Jazz Guitar Arpeggio Soloing
JAZZ GUITAR ARPEGGIO SOLOING by Kimie Kim Jazz Guitar Arpeggio Soloing First edition: Aug 3, 2012 Author: Inkuk “Kimie
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JAZZ GUITAR ARPEGGIO SOLOING
by Kimie Kim
Jazz Guitar Arpeggio Soloing First edition: Aug 3, 2012 Author: Inkuk “Kimie” Kim Copy editor: David Nicoll Cover illustration: YoungShim Lee Contact information: Jazzistik Records, B1, 504-33 YeonNam-Dong, Mapo-Gu, Seoul 121-240 South Korea Tel. +82 10 9950 5930 http://infiniteloopjazz.com http://facebook.com/infiniteloopjazz Email: [email protected] Recordings for this book can be downloaded from http://soundcloud.com/kimiekim/sets/book1 Copyright © 2012 Kimie Kim Music All Rights Reserved. Any unauthorized duplication of this book or its contents is in violation of copyright laws
About the Author Guitarist Kimie Kim was born in 1975 on Jeju Island, South Korea. He moved to Hollywood to attend the Musicians Institute at 19 where he studied with Scott Henderson and Brett Garsed. After experiencing jazz festivals in the United States and Canada, he went to Austria to attend the Vienna Conservatory where he studied with Christian Havel. Later he studied with Mimi Fox and Steve Erquiaga in the San Francisco Bay area. He worked as Editor-in-Chief of GuitarLab Magazine when he came back to Korea. His new recording “Free Play” with band Infinite Loop is out for 2012. Email: [email protected] Official Website: http://infiniteloopjazz.com/ Facebook: http://www.facebook.com/infiniteloopjazz Facebook Page: http://www.facebook.com/bandinfiniteloop
Kimie Kim uses VOX amplifiers exclusively.
TABLE OF CONTENTS Chapter 1 Fingerboard Basic Major Scale Patterns Jazz Simple Voicings Major Pentatonic Scale Minor Pentatonic Scale Diatonic Chord Substitution Chapter 2 Chords & Arpeggios Major 7th Dominant 7th Minor 7th Minor 7th (b5) Diminished 7th Chapter 3 Arpeggios in Diatonic Harmony Arpeggios in Diatonic Harmony; Key of C Key of G Key of D Key of A Chapter 4 4 Bar Pattern Arpeggios VImi7 IImi7 V7 Imaj7; Key of C Key of G Key of D Key of F Key of Bb Key of Eb IImi7(b5) V7(b9) Imi7; Key of Ami Key of Dmi Key of Gmi Key of Emi Key of Bmi
Chapter 5 2 Bar Pattern Arpeggios IImi7 V7 Imaj7; Key of C Key of G Key of E Key of Ab IImi7(b5) V7(b9) Imi7; Key of Ami Key of Cmi Key of Fmi Chapter 6 Jazz Phrases for Soloing Major Phrases Minor Phrases Dominant 7th Phrases Altered Phrases Chapter 7 Applied Arpeggios in Chord Progressions Blues; Key of A Jazz Blues; Key of F Jazz Standard; Solar Blue Bossa Tune Up How High the Moon All the Things You Are Autumn Leaves There Will Never Be Another You
Chapter 1 Fingerboad Basic Major Scale Patterns Jazz Simple Voicings Major Pentatonic Scale Minor Pentatonic Scale Diatonic Chord Substitution
Major Scale Patterns Notes: R(Root) 2 3 4 5 Example: G major Scale - G
6 A
7 B
C
D
E
F#
Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5 E B G D A E
F C
F
A E B
G D F C G 3
B
A E C G D A 5
F
B D A E B 7
C G F C
E B 9
D A F C G D
Jazz Simple Voicings (No 5th) These voicings are commonly used in jazz guitar. With these voicings, a soloist can add many forms of tension to color the sound. Most examples in this book were played with these simple voicings. Root Other Notes 7 3 R
3 7 maj7 (6th string root)
R
maj7 (5th string root)
b7 3 R
3 b7 dominant7
R
dominant7
b7 b3 R
b3 b7 min7 or min7(b5)
R
min7 or min7(b5)
bb7 b3 R
b3 bb7 dim7
R
dim7
Major Pentatonic Scale Major pentatonic scales can be used for major or dominant chords Notes: R(Root) 2 3 5 6 Example: C Major Pentatonic - C D E G A Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Minor Pentatonic Scale Minor Pentatonic scales can be used for minor chords Notes: R(Root) b3 4 5 b7 Example: C Minor Pentatonic - C Eb F G Bb Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Diatonic Chord Substitution Diatonic Chord Substitution is useful for playing chord tone arpeggios. You can change substitute chords between family groups of related chords for reharmonization. For Improvisation, you can use this as melodic substitution. For example, for Cmaj7 chord, play an Emi7 arpeggio. You will still get the Cmaj9 sound.
Diatonic 7th Chords in Key of C
Cmaj7
I
Dmi7
Emi7
Fmaj7
G7
Ami7
II
III
IV
V
VI
Bmi7(b5)
VII
Tonic Family: Imaj7, IIImi7, and VImi7 Subdominant Family: IVmaj7 and IImi7 Dominant Family: V7 and VIImi7(b5) Melodic substitution playing in I of C)
VI
II
V
chord progression (Key
Cmaj7 I (Tonic Family) 1. Play Cmaj7 arpeggio for Cmaj7 sound. (C, E, G, and B), (Intervals from C: R, 3, 5 and 7) 2. Play Emi7 (IIImi7) arpeggio for Cmaj9 sound. (E, G, B, and D), (3, 5, 7 and 9) 3. Play Ami7 (VImi7) arpeggio for C6 sound. (A, C, E, and G), (6, R, 3, and 5) Ami7 VI (Tonic Family) 1. Play Ami7 arpeggio for Ami7 sound. (A, C, E, and G), (Intervals from A: R, b3, 5, and b7) 2. Play Cmaj7 (Imaj7) arpeggio for Ami9 sound. (C, E, G, and B), (b3, 5, b7, and 9) 3. Play Emi7 (IIImi7) arpeggio for Ami11 sound. (E, G, B, and D), (5, b7, 9, and 11) Dmi7 II 1. Play from D: 2. Play (b3, 5,
(Subdominant Family) Dmi7 arpeggio for Dmi7 sound. (D, F, A, and C), (Intervals R, b3, 5, and b7) Fmaj7 (IVmaj7) arpeggio for Dmi9 sound. (F, A, C, and E), b7, and 9)
G7 V (Dominant Family) 1. Play G7 arpeggio for G7 sound. (G, B, D, and F), (Intervals from G: R, 3, 5, and b7) 2. Play Bmi7(b5) (VIImi7(b5)) arpeggio for G9 sound. (B, D, F, and A), (3, 5, b7, and 9)
Minor Key Diatonic Chord Substitution Related groups of chords are slightly different in the minor key. Diatonic 7th Chords in Key of Ami Ami7
I
Bmi7(b5)
bII
Cmaj7
Dmi7
bIII
IV
Emi7
Fmaj7
G7
V
bVI
bVII
Tonic Family: Imi7 and bIIImaj7 Subdominant Family: IVmi7, IImi7(b5), and bVImaj7 Dominant Family: Vmi7 and bVII7 (or V7 and VIIdim7) As we did with major diatonic substitution, explore the relationship of each diatonic substitution to its parent chord for melodic substitution. The replacement of Vmi7 to V7 and bVII7 to VIIdim7 is common in minor keys because the raised 7th leading tone is widely used to lead the melody to resolution.
leading tone
Due to the leading tone, these chords can be created using minor harmony.
