latarski, don arpeggios for guitar

47
THE PROGRESSIVE ARPIOO FOR GU ITARIST GUITAR ,..4NEW APPROACH TO ARPEGGIOS AND THEIR RELATIONSHIP TO CHORDS AND SCALES. FOR THE ROCK, BLUES, AND JAZZGUITARIST. by DON LATARSKI

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Page 1: Latarski, don   arpeggios for guitar

THEPROGRESSIVE

ARPIOOIOSFOR

GU ITARIST

GUITAR,..4 NEW APPROACH TOARPEGGIOS AND THEIR

RELATIONSHIP TOCHORDS AND SCALES.FOR THE ROCK, BLUES,AND JAZZGUITARIST.

by DON LATARSKI

Page 2: Latarski, don   arpeggios for guitar

o .l990 Don LotorskiInternotionol Rights SecuredAll Rights Reserved

Cover Design: Joonn Correro

WARNING: Any duplicotion, odoptotionor orrongement of the compositionscontoined in this collection, without thewriiien consent of the owner, is oninfringement of U.S. copyright low ondsrr t r ier - - t to tha nenol i iaq r rn. l l i . ' lb i l i+ ioc

THEPROGRESSIVE

GUITARIST

ARPIOOIOSFCR

GUITAR...A NEW APPROACH TOARPEGGIOS AND THEIR

RELATIONSHIP TOCHORDS AND SCALES.FOR THE ROCK, BLUES,AND JATZGUITARIST.

by DON LATARSKI

Page 3: Latarski, don   arpeggios for guitar

INTRODUCTION

An arpeggio is a series of chord tones played one note at a time. Every seriousguitarist must at some point master many of the primary arpeggio forms such asmajTth, minTth, augTth, etc.

Arpeggios are frequently used in constructing melodies. A quick analysis of melodiesfrom music of nearly all ages and styles will demonstrate this fact. They are also usedas accompaniment devices.

In contemporary music, such as rock, blues and jazz, arpeggios are used asimprovisational tools along with scales. lt is for musicians who play in these stylesthat this book is intended.

In any given improvisational situation, the "safest" sounding pitch will always be achord tone. However, if your solo is made up only of chord tones, you run the risk ofboring your listenels. Good solos are made up of a variety of rhythmic, melodic andharmonic devices. lt 's up to each person to find the proper balance between playingit safe and taking chances.

Arpeggios are very useful in particular to the jazz musician because this style ofmusic often requires the improvisor to make quick key shif ts when soloing. Manyguitarists use arpeggios to facilitate these kind of changes. The arpeggio has thebenefi t of out l ining the harmony that 's happening at the moment, lett ing the l istenerknow that the improvisor has a firm grasp of the harmonic movement in the piece.Also, the use of arpeggios has the effect of breaking up the flow of the musical line byinterspersing interval l ic leaps into the solo. Solos made up of just scale passagestend to sound smooth and vocal-like. Wide interval leaps provide contrast in the line.

Learning arpeggios on the guitar is more than just learning chord forms. Chords areusually played one note per string. In some cases, it 's possible to play one, two orthree notes per string in an arpeggio. This will become very obvious once you getinto the book.

The format of this book is simple. Each page contains a particular type of chord,which is shown in five different forms. The root of each chord form is shown as a solidblack dot. The dot is your reference note. By using this note, you can move the chordform up and down the fingerboard to play this chord on any fret and in any key.

The middle column shows the arpeggio of the chord to i ts left . The r ight columnshows the larger scale pattern which goes with this arpeggio and chord. You get the

Page 4: Latarski, don   arpeggios for guitar

whole picture, from the chord to i ts arpeggio to the complete scale. An X above astr ing means you must ei ther mute the str ing or str ings or simply not pluck i t i f you areusing your f ingers.(Many of these chords wi l l be easier to play i f you pluck the str ingswith your fingers instead of trying to strum them with a pick.)

On some of the more complicated chords such as Dom9b5, I 've shaded in some ofthe notes in an attempt to make things a little clearer as to what are important notesand what are not. In some cases, the root will be shaded, because the root is notreal ly a necessary note in an arpeggio. For the most part, the chords are in rootposition, with the bass note being the lowest note of the chord. ln some cases, thiswas not possible. At any rate, all chord voicings are shown. (These are the numbersinside the circles in each chord form.) Five dif ferent forms of each chord type aregiven. This approach effectively covers the entire length of the fingerboard.

