveryexercisebeforemovingontothenextlick,juststartwithacoupleperlickinthissection.Ifyoudoacoupledifferentexercisesperlick,youlearneverylineandcovermostoralloftheexercisesintheprocess.

Ø Learnthelickaswritten,memorizethephrase.Ø Playthelickoverabackingtrackinthegivenkey.Ø Playthelickindifferentkeyswithametronomeandtrack.Ø Playthechordsandsingthelick.Ø Solooverthebackingtracksandaddthelicktoyoursolos.Ø Starttopersonalizetherhythmsandnotesinthelick.Ø Write3-4similarlicksandlearnthemthesameway.Ø Addthelicktoyoursolosoverjazzstandards.

Nowthatyouknowhowtopracticetheselicks,it’stimetotakethemtothefretboard.Thislickusesonlyarpeggionotes,nochromaticnotes,tooutlineeachchordintheprogression.Whileyouhavetheoptiontoaddinchromaticornaments,youdon’thavetousethemineverylineyouplay.Here’sanexampleofhowplainarpeggiosareusedtocreateaninterestinglineinyourarpeggio-basedsolos.


AudioExample23

Thislickusesapickingpatternoverthefirsthalfofthelines,thenthere’sarepeatedmotivethatfinishesthephrase.Ifyoudigthepatternfromthefirsthalfofthelick,takeitoutofthislineandworkitoverotherarpeggioshapesinyoursoloing.AudioExample24

Hereyouuseasequenceoffour-notesinthesecondbar,aswellasarepeatedmotiveinthelasttwobarsoftheline.Usingrepetitionandsequencesbringsinterestandengagementtoarpeggiobasedlines,withouthavingtoaddtoomanyornaments.


Aswell,lookattheclimbingdirectionofthefirstbar,thenthedescendingdirectionofthesecondbar.Usingdirectionisasolidwaytobringinteresttoyoursoloswhilenotthinkingaboutnotesorarpeggiosetc.intheprocess.AudioExample25


SummertimeExtendedArpeggiosStudyTobringthesearpeggiostoatune,here’sastudywrittenovertheSummertimechordprogression.Togetthemostoutofthisarpeggiostudy,hereareafewexercisesyoucanusewhenworkingthischorusinthewoodshed.Youdon’thavetodoalloftheseexercisesbeforemovingontothenextchapter.But,makesureyoudodifferentexercisesfordifferentstudiesinthiseBook.Thatwayyoulearneachstudy,andtryouteveryexerciseatleastonceinyourpracticeroutine.

Ø Learnthesoloonephraseatatime,memorizeasyougo.Ø Playthewholestudywithametronome.Ø Playthestudywiththeaudioexample.Ø Playthestudywiththebackingtrack,noguideguitartrack.Ø Starttoaltertherhythmsandnotestomakethesoloyourown.Ø Writeoutachorusofsolousingthesamearpeggiosandconcepts.

Nowthatyouknowhowtopracticethisarpeggiostudy,it’stimetotakeittothefretboard.AudioExample26


JazzStandardStudiesTofinishyourintroductiontominoriiVIarpeggios,herearethreelongerstudieswrittenoverjazzstandards.EachofthesestudiesfocusesonaparticularpracticinggoalthatisappliedtoarpeggiosfromthiseBook,andtheprogressionofthetune.Thefirstgoalistousetherhythmofthemelodytobuildasolo,thesecondgoalistousespecificrhythms,andthethirdisBachpatterns.Byworkingeachofthesestudiesinyourpracticeroutine,youexpandyourmelodicandrhythmicknowledgewhensoloingwitharpeggios.YoualsodigintofourfamousBachpatterns,whichyoucanusetodiversifyyourarpeggio-basedlinesandphrases.Havefunworkingeachofthesestudiesinthewoodshed,thenwhenready,writeafewstudiesofyourownusingthesesoloingconcepts.


AngelEyesThefinalstandardstudyusesarpeggiosfromthiseBookalongwithfourdifferentBachpatterns.Bachhadalargevocabularyofarpeggiovariationsthatheusedinhismusic,andwecanstealfromthosepatternsinourownplaying.Each8-barsectionofthetunehasadifferentBachpatternovereveryarpeggio.Becauseofthis,workthestudyin8-barchunks,andthenbringthemtogetherwhenreadytoplaytheentirechorus.Aswell,feelfreetotakeanyofthesefourBachpatternsandapplythemtoanyandallarpeggiosyou’reworkingoninthepracticeroom.Thesepatternschallengeyourpickingandfrettinghands,elevateyourcoordination,andexpandyourarpeggiochopsatthesametime.Plusyougettostudythemusicalvocabularyofoneofthegreatestmusiciansofalltime.Can’tgowrongwiththat.Havefunlearningthisstudy,thenplayingitwithametronome,withtheguidetrack,andoverthebackingtrackinyourstudies.AudioExample41


AbouttheAuthorIgrewuplisteningtoclassicrockandblues,andIstilllovethosestylesofmusic.But,it’ssoloingIreallylove,andthat’swhatdrewmetojazz.MyloveofjazzhastakenmefromsmalltownCanadaaroundtheglobe.Istudiedatthreeofthetopjazzprogramsintheworld,startingwithMcGillUniversity,thenWesternMichigan,andfinishingwithaDoctoratefromtheUniversityofIllinois(UIUC).I’vetaughtover6000privatejazzguitarlessons,andmystudentsrangefrombeginners,toProfessorsatNYU,andeverythinginbetween.I’vealsotaughtjazzguitar,popularmusic,andmusicbusinessatuniversitiesinCanada,theUS,theUK,Brazil,andNepal.I’veplayedover2500gigsin8countriesandsharedthestagewithRandyBrecker,StefonHarris,andSlideHampton.Someofmyfavoritegigswereat:

• LincolnCenter• InternationalAssociationforJazzEducationConference• NuJazzFestival(Brazil)• SavassiJazzFestival(Brazil)• InternationalJazzDayFestival(Nepal)

Jazzhasbeeninmylifefor20years,andeverydayI’mgladIfoundthisgreatmusic.Becauseofthis,Iwanttosharethisloveofjazzandguitarwithyou.Youneverknowwhereit’llleadyou.Forthebestfreejazzguitarlessonsontheweb,visitmattwarnockguitar.com

Easy Minor ii V I Arpeggios Preview PDF - jazzguitar.be · those notes come from, time to work...

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