Ami7 > Imi7 >
Ami(maj7)
Emi7 >
E7
G7 >
G#dim7
Imi(maj7)
Vmi7 >
V7
bVII7 > VIIdim7
“If you practice for ten years, you may begin to please yourself, after 20 years you may become a performer and please the audience, after 30 years you may please even your guru, but you must practice for many more years before you finally become a true artist. — then you may please even God.” Ali Akbar Khan (Indian classical music maestro, Sarod player)
Chapter 2 Chords & Arpeggios Major 7th Dominant 7th Minor 7th Minor 7th (b5) Diminished 7th
Major 7th Chords Notes: R(Root) 3 5 7 Example: Cmaj7 - C E G
B
Root Other Notes 5 3 7 Fingering Pattern 4
R
3 7 5 R Fingering Pattern 2
7 3 R 5
7 5 3 R Fingering Pattern 3
Fingering Pattern 1
3 7 5 R Fingering Pattern 5
Major 7th Arpeggios Notes: R(Root) 3 5 7 Example: Cmaj7 - C E G
B
Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Arpeggio Fingerings: Major 7th
Pattern 1 [TRACK 2]
Cmaj7
12 12 14 15
14
15
12
12
12
13
15
12
Pattern 2 [TRACK 3]
Cmaj7
5 4 5 3
3
2
5
4
5
5
3
7
Pattern 3 [TRACK 4]
Cmaj7
7 5 5 5 8
7
5
4
5
5
8
7
Pattern 4 [TRACK 5]
Cmaj7
8 9 9 8
8
7
10
9
10
9
8
7
13
12
12
14
15
14
15
12
3
5
5
4
5
2
3
2
8
7
8
5
5
4
5
7
8
7
8
9
10
9
10
7
15
14
15
3
2
3
8
7
8
8
7
8
Pattern 4 (alt. fingering) [TRACK 6]
Cmaj7
8 9 9 8
8
7
10
9
10
9
8
12
Pattern 5 [TRACK 7]
Cmaj7
12 12 12 10
10
9
12
12
8
12
8
12
8
12
8
9
10
12 12 12 10
10
9
12
12
13
12
13
12
10
7
12
9
10
9
10
Pattern 5 (alt. fingering) [TRACK 8] Cmaj7
9
12
8
12
12
9
10
9
10
12
8
12
8
7
8
10
9
10
10
9
10
Dominant 7th Chords Notes: R(Root) 3 5 b7 Example: C7 - C E G Bb Root Other Notes 5 3 b7 Fingering Pattern 4
R
3 b7 5 R Fingering Pattern 2
b7 3 R 5
R b7 3 R Fingering Pattern 3
Fingering Pattern 1
3 b7 5 R Fingering Pattern 5
Dominant 7th Arpeggios Notes: R(Root) 3 5 b7 Example: G7 - G B D F Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Arpeggio Fingerings: Dominant 7th
Pattern 1 [TRACK 9]
G7
8 10 9 10
10
9
7
10
8
7
10
7
Pattern 2 [TRACK 10] G7
12 10 12 10
10
9
12
10
12
12
10
13
Pattern 3 [TRACK 11]
G7
13 12 12 12 15
14
12
15
12
12
15
13
Pattern 4 [TRACK 12]
G7
3 4 3 3
3
2
5
3
5
4
3
6
8
10
7
9
10
8
10
7
10
12
12
10
12
9
10
8
15
13
15
12
12
15
12
14
3
6
3
4
5
3
5
2
10
8
10
10
8
10
15
13
15
3
1
3
Pattern 5 [TRACK 13]
G7
7 6 7 5
5
4
7
6
3
7
3
6
7
4
5
3
5
7
3
7
Pattern 5 (alt. fingering) [TRACK 14] G7
7 6 7 5
5
4
7
6
8
7
8
6
7
4
5
3
5
7
3
7
5
3
5
5
3
5
Minor 7th Chords Notes: R(Root) b3 5 Example: Cmi7 - C Eb
b7 G Bb
Root Other Notes 5 b3 b7 Fingering Pattern 4
R
b3 b7 5 R Fingering Pattern 2
b7 b3 R 5
R b7 b3 R Fingering Pattern 3
Fingering Pattern 1
b3 b7 5 R Fingering Pattern 5
Minor 7th Arpeggios Notes: R(Root) b3 5 b7 Example: Dmi7 - D F A C Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Arpeggio Fingerings: Minor 7th
Pattern 1 [TRACK 15] Dmi7
3 5 3 5
5
3
2
5
3
1
5
1
3
5
2
3
5
3
5
1
5
3
5
Pattern 1 (alt. fingering) [TRACK 16]
Dmi7
3 5 3 5
5
3
2
5
3
6
5
6
Pattern 2 [TRACK 17]
Dmi7
6 5 7 5
5
8
7
5
7
6
5
8
3
5
2
3
5
3
5
1
5
6
7
5
7
8
5
8
5
3
5
5
8
5
Pattern 2 (alt. fingering) [TRACK 18]
Dmi7
6 5 7 5
5
3
7
5
7
6
5
8
5
6
7
5
7
3
5
3
5
3
5
Pattern 3 [TRACK 19]
Dmi7
8 6 7 7 10
8
7
7
10
8
10
10
10
Pattern 4 [TRACK 20]
Dmi7
10
10
13
12
10
10
10
12
10
10
7
10
7
8
10 10 10
8
10
13
13
10
10
12
10
12
13
10
8
10
10
8
10
Pattern 4 (alt. fingering) [TRACK 21]
Dmi7
10 10 10 10
10
8
12
10
10
10
12
10
13
Pattern 5 [TRACK 22]
Dmi7
13 13 14 12
12
15
14
13
15
13
15
13
13
10
10
12
10
12
8
10
14
15
12
15
12
13
12
15
8
10
12
Pattern 5 (alt. fingering) [TRACK 23]
Dmi7
13 13 14 12
12
10
14
13
10
13
10
13
14
10
12
10
12
13
10
13
12
10
12
Minor 7th(b5) Chords Notes: R(Root) b3 b5 b7 Example: Cmi7(b5) - C Eb Gb
Bb
Root Other Notes b5 b3 b7 Fingering Pattern 4
R
b3 b7 b5 R Fingering Pattern 2
b5 R b7 b3 Fingering Pattern 3
Fingering Pattern 1
b3 b7 b5 R Fingering Pattern 5
b7 b3 R b5
Minor 7th(b5) Arpeggios Notes: R(Root) b3 b5 b7 Example: Dmi7(b5) - D F Ab
C
Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Arpeggio Fingerings: Minor 7th(b5)
Pattern 1 [TRACK 24]
Bmi7(b5)
13 12 14 12
14
12
10
14
12
10
13
10
Pattern 2 [TRACK 25] Bmi7(b5)
3 2 3 2
2
5
3
2
4
3
1
5
Pattern 3 [TRACK 26]
Bmi7(b5)
5 3 4 3
7
5
3
7
4
7
6
5
Pattern 4 [TRACK 27]
Bmi7(b5)
6 7 7 7
7
10
8
7
9
7
10
10
12
14
10
12
14
12
13
10
1
3
4
2
3
5
2
5
7
5
6
7
4
7
3
5
7
10
10
7
9
7
8
10
13
12
14
1
5
2
7
5
7
7
5
7
Pattern 4 (alt. fingering) [TRACK 28]
Bmi7(b5)
6 7 7 7
7
5
8
7
9
7
6
10
Pattern 5 [TRACK 29]
Bmi7(b5)
10 10 10 9
9
12
10
10
12
10
13
10
7
10
6
7
9
7
8
5
12
10
10
12
9
12
8
10
7
5
7
8
12
9
Diminished 7th Chords and Arpeggios Notes: R(Root) b3 Example: Cdim7 - C
b5 Eb
bb7(6) Gb Bbb(A)
Root Other Notes Diminished 7th Chords b5 b3 bb7 Fingering Pattern 4
R
b3 bb7 b5 R Fingering Pattern 2
Diminished 7th Arpeggios
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 4 (alt.)