The scales I chose to show with each chord type are what your "average" gardenvariety jazz musician might have chosen. However, don't be fooled into thinking thatthese are the only possibi l i t ies, because they aren't . I encourage you to seek outother books on the subject of improvisat ion or check out my book enti t led, SCALEPATTERNS FOR GUITAR. Scale choice is dependant upon how any given chord isfunct ioning in a song. A good jazz lheory text and qual i f ied instructor can put thissubject in perspective for you.

It's up to you to choose what order to play the notes which make up any arpeggio.You don't have to start from the lowest note and go right up from there. You can startanywhere you like and play the notes in any order. Also, you'll have to work out yourown f ingerings for the chord forms, arpeggios and scales. The numbers which areincluded in each chord, scale and arpeggio, are the scale degrees you are playing.Eventual ly, you must know what you're doing when you are playing these things, sostart now to know what's going on with your playing.

Practice these arpeggios by first hitting a chord, then the arpeggio which goes with it,and then the larger scale. This wi l l take you across the page from left to r ight. Youneed to have the arpeggio in your f ingers as f luently as the chords and scales. Thinkof the arpeggios as the bridge between chords and scales.

Most guitarists who've grown up playing rock and blues styles are often trapped by amono-scalar approach to soloing. That is, they try to use one scale, usually the minorpentatonic or blues, as it 's often called, to play over a series of changing chords. Inmany cases, this works well because what they call chords are really not. They areintervals of a perfect Sth, also known as power chords. This type of approach doesn'twork to well when the harmony consists of moving triads and four note chords (7th's).This type of harmonic movement makes your scale seem inadequate and out of

Page 5: Latarski, don   arpeggios for guitar

place. You need different tonal resources, i.e., new scales, to effectively solo over thechanges. Al l guitar ists run up against this problem sooner of later, especial ly i f theywant to move into songs which have a )azz leaning.

Two of the earl iest iazz guitar ists that rel ied heavi ly on arpeggios are DjangoReinhardt and Charl ie Christ ian. Listen to how they used arpeggios to fol low thecontour of the moving chord progressions. You' l l soon see the art involved in thistype of approach. For a more modern approach, listen to guitarists like pat Metheny,John Scofield and Mike Stern.

Experimentat ion is the key to becoming an accomplished improvisor. There,s nosubstitute. The thinEs in this book are meant to get you started down this path. And ifyou find these arpeggios helpful, please check out my other books. ln addition to theSCALE PATTERNS FOR GUITAR, mentioned earl ier, I 've also wri t ten: MOVEABLEGUITAR CHORDS, INTRODUCTION TO CHORD THEORY, CHORD EMBELLISH-MENT and CHORD ORB|TS.

Don Latarski

Page 6: Latarski, don   arpeggios for guitar
Page 7: Latarski, don   arpeggios for guitar

About the author..,Don Latarski has been playing the guitar since 1963. He's an adjunct faculty memberat the University of Oregon's Music School. ln addition to this book, he's written anumber of others on guitar instruction lntroduction to Chord Theory, Moveable GuitarChords, Scale Patterns for Guitar, Arpeggios for Guitar and Chord Embettishment.Known nationally as a a gifted guitarist and composer; Don performs frequently withhis group at Jazz Festivals and Clubs in the Pacific Northwest. His music can be heardon "HAVEN", lnner city Records and'LIFELINE', PAUSA Records. originally aMichigan native, Don has made Eugene, Oregon his home since 1973 where hebuilds and rides recumbant bicycles when it 's not raining.

Page 8: Latarski, don   arpeggios for guitar

TABLE OF CONTENTS

MajorTr iad. . . . . . .10Major6 th . . . . . . . . 11Major 7th 12Major 6/9 .. . 13Major 7b5 (aka M47#11) . . . 14MajorT#s. . 15Major (edd 9) 16Majorg . . . . 17MinorTr iad. . . . . . .18Minor6th . . . . . . . .19Minor6/9 . . . . . . . .20Minor7 lh . . . . . . . .21Minor#7. . . . . . . .22Minor 7b5 (aka Half-Diminished) . . 23Minor (addg) . . . . .24Minorg. . . . . . . . . .25Minor11. . . . . . . . .26

Page 9: Latarski, don   arpeggios for guitar

Dominant 7lh . .Dominant 7b5 (aka Dominant 7#11)Dominant7b9. . . .

Dominant 7#9 . .Dominant 7b5b9. .Dominant 7#5#9. .Dominant 7#5bg . .Dominant 7b5#9 . .Dominant gth . .Dominant 9b5 (aka Dominant 9#1 1).Dominant 9#5 (aka Augmented gth).