Fingering Pattern 2 (alt.)
Arpeggio Fingerings: Diminished 7th
Note: Cdim7, Ebdim7, F#dim7, and Adim7 have the same notes. (C, Eb, F#, and A)
Pattern 4 [TRACK 30]
Cdim7
7 8 7 8
8
11
9
7
10
8
7
10
8
11
8
10
7
8
10
7
9
11
8
Pattern 2 [TRACK 31]
Cdim7
4 2 4 3
3
6
4
2
5
4
2
5
Pattern 5[TRACK 32]
Cdim7
11 10 11 10
10
13
11
10
13
11
14
11
2
4
5
2
4
6
3
5
2
5
3
13
10
11
13
10
12
9
11
9
12
10
Chapter 3 Arpeggios in Diatonic Harmony Key Key Key Key
of of of of
C G D A
Arpeggios in Diatonic Harmony: Key of C Pattern 2 [TRACK 33]
Dmi7 Cmaj7
3
4
5
7
3
5
5
7
3
5
5
4
5
7
3
5
7
7
8
5
6
7
5
8
5
6
7
5
7
8
5
8
Fmaj7 Emi7
7
10
9
7
9
8
7
10
7
8
9
7
9
10
7
10
8
12
10
9
10
10
8
12
8
10
10
9
10
12
8
12
Ami7 G7
10 14
12
10 12
12
10 13
10
12
12 10
12
14 10
13
12 15
14
12 14
13
12 15
12
13
14 12
14
15 12
15
Cmaj7 Bmi7(b5)
14 17
15
14 16
15
13 17
13
15
16 14
15
17 14
17
15 19
17
16 17
17
15 19
15
17
17 16
17
19 15
19
Pattern 2 [TRACK 34]
Fmaj7 Dmi7 Emi7 Cmaj7
3
2
5
4
5
5
3
7
8
5
6
7
5
7
8
5
7
10
9
7
9
8
7
10
12
8
10
10
9
10
7
8
Cmaj7 Ami7 G7 Bmi7(b5)
10
9
12
10 12
12
10 13
15 12
13
14 12
14
15 12
14 17
15
14 16
15
13 17
19 15
17
17 16
17 14
15
Arpeggios in Diatonic Harmony: Key of G Pattern 5 & 4 [TRACK 35] Ami7
Gmaj7
3
7
5
4
5
4
7
7
3
7
7
4
5
4
5
7
5
8
7
5
7
5
5
8
5
8
5
5
7
5
7
8
Cmaj7
Bmi7
7
10
9
7
9
7
7
10
7
10
7
7
9
7
9
10
8
12
10
9
10
9
12
12
8
12
12
9
10
9
10
12
Emi7
D7
10 14
12
10 12
11
10 13
10
13 10
11
12 10
12
14
12 15
14
12 14
12
12 15
12
15 12
12
14 12
14
15
Gmaj7 F#mi7(b5)
14 17
15
14 16
14 17
17
14
17
17 14
16 14
15
17
15 19
17
16 17
16 19
19
15
19
19 16
17 16
17
19
Pattern 4 [TRACK 36] Ami7 Bmi7 Cmaj7
Gmaj7
3
2
5
4
5
4
3
7
8
5
5
7
5
7
8
5
7
10
9
7
9
7
7
10
12
8
9
10
9
10
7
8
Gmaj7 Emi7 F#mi7(b5) D7
10
9
12
10 12
11
10 13
15 12
12
14 12
14
15 12
14 17
15
14 16
14
13 17
19 15
16
17 16
17 14
15
Arpeggios in Diatonic Harmony: Key of D Pattern 1 [TRACK 37]
Emi7
Dmaj7
5
4
2
2
3
2
5
2
3
2
2
4
5
4
5
2
7
5
4
7
5
3
7
3
5
7
4
5
7
5
7
3
F#mi7 Gmaj7
9
7
6
9
7
5
9
5
7
9
6
7
9
7
9
5
10
9
7
7
8
7
10
7
8
7
7
9
10
9
10
7
A7 Bmi7
12
11
9
12
10
9
12
9
10
12
9
11
12 10
12
9
14
12
11 14
12
10 14 10
12
14 11
12
14 12
14 10
Dmaj7 C#mi7(b5)
16
14
12 16
14
12 15 12
14
16 12
14
16 14
15 12
17
16
14
14 15
14 17 14
15 14
14
16
17 16
17 14
Pattern 1 [TRACK 38]
F#mi7 Dmaj7
4
5
Gmaj7
Emi7
4
2
2
3
2
5
7
3
5
7
4
5
7
5
7
9
7
6
9
7
5
9
10
7
8
7
7
9
10
9
Bmi7 Dmaj7 C#mi7(b5) A7
10 12
11
9
12
10
9
12
14 10
12
14 11
12
14 12
14 16
14
12 16
14
12 15
17 14
15 14
14
16
17 16
Arpeggios in Diatonic Harmony: Key of A Pattern 3 [TRACK 39]
Bmi7
Amaj7
5
4
2
1
2
2
5
4
5
4
5
2
2
1
2
4
7
5
4
7
4
7
7
5
7
5
7
7
4
7
4
5
Dmaj7
C#mi7
9
7
6
9
6
9
9
7
9
7
9
9
6
9
6
7
10
9
7
6
7
7
10
9
10
9
10
7
7
6
7
9
F#mi7
E7
12
11
9
12
9
9
12
10
12 10
12
9
9
12
9
11
14
12
11 14
11 14
14
12
14 12
14
14 11
14 11
12
Amaj7 G#mi7(b5)
16
14
12 16
13 16
15
14
16 14
15
16 13
16 12
14
17
16
14
13 14
14 17
16
17 16
17 14
14 13
14
16
Pattern 3 [TRACK 40] Dmaj7 Amaj7 Bmi7 C#mi7
5
4
2
1
2
2
5
4
5
7
7
4
7
4
5
7
9
7
6
9
6
9
9
7
9
10
7
7
6
7
9
10
Amaj7 F#mi7 G#mi7(b5) E7
12
11
9
12
9
9
12
10
12
14
14 11
14 11
12
14
16
14
12 16
13 16
15
14
16
17 14
14 13
14
16
17
“I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured. when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed.” John Coltrane
Chapter 4 4 Bar Pattern Arpeggios VImi7 IImi7 V7 Imaj7 Key of C Key of G Key of D Key of F Key of Bb Key of Eb IImi7(b5) V7(b9) Imi7 Key of Ami Key of Dmi Key of Gmi Key of Emi Key of Bmi
Arpeggios in 4 Bar Patterns: Key of C Ex.1 Pattern 2 & 4 [TRACK 41] Dmi7 G7 Cmaj7 Ami7
5
5
7
8
5
5
7
5
8
6
7
5
7
8
5
3
2
3
5
3
5
4
3
6
3
5
5
4
5
2
3
2
Ex.2 Pattern 2 & 4 [TRACK 42]
Dmi7 Cmaj7 G7 Ami7
12 15
14
12 14
13
12 15
10
13 10
10
12 10
12
13
10
9
12
10 12
12
10 13
8
12
8
9
10
9
10
7
Ex.3 Pattern Mixed [TRACK 43]
Cmaj7 G7 Dmi7
Ami7
5
3
2
5
2
5
5
3
5
1
3
5
2
3
5
3
3
2
5
3
5
4
3
6
3
5
5
4
5
2
3
2
Ex.4 Pattern Mixed [TRACK 44]
Dmi7 Cmaj7 G7 Ami7
7
10
7
10
9
8
10
8
10
8
10
10
7
10
7
8
10
8
10
9
7
10
8
7
8
7
8
9
10
9
10
7
Ex.5 Pattern Mixed [TRACK 45]
Cmaj7 Dmi7 G7 Ami7
10 12
10
9
12
10 13
12
10
13 10
10
12 10
Ex.6 Pattern Mixed [TRACK 46]
12
13
10
9
12
10 12
12
10 13
8
12
12
9
10
9
10
12
Dmi7 Cmaj7 G7 Ami7
12 15
14
12 14
13
12 15
13
15 13
14
15 12
15 12
15
14
12 15
12
12 15
13
15 12
13 12
12
14
15 14
Arpeggios in 4 Bar Patterns: Key of G Ex.1 Pattern 2 & 4 [TRACK 47]
Emi7
7
10
9
7
9
8
7
10
D7 Gmaj7
Ami7
5
8
5
5
7
5
7
8
5
4
7
5
7
7
5
8
3
7
3
4
5
4
5
2
Ex.2 Pattern 2 & 4 [TRACK 48]
Emi7
12 15
14
12 14
12
12 15
D7 Gmaj7
Ami7
12
13
14 12
14 10
12 10
10
9
12
10 12
11
10 13
10
12
12 11
12
9
10
9
Ex.3 Pattern Mixed [TRACK 49]
Gmaj7 D7 Emi7 Ami7
2
5
2
5
4
3
5
3
5
3
5
5
2
5
2
3
5
3
5
4
2
5
3
2
3
2
3
4
5
4
5
2
Ex.4 Pattern Mixed [TRACK 50]
D7 Gmaj7 Ami7
Emi7
5
7
5
4
7
5
3
7
5
8
5
5
7
5
7
8
5
4
7
5
7
7
5
8
3
7
7
4
5
4
5
7
Ex.5 Pattern Mixed [TRACK 51]
Gmaj7 Ami7 D7 Emi7
7
10
9
7
9
8
7
10
8
10
8
9
10
7
10
7
10
9
7
10
7
7
10
8
10
7
8
7
7
9
10
9
Ex.6 Pattern Mixed [TRACK 52]
Ami7 Gmaj7 D7 Emi7
12
10
9
12
9
12
12
10
12
8
10
12
9
10
12 10
10
9
12
10 12
11
10 13
10
12
12 11
12
9
10
9
Arpeggios in 4 Bar Patterns: Key of D Ex.1 Pattern 2 & 4 [TRACK 53]
Emi7 A7 Dmaj7
Bmi7
7
10
9
7
9
7
7
10
7
8
9
7
9
10
7
5
5
4
7
5
7
6
5
8
5
7
7
6
7
4
5
4
Ex.2 Pattern 2 & 4 [TRACK 54]
Dmaj7 A7 Emi7 Bmi7
14 17
16
14 16
15
14 17
12
15 12
12
14 12
14
15
12
11 14
12 14
14
12 15
10
14 10
11
12 11
12
9
Ex.3 Pattern Mixed [TRACK 55]
Emi7 Dmaj7 A7 Bmi7
7
5
4
7
4
7
7
5
7
3
5
7
4
5
7
5
5
4
7
5
7
6
5
8
5
7
7
6
7
4
5
4
Ex.4 Pattern Mixed [TRACK 56]
Dmaj7 A7 Emi7 Bmi7
9
12
9
12
11
10 12
10
12 10
12
12
9
12
9
10
12
10 12
11
9
12
10
9
10
9
10
11
12 11
12
9
Ex.5 Pattern Mixed [TRACK 57]
Emi7 Dmaj7 A7 Bmi7
12 14
12
11 14
12
10 14
12
15 12
12
14 12
14
15
12
11 14
12 14
14
12 15
10
14
14 11
12 11
12
14
Ex.6 Pattern Mixed [TRACK 58]
Emi7 A7 Dmaj7 Bmi7
2
5
4
2
4
3
2
5
3
5
3
4
5
2
5
2
5
4
2
5
2
2
5
3
5
2
3
2
2
4
5
4
Arpeggios in 4 Bar Patterns: Key of F Ex.1 Pattern 2 & 4 [TRACK 59]
Fmaj7 C7 Gmi7 Dmi7
10 12
12
10 13
10 13
10
10
11
12 10
12
13 10
8
8
7
10
8
10
9
8
11
8
10
10
9
10
7
8
7
Ex.2 Pattern 2 & 4 [TRACK 60]
C7 Gmi7 Fmaj7 Dmi7
5
8
7
5
7
6
5
8
3
6
3
3
5
3
5
6
3
2
5
3
5
5
3
6
1
5
5
2
3
2
3
5
Ex.3 Pattern Mixed [TRACK 61]
Gmi7 Fmaj7 C7 Dmi7
10
8
7
10
7
10
10
8
10
6
8
10
7
8
10
8
8
7
10
8
10
9
8
11
8
10
10
9
10
7
8
7
Ex.4 Pattern Mixed [TRACK 62]
Fmaj7 Gmi7 Dmi7 C7
12 15
12 15
14
13 15
13
15 13
15
15 12
15 12
13
15
13 15
14
12 15
13
12
13 12
13
14
15 14
15 12
Arpeggios in 4 Bar Patterns: Key of Bb Ex.1 Pattern 2 & 4 [TRACK 63]
F7 Cmi7 Bbmaj7 Gmi7
10 13
12
10 12
11
10 13
8
11
8
8
10
8
10
11
8
7
10
8
10
10
8
11
6
10
6
7
8
7
8
5
Ex.2 Pattern 2 & 4 [TRACK 64]
Cmi7 F7 Bbmaj7 Gmi7
3
6
5
3
5
3
3
6
3
4
5
3
5
6
3
6
1
5
3
1
3
2
5
4
1
3
3
2
3
5
1
5
Ex.3 Pattern Mixed [TRACK 65]
Bbmaj7 Cmi7 F7 Gmi7
8
10
8
7
10
8
6
10
8
11
8
8
10
8
10
11
8
7
10
8
10
10
8
11
6
10
10
7
8
7
8
10
Ex.4 Pattern Mixed [TRACK 66]
Cmi7 F7 Bbmaj7 Gmi7
5
8
5
8
7
6
8
6
8
6
8
8
5
8
5
6
8
6
8
7
5
8
6
5
6
5
6
7
8