Dominant 13th. . .Dominant 13b5 (aka Dominant 13#1 1) .' t " '

Dominant 13b9. . .Dominant 13#9. . .Suspended 7th .Suspended gth .Augmented Triad.Augmented 7th .Diminished 7th

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

Page 10: Latarski, don   arpeggios for guitar

l 0

Chord Type: Major triad Scale/Mode:Chord 'Form -+ Arpeggio # lonian

5 I 3

5 1 3

3

5 I 3

5 I 3

b

5

e

J

5 )

3 I 6 I 2 1

4 57 1 3

z Is f | fqYaYz

5 e

e

3

J

2 Is z l3A

I

s l64 2 1 5

3 Io

I+ 2 1 5

-Ls2J-2I5 I3Y64

72 I 5 I 3 I 6

4

edodzA

Page 11: Latarski, don   arpeggios for guitar

l l

Major 6thChord Form -> Arpeggio

Scale/Mode--> lonian

x

3 1 6

e

sL

3 I 6

5 I 3 1 6

L-l-ttI .3 I6

3 I 6

rt7 L3 I 6 I 2 7i Lgl.grL1zXsf+\a\z

e

4 t 6 t 2

2 l 5 l 7 l 3

J,+

2 l 5 1 7 I 3A

e I6A 2 1 5

3 I 64 2 1 5

7

2 I5 r3164

53

h

5 .t

?

o

e

o

3 I 6

5 e

3 I 6

e

3 1 6

3 I 6

72 I 5 I 3 I 6

A

3 I 6 I 2 74 t

Page 12: Latarski, don   arpeggios for guitar

t2

Chord Type: Major 7th

Chord Form-> ArpeggioScale/Mode:

-> lOnian

s{z{s

5 I 7 1 3 5 1 7 1 3

4 1 6 1 2

2 1 5 l 7 1 3

+

2 1 5 1 7 1 3

s I64 2 1 5

s&+) l (z{sa)2I s Is Io

A

5 1 3

7

6

7

5 1 3

7

5 I 3

\5

3

5 I 7 I 3

o

5

7

l(')lsfsa o

4

3 I 6 I 2 l | ( 7A s )

Page 13: Latarski, don   arpeggios for guitar

13

Scale/Mode:Chord Form -> Arpeggio * lonian

oXg

oXg 4 1 6 1 2

2 1 5 I 7 1 3A

2 t 5 17 | 3A

3 I 64 2 1 5

o 5

9I513 I6

3 I 6 1 9

A 2 1 57

2 I51316t

3 1 6

o o Xs

e I5

Ix

3 I 6

e Is

9 I 5 .)

3 1 6

e Is

6 I 9

72 I513 I6

3 I 6 I 2 74 ) | | ( s

Page 14: Latarski, don   arpeggios for guitar

t4

Major 7b5

Chord Form * Arpeggio

os{z

7 t 3

D5

zXs

3 b 5 I 7

us l7 I3

os{z3

b 5 I 7

Scale/Mode-_> Lydian

3 l 6 l 2 l # 4 7

# 4 1 7 1 32 1 5 6 l 2

e

t o)#4

z{s{z{s

'{

b5

zXso

xxo5

7

3

zXso

b 5 I 7 osYz3

3 1 6 F4

o 2 l 5

# 4 1 72 I 5 I 3 I 6

b 5 I 7

3

Page 15: Latarski, don   arpeggios for guitar

l 5

Chord Type:

Chord Form

Major 7#5-* Arpeggio

Scale/Mode:-> Lydian-aug

7 l3 I#5

7

7 13 I#5

#5

3 I6 I2 I#417

t 4 1 7 1 3 l # 5z 6 r2

#5

.t

OIGX,#4

2) | ( 713r5

+4

3

7 1 315

7 1 3#5

x

7 Is#5

e

7 1 3t5

Z 7 1 3t5

s I6 #42

#4 #5

7 #5 #5

Is#5

3 1 6 #4

o 2t+\z #5

z 3 I 6

#5

e

#5a

Ie#5

F5

t r41 7 #52 3 I 6

#53 I6 I2 I#4 I7

Page 16: Latarski, don   arpeggios for guitar

16

Chord Form

Major add 9 scate/Mode:+ Arpeggio -+ lonian

3 I 6 I 2 76

7 t 32 I 5 I 4 1 6 | 2

(.) |4 1 6 1 2

2 1 5 l 7 1 3

J,q

5 I 3

s)

s)3

e q

5

q

5

t q

9 I 5

x

e I5 9 I 5

oe

9 I 5

z {s {z {s(+

3 I 6

J,q 2 ls

o

o5 I 3

J ,q 2 1 5

2 Is fe Io4

3 I 6

5

J I

Page 17: Latarski, don   arpeggios for guitar

t7

Scale/Mode:Chord Form -> Arpeggio € lonian

v

5 I 7 1 3

e I 517 J3 5 I 7 1 3

9 I 5

2 15 17 l 34

3 I 62 1 5

gXs7

5

3 I 6A 2 1 5

7

2 I 513 16A

q 7 9 7

7 I z5 I

s7 Ll__L3 I 6 I 2A

7 1 32 I5 -q Ia l z

I

9 I 57

3

q I

6

7

2 I 5 I 3 I 6A

3 I6 I2A

7

Page 18: Latarski, don   arpeggios for guitar

18

Chord Type: Minor triad Scale/Mode:Chord Form --+ Arpeggio € Dorian

oe{s }

5 )

b3 b3

5b3

us{s

6 I 24 Ib7 IbsI 5

2 1 5 - 4 1 6 1 2

b3 b7 Ib3

4 l 6 l 2

b7 Ib32 t 5

b3 4

b 3 I 5

b3I

he

5b3

b3

b3 o5

b3

F

he

s )

Ihe

s)b3

## !_2 1 5

b3zY5b3 4 tb7

s)b3

2 l 5 b

b3 4 lb76 1 2

+ dozfs{s

Page 19: Latarski, don   arpeggios for guitar

l9

Chord Type:

Chord Form

Minor 6th-+ Arpeggio

Scale/Mode:-> Dorian

4T6T2b7 Ib3

2 1 5

b3 4

b3 I s

5 o

b3 b3

he

5 o

h

b3c

ob3

b3 o

b35

b3 o5

he

2 1 5he Jo

4 Ib7 I2 I sb3

b3h

h

ab3

o

b3

4 I b7 I 2 l 5b3

2 Is 6

b3 4 tb7

o

b 3 I 5

5 o

b3

b

b 3 I 5

215b3 4 tb7

6 I2

-4^b7it3I5

Page 20: Latarski, don   arpeggios for guitar

z0

Minor 6i9 Scale/Mode:Chord Form -* Arpeggio # Dorian

6Ieos{s

ttlqilT 6 I 9he

4 t 6 t 2b 7 I b 3

2 l 5b3

2 1 5

b3 A

o

4 lb7 I 2 I 5h?

he

6 I 9

6 l 24 l b 7 I b 3 I 5

z

he

5 r4 ffi

6 I 9

5

he

o

a

9 I sb3

9 5

b3

I

s ) 6

o

o 9 I 5

b3

9 1 5 n

h e

l"# l-l-2 1 5

b3zY5 o

b3 4 lb7

9 I 5

b 3 I 5

9 I 5

o3

6 t 9b 3 I 5

z l 5he 4 l b 7

6 1 24 lb7lb3 I 5

Page 21: Latarski, don   arpeggios for guitar

2 l

Chord Type:

Chord Form

Minor 7th--> Arpeggio

Scale/Mode:# Dorian

b 7 I b 3

b 7 I b 3

b 7 I b 3 I 5

uLhe b7

ozdoo{ s

ooz{o

5

he O

h?

b3

5

ob7 5

b3

2 1 5b3 +

o

4 lb7 I 2 I 5h {

b7he

o b7 5

5Fte b7

*#:!l_a 5

2 1 5 b

b3 4 Ib7

a

he

6 o

4 Ib76 1 2

4 tb7 Ib3 I s

Page 22: Latarski, don   arpeggios for guitar

22

r(li'

Scale/Mode:Chord Form --+ Arpeggio --> Melodic Min.

6 l 24 b 3 I 5

2 I s14 I6 z

b3 b3

4 l 6 l 2b3

2 1 5 1 7b3 J.q

b 3 I 57

5

b3

b 3 I 57

5Lb3 b3

b35 1 7

ab3

5 t 7

o

5 1 7

b3 b3 t5

z Ib3

2 1 5 l 7

b3 4

o

4 2 1 5

b3

7 I b 35

4 sl7 I b 3

lI.u-Lb3 4

b 3 I 5

5b3

b3 I s1

Page 23: Latarski, don   arpeggios for guitar

23

Chord Type:

Chord Form

b 7 I b 3b5

b7

b5 I b7 Ib3

Minor 7b5--+ Arpeggio

Scale/Mode:--> Locrian

b 7 I b 3ob

b3 os{oz{os

4

b2Ibs Ib7 Jb3

b 3 l b 6 z t

b 2 I b 5

b3Jb6 Ib2I 4 Ib7b5

4 I b7Jb3b2 Ib5 b 6 I b 2

Oos{oz{os

b3 ob5

b3

o5

b7

b3 ob5

b7b5 b3

b 3 I b 6 - 4

b 2 I b 54 tb7

b 2 I b 5 b 3 I b 6

ob b3o b7

b5 b3

ob3 D /

b5

# b7

b 3 I b 6

b3 I b6 lbzl 4 Yb7

b5

ob3 b7

b5

b7 Ib3b5

Page 24: Latarski, don   arpeggios for guitar

1 A

Minor addg Scale/Mode:Chord Form -> Arpeggio € Dorian

4 1 6 1 2bT Ios

2 1 5he 4

2 1 5

b3 A

4 [ b 7 l 2 l 5b3

b 3 I 5

s) o

os{s}

liz t_t_9 1 5 I

he h 2

- t.gtr)-t.,4 rTi'

2X5f,+fo{zb3 b7 Ib3

9

q

o€

9 I 5-I

o5

h?

I

e 15ha o

o Y q

he

5

b35

o 9 1 5ha

e I 5b3

b3

9

9 1 5b3

9

b 3 I 5

Page 25: Latarski, don   arpeggios for guitar

25

Chord Type:

Chord Form

Minor 9th--> Arpeggio

Scale/Mode:--> Dorian

b7Ib3 l s

o

h?

b 7 I 9

b 7 I 9

5

4 T 6 T 2b 7 I b 3

2 1 5

b3 4

2 1 5ha A-

o

4 IOz Iz Is

e 15b3 b7

q

b7Ib3 I s

v

9 I 5b3 o

b7Je I 5

o oz{s { sh e

e Ish?

4 I b 7 1 2 I 5he

2 1 5h e 4 lb7

b3

b7

Page 26: Latarski, don   arpeggios for guitar

26

Chord Type: Minor 1 1th

Chord Form -> ArpeggioScale/Mode:

--> Dorian

t l

b7 Ib3

11 Ib7b3

b3 r r{oz

b 7 I b 3

1 1

b 7 I b 3

b3 1 l

b3 1 1 I b 7

11 IOZ Ib3 I 5

4 1 6 l 2b 7 I b 3

2 Isb3 4

2 1 5b3 +

4 I b 7 I 2 I 5

b3

1 1

b7

b3

b3 1 1

11 lb7 5

b3

1,1,*l+he 4 Ib7

6 1 24 t b 7 l b 3 I 5

Page 27: Latarski, don   arpeggios for guitar

27

Chord Type:

Chord Form

Dominant 7th--> Arpeggio

Scale/Mode:--* Mixolydian

3 1 6 I 24 Ib7 5

e

2 1 5 - 4 a I 2b7

3 1 6

4 I b7 12 l 5

2 I5 I3164 lb7

2 I5 I3 J64 tb7

3 I 6 I 2

4 Ib7

o l

5 I 3b7

5 I 3

b7

b7 5

?

o / s )

b7

b7?

5

b7

e

b7

3

4 1 6 1 2

b72 1 5 J

4

b7

a

J

b7

b7 5

5

Ia

b7

Page 28: Latarski, don   arpeggios for guitar

28

Chord Type:

Chord Form

Dominant 7#1 1--* ArPeggio *

Scale/Mode:Super Locrian

#4 lb7

t4 lb7

b2 I b5 Ib7 Ib3

b3 I#5:2 Ib5

_Llosd+s3 ) | ( b2 Ibs

o b7

b 2 I O S ) | ( b 3 I # s

b7+At-

b7

b7#4

o!4 N7

a#4 lb7

o+At-

#4

b7

b7#4

#4

#4

b7LtA

D /

b 3 I # 5 I b 2 ) | ( b 7hq

b 7 I b 3b 2 I b 5 #5 Ib2

Page 29: Latarski, don   arpeggios for guitar

29

Chord Type:

Chord Form

Dominant 7b9--) Arpeggio -+

Scale/Mode:Diminished h/w

3 ) | ( b e

b7 5

5 ) | ( 3

b3

6 lbzI#4b 7 ) | ( 5

b2l*q ) | (os

r 7 ) l ( 5b2I#4 ) | (Os

5 I 3 I 6b 3 ) | ( b z l | ( b 7

g,\6J I €+.