7
8
5
Arpeggios in 4 Bar Patterns: Key of Eb Ex.1 Pattern 2 & 4 [TRACK 67]
Fmi7 Bb7 Ebmaj7 Cmi7
8
11
10
8
10
8
8
11
8
9
10
8
10
11
8
6
Ex.2 Pattern 2 & 4 [TRACK 68]
6
5
8
6
8
7
6
9
6
8
8
7
8
5
6
5
Fmi7 Ebmaj7 Bb7 Cmi7
15 18
17
15 17
16
15 18
13
16 13
13
15 13
15
16
13
12 15
13 15
15
13 16
11
15 11
12
13 12
13 10
Ex.3 Pattern Mixed [TRACK 69]
Fmi7 Ebmaj7 Bb7 Cmi7
8
6
5
8
5
8
8
6
8
4
6
8
5
6
8
6
Ex.4 Pattern Mixed [TRACK 70]
6
5
8
6
8
7
6
9
6
8
8
7
8
5
6
5
Fmi7 Ebmaj7 Bb7 Cmi7
10 13
10 13
12
11 13
11
13 11
13
13 10
13 10
11
13
11 13
12
10 13
11
10
11 10
11
12
13 12
13 10
Arpeggios in 4 Bar Patterns: Key of Ami Ex.1 [TRACK 71] E7(b9) Ami7 Bmi7(b5)
7
7
8
10
7
9
7
10
10
9
9
7
9
6
8
5
5
8
7
5
7
5
5
8
5
8
5
5
7
5
7
8
Ex.2 [TRACK 72]
E7(b9) Ami7 Bmi7(b5)
12 14
12
10 14
12
10 13
Ex.3 [TRACK 73]
12
15 12
13
15 12
14 11
12 15
14
12 14
13
12 15
12
13
14 12
14
15 12
15
Ami7 E7(b9)
Bmi7(b5)
7
5
3
7
4
6
7
5
7
4
5
7
4
6
8
5
5
8
7
5
7
5
5
8
5
8
5
5
7
5
7
8
Ex.4 [TRACK 74]
E7(b9) Ami7 Bmi7(b5)
12
9
12
10
10 12
10 13
12 10
12
9
10
12
9
11
12
10 12
10
9
12
10
8
12
8
10
12
9
10
12 10
Arpeggios in 4 Bar Patterns: Key of Dmi Ex.1 [TRACK 75]
Dmi7 A7(b9) Emi7(b5)
7
10
8
7
9
8
6
10
5
8
5
6
8
5
7
4
5
8
7
5
7
6
5
8
5
6
7
5
7
8
5
8
Ex.2 [TRACK 76]
A7(b9) Dmi7 Emi7(b5)
12 15
13
12 14
12 15
15
12
14
14 12
14 11
13 10
10 13
12
10 12
10
10 13
10
13 10
10
12 10
12
13
Ex.3 [TRACK 77]
A7(b9) Dmi7 Emi7(b5)
12
10
8
12
9
12
11
10
12
9
10
12
9
11
13 10
10 13
12
10 12
10
10 13
10
13 10
10
12 10
12
13
Ex.4 [TRACK 78]
Dmi7 A7(b9) Emi7(b5)
5
2
5
3
3
5
3
6
5
3
5
2
3
5
2
4
5
3
5
3
2
5
3
1
5
1
3
5
2
3
5
3
Arpeggios in 4 Bar Patterns: Key of Gmi Ex.1 [TRACK 79] D7(b9) Gmi7 Ami7(b5)
5
8
6
5
7
5
8
8
5
7
7
5
7
4
6
3
3
6
5
3
5
3
3
6
3
6
3
3
5
3
5
6
Ex.2 [TRACK 80]
D7(b9) Gmi7 Ami7(b5)
12 15
13
12 14
13
11 15
10
13 10
11
13 10
12
9
10 13
12
10 12
11
10 13
10
11
12 10
12
13 10
13
Ex.3 [TRACK 81]
Gmi7 D7(b9) Ami7(b5)
10 12
10
8
12
10
8
11
Ex.4 [TRACK 82]
10
8
10
7
8
10
7
9
10
8
10
8
7
10
8
6
10
6
8
10
7
8
10
8
Gmi7 D7(b9)
Ami7(b5)
5
3
1
5
2
5
4
3
5
2
3
5
2
4
6
3
3
6
5
3
5
3
3
6
3
6
3
3
5
3
5
6
Arpeggios in 4 Bar Patterns: Key of Emi Ex.1 [TRACK 83]
Emi7 B7(b9) F#mi7(b5)
9
12
9
10
11
10
8
12
7
10
7
8
10
7
9
6
7
10
9
7
9
8
7
10
7
8
9
7
9
10
7
10
Ex.2 [TRACK 84]
B7(b9) Emi7 F#mi7(b5)
14 17
15
14 16
14 17
17
14
16
16 14
16 13
15 12
12 15
14
12 14
12
12 15
12
15 12
12
14 12
14
15
Ex.3 [TRACK 85]
B7(b9) Emi7 F#mi7(b5)
7
9
7
5
9
7
5
8
7
5
7
4
5
7
4
6
7
5
7
5
4
7
5
3
7
3
5
7
4
5
7
5
Ex.4 [TRACK 86]
B7(b9) Emi7 F#mi7(b5)
14
12
10 14
11 14
13
12
14
11
12
14 11
13
15 12
12 15
14
12 14
12
12 15
12
15 12
12
14 12
14
15
Arpeggios in 4 Bar Patterns: Key of Bmi Ex.1 [TRACK 87]
F#7(b9) Bmi7
C#mi7(b5)
9
12
9
10
11
9
12
12
9
11
11
9
11
8
10
7
7
10
9
7
9
7
7
10
7
10
7
7
9
7
9
10
Ex.2 [TRACK 88]
Bmi7 F#7(b9)
C#mi7(b5)
4
7
4
5
6
5
3
7
2
5
2
3
5
2
4
1
2
5
4
2
4
3
2
5
2
3
4
2
4
5
2
5
Ex.3 [TRACK 89]
F#7(b9) Bmi7 C#mi7(b5)
9
7
5
9
6
9
8
7
9
6
7
9
6
8
10
7
7
10
9
7
9
7
7
10
7
10
7
7
9
7
9
10
F#7(b9) Bmi7
Ex.4 [TRACK 90] C#mi7(b5)
14
11 14
12
12 14
12 15
14 12
14
11
12
14 11
13
14
12 14
12
11 14
12
10
14 10
12
14 11
12
14 12
Chapter 5 2 Bar Pattern Arpeggios IImi7 V7 Key of C Key of G
Imaj7
Key of E Key of Ab IImi7(b5) V7(b9) Key of Ami Key of Cmi Key of Fmi
Imi7
Arpeggios in 2 Bar Patterns: Key of C Ex.1 [TRACK 91]
Cmaj7 Dmi7
G7
2
3
5
5
3
4
3
6
7
3
5
4
5
2
Cmaj7
5
8
7
4
7
6
3
7
3
5
4
5
2
Cmaj7
10 13
G7
12
10 12
10 12
12
Ex.7 [TRACK 97]
8
12
8
10
9
10
10
8
Cmaj7
G7
7
10
7
10
8
7