b7

b9

hq

b7? b9

3 ho

0 l

nq

b7

b967

D9

o (

5

b9

b9 ov

5

b9

b2 I#4s fs{o

b 3 ) | ( b 2 b7

3 I 6 +A

b 7 I b 3 I 5

Page 30: Latarski, don   arpeggios for guitar

30

Chord Tvpe:

Chord Form

Dominant 7#9--> Arpeggio

Scafe/Mode:--+ Blues

+ IozJosI s# A

5 - , 4b3 M lb7Ib3

-l- LI4

5+fozfos5

9tob7I#s

b7

5

b3 4#4

(+ \oz#4 b3

3

b7l#e I 5

5 r3o /

3

b7l#e I 5

b7

3

b7 l#9

e

b7 I*eo

b7)#9a

#9 a

ol^7

#9

e

b7

#9o b7 q

#9s Is

#9 b7

4 lb7#4 he

5

b3 ^L'7

#4

e-Db3 4 tb7

#4

4 I b 7 I b 3 I 5

Page 31: Latarski, don   arpeggios for guitar

31

Chord Type:

Chord Form

Dominant 7b5b9-D Arpeggio ---)

Scale/Mode:Super Locrian

b9 I b5 Ib7

b9

b 5 I b 7

b5b7

b5 3 b9

b9 b7e

b7 Ib3b 2 I b 5 3 I#5 Ib2

b3I#5 Ib2Jb5lozlos? 3

ob 5 I b 7

b9

2 b 9 I b s

b7beIb5

o /

b5

b3 I#s3 b2 Ibs

b7b2Ib5 b3 I#5

e

ho b7

t o/

b5

o9 b73 b5

b7b2 los b3 I*s

3.osY*sYbeb7

e hE

b5

e b9

b9 b7o5

h( 3 b9

Isosf*s Yoe) | (oz3 hE

b7 Ib3b 2 I b 5 #5 lb2

Page 32: Latarski, don   arpeggios for guitar

J Z

Chord Form --> Arpeggio ---DScale/Mode:Super Locrian

b7 I#9

#5

b7 I#9

#5

b7

*s {+s

ltltr.#5

b7 I#9

.#5-L

#528

b7

3 I#5

#9

b7 I#93 I#5

O#5 b7 Tffi

e

ob2 I b5 Ib7

b3 I#5

92,[bs

b3 I#5b2 Ibs

b7b 2 I b 5 b3 I#5

l.l-(?'b2 Ib5 -9,(*rg

-I(.osd+s doz b7

#5 b7

b7 l#9F3

Page 33: Latarski, don   arpeggios for guitar

J J

Chord Type:

Chord Form

o /

e {+s fos

Dominant 7#5b9--> Arpeggio --->

Scale/Mode:Super Locrian

b7

3 I#5 Ibe

#5 Ibg b7

3

#5

b9

oo l

#5

b9

b9

b7

#5

b7

b3 I#5

3 b 2 I b 5

b 2 I b 5 b3 I#5

b7

b2 Ib5 QrFu

osd+s {oz b7

htr

#s Ib9 b73

#5

lsYog o/

b7

Page 34: Latarski, don   arpeggios for guitar

34

Chord Type:

Chord Form

Dominant 7b5#9-* Arpeggio *

Scale/Mode:Super Locrian

b7b5

b5 Ib7

#9

bs I b7 I#e

e b5b7 I#9

b7 l#9b5 3 ho

ob 5 I b 7

a

oos{oz{os

.t

oJ

3 b5b7

fo

ob5

b7o5 #9

b3 I#5a b 2 I b 5

b7

b 2 I b 5 b3 I#5

b7b5 f9

t b7o5 #9

o3 b5

b 2 I b 5 b3 I#5

usY#sYbz o /

3

Page 35: Latarski, don   arpeggios for guitar

35

Chord Type:

Chord Form

Dominant 9th--# Arpeggio

Scale/Mode:-+ Mixolydian

J

b 7 I 9

e

oz ls{s.t

b7 I e I 5

5 ffiI 3b7

2 I5 I3 164 Ib7

3 I 6 I 24 lb7

3 o

F

3

b7

b7

3c q

3q

0 l

3o

e

ffi

J

ffie

b7 Ie 15

A AW I

5 ff i{3b7

e 9,a'7 5

Page 36: Latarski, don   arpeggios for guitar

36

Chord Tvpe:

Chord Form

Dominant 9b5-> Arpeggio

Scale/Mode.--> Lydian b7

6sYoi

h'7

b5

9

e Iosb7

J

9

b7

.t

I

b5 Ib7

ffi

o 6 1 2#4 lb7

2 1 5 a

o

b 7 I 9

o5

ffi3

b 7 I 9

bT Ie b 7 I I

b7

9 Ibsb7

.t

b7

9 Ibs

Page 37: Latarski, don   arpeggios for guitar

37

Chord Type:

Chord Form

Dominant 9#5-> Arpeggio --->

Scale/Mode:Mixolydian b6

D I

3 I#5q

q

3 I#5

ffi I

#5

o /

#5

v

#5

+ 2b7

2 l 5

b6 r4

b 7 I 9

#5

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b 7 I 9

#5

:t_2 t 5

uof,+u-'<74 \b7x2 x5

b6

b 7 I I

#5

b 7 I I

#5

ffis

4 I b 7 1 2 I 5

b6

2 I 5 I 3

b6 4 Ib7

#5 D /

9

#5

#5 b7

b7

2 I5 r3b6 4 lb7

a z

q Ib7 E

b6

Page 38: Latarski, don   arpeggios for guitar

38

Chord Type:

Chord Form

Dominant 13th_> Arpeggio

Scale/Mode:--> Mixolydian

+1._+\a \zb7

2 I5 ) | ( s4

3 1 6

4 I b 7 1 2 t 5

2J5 I3Y6

! Jp7,

s {rs

o

b7

b7

35 t . t

J

b7

c 1 1 I J

1 1 I 1 3

b7

J

13Ib7

5 .t

b7

3 I 1 3

5

o3 I 1 3

9 1 5

J

b 7 I g

1 3

b 7 I I

I J

l l

E J E

1 1e I

b7

Page 39: Latarski, don   arpeggios for guitar

39

Chord Type:

Chord Form

Dominant 13b5-* Arpeggio

Scale/Mode:-> Lydian b7

h7

b5

3 b5b7

b5 3o 1 3 I 9

1 3b5

e

b7

o rs{sb5

o e

b7 o

?

o TIT.gX'rI2I5 ) | ( 3

O

b7

1 3 b5

b5

3 I 1 3 b5I

#4

52 3

3 I 6 #4b7 I2 I s

b7D5

s X1s

frXrstl

3 I13 Ie Ibs

3 I 1 3 b5

b5

I

3 I 6 1,*o#4

z I 5 I s Yo

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l^tr

D I

X A

2 I 5 I3 I6b7

3 l 6 l 2 l # 4

o l 5

Page 40: Latarski, don   arpeggios for guitar

40

Chord Type:

Chord Form

Dominant 13b9

=> ArPeggio *Scale/Mode:Dimlnished h/w

)-l.QlI'tr:b 2 l # 4 ) l ( 3 ) l ( b 2

5 6

b 3 ) | ( b 2 l # 4 l b 7 I b 3

6

)ttlt{+{o{oo

5 ) | ( 3

b3 ob2 l#4

s ) | (3b33 I 6 I b 2 I # 4

bz) | ( sb2l#4 ) I (b3

b 7 ) | ( 5

b 2 l # 4 ) l ( b 35 I 3 I 6

b 3 ) | ( b 2 ) | ( b 7

3 I 6 ) l ( # 4

3 I 1 3 l b g

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o l

1 3

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a

b96

b7

3 b9

b9

67

13 I b9

b7 5# A #9

b9

b7

3

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6 ) l H 4b 7 l b 3 l 5

Page 41: Latarski, don   arpeggios for guitar

A 1t l

Chord Type:

Chord Form

Dominant 13#9-* Arpeggio ->

Scale/Mode:Diminished h/w

ozft+ 3 ) | ( b 2

b3 b2I#4 Ib7 Ib33 1 6 a

lltoXo'F.E

b33 I 6 I b 2 I # 4

5 ) I ( 3

b3s | 6 foef++

b 7 ) I ( 5ozY*q) | 6s

I J

b7 l#9

oz{+s

3 I 1 3

sfs

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J

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o l

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1 3#9

r 7 ) l ( 5b2t#4 ) | (b3

5 Isxb7b3) I (oz

316 ) | ( *+

#4

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b 3 ) I ( b 2 b73 I 6 L '

b 7 I b 3 I 5

Page 42: Latarski, don   arpeggios for guitar

42

Chord Type:

Chord Form

Suspended 7th-+ Arpeggio

Scale/Mode:* Mixolydian

3 1 6 I 2

afi6tTr5l3

zYsf+{o}zb7

2 t 5 J

4

3 I 64 lb7 l2 l s

3 Io+ {uzdz f,s

2 I 5 I 3 I 64 lb7

z{sfs{o4 lb7

3 I 6 I 2

4 lb7 5

b7

5 4

4 lb7 5

5 I 4l\-7

b7

54

+

b7

54

4 loz

[+

4 lb7 5

b7 5

c

4

4 lb7 5

54 lb7

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b7

s)4 lb7

4 lb7 5

Page 43: Latarski, don   arpeggios for guitar

43

Scale/Mode:Chord Form -> Arpeggio -> Mixolydian

q

4 lb7 5

5 I 4 u

b7

4

b 7 I 9

4 I bT I e I 5

9 IsA

4 I b 7 I 9

4 lO t I e I 5

9 1 5

4 lb7

3 1 6

4 I b 7 t 2 1 5

2 I 5 I 3 1 6

4 tb7

2 I 5 I 3 I 6

4 lb73 I 6 I 24 lb7

b7 q

4 o

+ I

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+)I

b7

9 I s4 Ib7

u

4 tb7 5

Page 44: Latarski, don   arpeggios for guitar

A IL+.+

Uhord Type: Augmented Triad

chord Form -> Arpeggio ---> whore Tone3) t ( 2

b7

#4) I ( 3 I#5z 2

#5 ) | ( *q loz

3 I#5 s Y+s

F5

f 5 ) f5 )

fs) F5

#5

#5

#5

c #4

ol@\z#4

z

#5 n /

a

#5 #53

#5

z 3

b7

2 t#4

#4 #5

Page 45: Latarski, don   arpeggios for guitar

45

Chord Type: Augmented 7th

Chord Form ---> Arpeggio _+Scale/Mode:Whole Tone

b7

3 I#5

3 ) l ( 2b7

# 4 ) | ( 3 I # 5

,) lo z

#5 | | (#41b7

b7

#5

b7

F5

b7

#5 #5z

4 ^

otY z#4

3#5

#5

f,.#5 9 T

#4

Ol6,k#4 #5

z 3

b7

Ie#5

e#5 b7

b7

a !)

2 I#4

#4 #5

Page 46: Latarski, don   arpeggios for guitar

46

Diminished 7th

Chord Form -D Arpeggio -+Scale/Mode:

Diminished wihx

b3

b5o

b5b3

b5o o

b3

b

h2

o o

b3

b3 o

-J=J-4 T 6 L 2

b 5 ) | ( b 3

2 l l ( 7

b3Ib6 - , 4b5

x

o

hq b3

he Io

b3

b5 he

o h6

ab3

o h

b3

o

A z

b5I 7 b3I b6

z o

b 3 I b 6 4

x

o r5b3

o o

b3b5

he

2

b3I b6 4

o 2lb5 7

4 he

b 5 I 7 b6

Page 47: Latarski, don   arpeggios for guitar

THEPROGRESSIVE

GUIIARISTSERIES

by Don Lotqrskili

KARPEGGIOS(:3093GTX)S^cr.rs eoch orpeggio in five positions in o simplec cgrom formot, For every orpeggio the corre-socrding chord form ond scole pottern ore olsoQ ^ a ) \ a / n

CHORD EMBELLISHMENTS(:3397GTX)S^cvys how to embellish ond enhonce ony chordrl. -hnr. i nrnrrro55i6n tO OChieVe new Ond mOfev r v r v l / t v v t v

i^-erest ing sounds,

CHORD ORBITS(Fs09tcTX)Explore the sound ond shope of o chord's progres-sion up ond down the fingerboord, Eoch chordtype is presented in eight fingerings using o cyclicdiogrom which shows thot ofterthe eighth finger-ing you will hove orrived bock otthe storfing point- one octove higher,

The BEST se/iesof its kind!Eoch book uses ocleor, simple formotto teoch the skillsond informotionnecessory to odeveloping musicion,

AN INTRODUCTION TO CHORD THEORY(F3096GTX)A procticol, step by step opprooch to the fundo-mentols of chord consfruction, onolvsis ond func-t ion,

MOVEABLE CHORDS(F309sGTX)An excellent, systemotic opprooch to building ocomprehensive chord vocobulory. Shows 40 dif-ferent chord types in every procticolfingering onthe guitor neck, All fingerings ore bosed on fivebosic hond shopes,

SCALE PATTERNS(F3O92GTX)This book il lustrotes, in five different positions ollthemodes of the mojor, hormonic minor, melodicminor, pentotonic, blues, diminished ond wholetone scoles, Don olso shows the primory uses foreoch scole, with on exomple of eoch,

@rsBN 0-7692-0956-4

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