8
7
8
10
9
10
7
3
5
3
2
5
5
5
3
7
5
6
7
4
5
3
5
3
2
5
4
5
5
3
7
Ex.6 [TRACK 96]
Cmaj7 G7
Dmi7
13 10
10
12
9
10
8
8
7
10
9
10
9
8
12
Ex.8 [TRACK 98]
Cmaj7 G7
Dmi7
10 9
5
4
Cmaj7 G7
7
Dmi7
4
Dmi7
10 9
5
3
Ex.5 [TRACK 95] Dmi7
3
Ex.4 [TRACK 94]
8 5
1
3
G7
5
Cmaj7 G7
Dmi7
5
5
Ex.3 [TRACK 93] Dmi7
Ex.2 [TRACK 92]
8
10
10
7
9
10
8
8
7
10
9
10
9
8
12
Arpeggios in 2 Bar Patterns: Key of G Ex.1 [TRACK 99]
Ami7 D7 Gmaj7
7
5
7
5
7
7
5
8
3
7
3
4
5
4
5
12 15
14
12
10 13
10
12
12
9
10
D7 Ami7 Gmaj7
5
3
2
5
2
5
2
Ex.7 [TRACK 105]
3
2
3
5
4
5
7
10
7
10
7
10
Gmaj7
8
10
7
8
7
9
10
9
3
5
3
2
5
4
5
7
13
14 12 11
12 10
12
10
9
12
11 12
12
10 14
Ex.6 [TRACK 104]
Gmaj7 D7
Ami7
5
5
2
4
5
3
5
3
2
5
4
5
4
3
2
Ex.8 [TRACK 106]
Gmaj7 D7
Ami7
8 7
5
3
Gmaj7 D7
2
Ami7 D7 7
4
4
Ami7
3 4
7
9
Ex.5 [TRACK 103]
3
5
Ex.4 [TRACK 102]
12 12 11
5
2
Gmaj7 Ami7 D7 11
D7 Gmaj7
Ami7
8
Ex.3 [TRACK 101]
12
Ex.2 [TRACK 100]
10
8
9
10
7
9
10
9
10
9
7
7
8
7
10
Arpeggios in 2 Bar Patterns: Key of E Ex.1 [TRACK 107]
Emaj7 F#mi7 B7
9
12
11
9
8
11
10
7
Ex.3 [TRACK 109]
11
7
9
9
8
9
6
17
16
14 16
16
14
12
16 12
13
4
7
6
7
5
7
Ex.7 [TRACK 113]
4
5
4
4
7
6
14
12
Emaj7
B7
11 14
11 14
12
11
12 11
12
14 13
14 11
7
9
6
7
6
9
9
7
11
16 13
14 12
14
12
11 14
13 14
13
12 16
Ex.6 [TRACK 112]
Emaj7 B7
F#mi7
5
6
7
4
6
7
5
7
6
7
6
4
4
5
4
Ex.8 [TRACK 114]
B7 Emaj7
F#mi7
12 13
14
7
F#mi7
9
9
Emaj7 B7
7 6
11
8
F#mi7
14 11
Emaj7 F#mi7 B7
4
9
Ex.4 [TRACK 110]
17 14 14 13
Ex.5 [TRACK 111]
5
11
7
B7
14 16
Emaj7 B7
F#mi7
10
Emaj7
F#mi7
Ex.2 [TRACK 108]
14
14 11
13
14 12
14
12
11 14
13 14
13
12
11
Arpeggios in 2 Bar Patterns: Key of Ab Ex.1 [TRACK 115]
Abmaj7 Bbmi7
6
9
Eb7
8
6
8
6
8
8
Ex.3 [TRACK 117]
4
8
8
5
6
5
6
13
11 15
13
12
11 14
11
13
13 12
13 10
4
3
6
3
6
6
Ex.7 [TRACK 121]
4
3
4
6
5
6
Eb7
8
11
10
9
8
8
11
9
11
8
9
8
8
11 10
6
4
6
4
3
6
5
6
12
13 11
13
11
10 13
12 13
13
11 15
Ex.6 [TRACK 120]
Abmaj7 Eb7
Bbmi7
6
6
3
5
6
4
6
4
3
6
5
6
5
4
3
Ex.8 [TRACK 122]
Abmaj7 Eb7
Bbmi7
9 10
15 11
3
Abmaj7
Bbmi7
5
8
Abmaj7 Eb7
4 5
6
4
Bbmi7
11 10
Bbmi7 Eb7 Abmaj7 3
8
5
Ex.4 [TRACK 118]
15 13
Ex.5 [TRACK 119]
4
6
8
Eb7
13
Eb7 Abmaj7
Bbmi7
6
Abmaj7
Bbmi7
Ex.2 [TRACK 116]
10
11
8
11
8
10
11
10 11
10
8
8
9
8
11
Arpeggios in 2 Bar Patterns: Key of Ami Ex.1 [TRACK 123]
Ami7 Bmi7(b5)
7
10
E7(b9)
7
8
6
7
9
Ex.3 [TRACK 125] E7(b9) Bmi7(b5)
14 17
15
14 13 16
15
5
9
8
5
7
5
7
8
12
13
14
15 12
Ami7
7
5
3
7
7
6
4
Ex.7 [TRACK 129]
5
8
5
7
5
7
8
E7(b9) Bmi7(b5)
9
12
10
10
9
12
10 13
Ami7
12
8
10
9
10
6
8
5
E7(b9)
12 10
7
15
16 14 13
15 12
E7(b9)
Bmi7(b5)
6
7
4
6
8
5
5
8
7
5
7
5
5
8
Ami7
14
Ex.6 [TRACK 128]
12 15
14
12 14
13
12 15
7
Ex.8 [TRACK 130]
Ami7
5
8
7
5
7
5
5
8
Ami7 E7(b9)
Bmi7(b5)
10 12
9
Ex.4 [TRACK 126]
5 5
7
15
E7(b9)
4
6
Bmi7(b5)
13 14 12
Ex.5 [TRACK 127] Bmi7(b5)
Ami7 E7(b9)
Bmi7(b5)
10
5
Ami7
13
Ex.2 [TRACK 124]
12 10
10
12
9
11
8
10 12
10
9
12
10
8
12
Arpeggios in 2 Bar Patterns: Key of Cmi Ex.1 [TRACK 131]
Cmi7 Dmi7(b5) G7(b9)
10 13
11
10 12
10 13
12
11
8
10
8
10
11
Cmi7
5
8
6
4
7
6
4
3
4
3
5
6
3
Cmi7
10
8
6
G7(b9)
10
7
10
9
7
6
8
5
8
5
6
Dmi7(b5) G7(b9) Cmi7
5
3
6
4
3
6
4
3
4
3
5
6
3
6
8
11
10
8
10
8
8
11
8
6
7
5
4
6
3
Cmi7
5
3
6
5
3
5
4
3
6
Ex.6 [TRACK 136]
G7(b9) Cmi7
Dmi7(b5)
9
10
7
9
6
8
5
8
6
5
8
5
8
8
6
Ex.8 [TRACK 138]
G7(b9) Cmi7
Dmi7(b5)
4 5
11
G7(b9)
8
Ex.7 [TRACK 137]
5
9
Dmi7(b5)
8 8
12
6
Ex.5 [TRACK 135] Dmi7(b5)
13 10
Ex.4 [TRACK 134]
4 5
13
8
G7(b9)
5
G7(b9) Cmi7
Dmi7(b5)
10 8
Ex.3 [TRACK 133] Dmi7(b5)
Ex.2 [TRACK 132]
6
3
5
4
6
3
5
3
6
5
3
5
4
3
6
Arpeggios in 2 Bar Patterns: Key of Fmi Ex.1 [TRACK 139]
Fmi7 Gmi7(b5)
10 13
11
C7(b9)
10
9
12
11
9
8
9
8
10
11
8
3
6
4
3
5
2
Fmi7
5
6
4
6
3
6
3
Fmi7
10
8
6
10
9
6
9
8
4
6
8
5
6
8
Fmi7
15
13
11 15
14
12
11
13
10
8
11
10
10
9
8
11
13 10
11
6
3
5
2
13
4
1
3
6
3
6
5
4
6
4
Ex.6 [TRACK 144]
Fmi7 C7(b9)
Gmi7(b5)
6
8
6
9
6
8
5
6
8
6
5
8
6
4
8
Ex.8 [TRACK 146]
C7(b9)
Gmi7(b5)
13 13 10
6
6
C7(b9)
12 15
8
8
Fmi7 C7(b9)
9
Ex.7 [TRACK 145] Gmi7(b5)
11
4
C7(b9)
8
9
Gmi7(b5)
3 5
Ex.5 [TRACK 143] Gmi7(b5)
12 10
Fmi7
Ex.4 [TRACK 142]
C7(b9)
3
11
11
Gmi7(b5)
C7(b9)
Gmi7(b5)
9 10
Ex.3 [TRACK 141]
Ex.2 [TRACK 140]
14
15 12
14 11
13 10
Fmi7
13
11
10 13
10 13
13
11
Chapter 6 Jazz Phrases for Soloing Major Phrases Minor Phrases Dominant 7th Phrases Altered Phrases
In this chapter, we going to try common phrases that I took from jazz masters such as Charlie Parker, Miles Davis, Wes Montgomery, and Joe Pass. I highly recommend you learn these. The first step in learning is always to follow the ideas and techniques of the master players. You will find your own sound and phrases gradually, by putting in years of practice. Just Be Patient!
Major Phrases You can count 8 beats with your foot like 1, and, 2, and, 3, and, and. Let’s call 1, 2, 3, and 4 as downbeat and emphasize ‘and’ on upbeat. Always try to play the chromatic notes or non-chord tones UPBEAT, then you will hear the smooth jazz sound. Try different positions and keys. In major7 chords, I like to add b3, #11 as chromatic notes. Also, the major scale is always good here. Ex.1 [TRACK 147]
Ex.2 [TRACK 148]
Cmaj7
9
10
10
10
9
10
10
Cmaj7
8
5
7
Ex.3 [TRACK 149]
9
8
7
10
7
3
12
10
8
10
9
10
7
9
8
7
5
7
10
7
Cmaj7
6
3
5
6
5
4
8
7
8
7
9
3
4
5
12
Cmaj7
4
5
Ex.6 [TRACK 152]
Ex.7 [TRACK 153]
5
8
9
7 10
5
Ex.5 [TRACK 151] Cmaj7
5
Cmaj7
7
8
6
5
Ex.4 [TRACK 150]
Cmaj7
7
4
7
Ex.8 [TRACK 154]
5
Cmaj7
8
8
9
10
9
10
8
11
12
4, the at #5,
Ex.10 [TRACK 156]
Ex.9 [TRACK 155]
Cmaj7
5
6 6
7
5
Cmaj7
8
5
8
3
8
11
12
8
9
10
3 Cmaj7
9
10
8
12
9
10
10
Cmaj7
7
8
10
7
8
9
7
8
9
5
11
10
9
8
9
7
10
9
10
Ex.14 [TRACK 160]
Cmaj7
10
7
9
10
10
9
9
8
8
7
9
Ex.16 [TRACK 162]
Ex.15 [TRACK 161]
10
Cmaj7
12
Ex.13 [TRACK 159]
9
8
Ex.12 [TRACK 158]
Ex.11 [TRACK 157] Cmaj7
9
5
Cmaj7
8 9
12
12
10
9
10
9
11
10
Ex.17 [TRACK 163]
Ex.18 [TRACK 164]
Cmaj7
Cmaj7
3
8
7
10
9
7
9
10
10
9
8
9
Ex.19 [TRACK 165]
5
4
6
5
4
5
Cmaj7
5
7
6
5
7
5
4
5
7
5
8
Cmaj7
9
10
8
9
10
10
9
8
9
15
5
4
7
12
10
7
12
13
14
15
12
13
12
15
Cmaj7
5
7
6
5
7
5
3
4
7
5
8
Ex.24 [TRACK 170]
Cmaj7
8 9
5
Ex.22 [TRACK 168]
5
Ex.23 [TRACK 169]
7
13
5
Ex.21 [TRACK 167]
5
7
12 5
4
Cmaj7
3
3
5
Ex.20 [TRACK 166]
Cmaj7
7
5
7
10
9
8
7
10
9
10
9
8
7
10
Minor Phrases Start with the minor 7th arpeggio. You can add notes from the natural minor scale and the dorian scale. The major 3rd is the most popular chromatic note, but just make sure you play the chromatic notes on the upbeat. These phrases can also be played for V7 or IImi7 V7 progressions. Ex.1 [TRACK 171]
Ex.2 [TRACK 172]
Dmi7
5
6
5
8
7
5
4
7
5
Dmi7
7
5
Ex.3 [TRACK 173]
Dmi7
12
10
10
13
10
13
12
10
12
11
10
10
9
Ex.5 [TRACK 175]
Dmi7
5
7
7
5
8
7
6
5
6
7
7
8
7
9 10
7
8 10
7 10 7
8
9
8
7
8
4
5
7
3
4
5
7
7
5
5
Dmi7
12
9
12
10
9
12
10
12
10
9
12
Ex.6 [TRACK 176]
Dmi7
5
5
9
7
Ex.4 [TRACK 174]
8 7
Ex.7 [TRACK 177] Dmi7
5
6
7
7
8
9
10
8
8
Ex.8 [TRACK 178]
Dmi7
8 7
5
7
6
5
7
6
5
8
7
6
5
5
7
Dominant 7th Phrases You can add chromatic notes from the mixolydian scale. the chromatic major 7th note is essential for playing bebop.
Ex.1 [TRACK 179]
Ex.2 [TRACK 180]
G7
9
7
9
8
7
8
6
7
G7
5
8
Ex.3 [TRACK 181]
7
6
5
3
6
3
4
12
9
7
10
9
10
7
8
8
5
6
9
8
7
6
7
7
10
6
7
3
2
3
8
12
10
12
13
10
12
12
11
10
12
3
G7
6
4
Ex.7 [TRACK 185]
5
5
G7
7
10
3
Ex.6 [TRACK 184]
G7
7
4
Ex.5 [TRACK 183]
7
5
G7
3
5
6
Ex.4 [TRACK 182]
G7
4
3
4
5
5
3
4
3 5
5
5
4
3
5
2
3
4
3
Ex.8 [TRACK 186]
G7
12
10
12
12
10
13
10
11
12
10
Altered Phrases If a 7th chord moves toward the 4th to a resolution, you can add altered notes. This altered scale is Root, b9, #9, 3, b5, #5, b7. It has the main notes of the 7th chord(R, 3, and b7) and altered notes(b9, #9, b5, and #5). An altered phrase should resolve at the next chord. The first example shows a basic altered scale fingering. Ex.1 [TRACK 187]
G7(alt)
5
6
8
4
6
6
8
Cmaj7 or Cmi7
Ex.2 [TRACK 188]
G7
8
G7(alt) Cmaj7 G7
6
7
9
6
6
8
8
5
Ex.5 [TRACK 191]
G7(alt)
G7
7
10
8
7
6
9
6
7
Ex.7 [TRACK 193]
G7(alt)
3
6
4
4
3
3
4
4
3
6
8
10
8
9
8
11
10
8
Ex.6 [TRACK 192]
G7
8
G7(alt)
10
7
9
8
6
6
9
Ex.8 [TRACK 194]
Cmaj7
5
5
Cmaj7
G7(alt)
3 6
4
G7(alt)
Cmaj7 or Cmi7
8
6
Cmaj7 or Cmi7
Ex.4 [TRACK 190]
8
3
4
5
Ex.3 [TRACK 189]
8
G7(alt)
4
3
4 5
4
1
2
7
Cmaj7 or Cmi7
8
Cmaj7 or Cmi7
3
Chapter 7 Applied Arpeggios in Chord Progressions Blues; Key of A Jazz Blues; Key of F Jazz Standard; Solar
Blue Bossa Tune Up How High the Moon All the Things You Are Autumn Leaves There Will Never Be Another You
Arpeggios over blues changes: A Blues [TRACK 195] Rhythm Guitar (backing track for arpeggio playing)
A7
A7
5 4 5
6 5
6 5
5
5
5
D7
5 4 5
E7
D7
6 5
7 6 7
D7
A7
A7
5 4 5
6 5
6 5
5
5
A7
5 4 5
6 5 5
A7
E7
5 4 5
6 5 6
7 6 7
7 6 7
Ex.2 [TRACK 196] Arpeggios over blues changes: A Blues Pattern 2 & 4
A7
5
4
7
5
5
6
7
5
7
7
5
6
7
5
7
5
5
6
7
5
7
D7
5
7
7
5
7
4
5
5
7
4
5
3
5
5
7
7
7
5
3
7
5
6
7
5
7
8
5
5
4
7
6
4
5
5
6
7
7
7
5
7
4
5
3
7
7
7
7
E7
A7
5
4
5
7
4
5
A7
4
7
D7
4
5
7
A7
5
D7
7
6
9
7
9
7
9
E7
A7
10
7
8
9
9
10
Ex.3 [TRACK 197] Arpeggios simplified: A Blues
A7
7
5
6
8
8
7
D7
8
7
A7
6
7
7
5
5
7
5
8
8
8
8
8
8
8
8
E7
9
8 6
5
5
6
A7
7
A7
7
D7
7
5
7
8
D7
8
8
7
9
A7
8
8
10
10
E7
7
8
9
9
Ex.4 [TRACK 198] Arpeggios with rhythmic variations: A Blues
A7
7
6
5
8
5
5
7
6
8
5
7
6
5
8
5
7
7
8
5
7
5
8
5
5
6
8
5
6
5
8
5
5
5
8
5
5
5
7
9
9
7
5
E7
A7
5
8
5
7
7
5
5
6
5
5
5
7
5
8
7
7
D7
A7
D7
5
A7
5
7
7
5
D7
A7
10
7
E7
7
8
9
9
7
Ex.1 [TRACK 199] Arpeggios over blues changes: F Jazz Blues Rhythm Guitar (backing track for arpeggio playing) F7
8 7 8
Bb7
Cmi7
F7
7 6
8 7 8
8 8
8 7 8
Bdim7
F7/C
5 4 5
8 7
6
7
8
C7
3 3
3 2 3
2 1
3
F7
1
D7
7 6
Gmi7
8
7 6
F7
6
Bb7
D7
Gmi7
C7
5 4 5
3 3
3 2 3
3
Ex.2 [TRACK 200] Arpeggios over blues changes: F Jazz Blues Pattern 2 & 4
F7
8
7
10
8
10
10
8
11
F7 Cmi7
8
11
8
8
10
7
8
6
F7/C
8
7
10
8
10
10
8
11
C7
8
11
8
9
10
8
10
7
Bb7
6
9
6
7
8
6
8
5
F7
7
8
10
8
10
8
10
11
Bdim7
Bb7
6
5
8
6
8
7
6
9
D7
10
13
10
11
12
10
12
9
F7
8
D7
7
10
8
7
7
10
8
7
9
6
7
9
6
8
10
Gmi7
10
13
12
10
12
11
10
13
C7
Gmi7
10
11
12
10
9
10
8
10
Ex.3 [TRACK 201] Arpeggios simplified: F Jazz Blues Figure.1 Fmi7 Arpeggio for D7alt(#9 b5 b7 b9) Figure.2 F#7 Arpeggio for C7alt as flat five substitution(3 b5 b7 b9)
F7
Bb7
7
8
8
10
8
F7
8
10
11
10
10
8
8
8
C7
6
7
8
9
9
13
10
8
11
9
13 13
10
12
C7 Gmi7
D7
11 8
7
10
8
10
9
8
9
10
F7
8
Gmi7
Fig.1> 9
6
7
9
10
11
12
8
10
8
7
Bdim7
D7
10
9
Bb7
11
F7/C
7
9
8
Cmi7
8
6
7
8
F7
10
F7
Fig.2> 11
10
11
12
10
9
11
11
9
8
[TRACK 202] Arpeggio Over Standard Chord Changes: Solar
8
Cmi7
8
8
10
11
8
8
10
11
C7
8
11
8
9
10
8
10
7
11
8
8
10
8
10
11
Fmaj7
8
7
10
9
10
10
8
12
Gmi7
10
13
12
10
12
11
10
13
8
10
10
9
10
7
8
7
Ebmaj7 Bb7 Fmi7
8
11
10
8
10
9
8
11
6
9
6
7
8
6
8
5
6
5
8
7
6
8
8
10
Dbmaj7 G7(b9) Dmi7(b5) Ab7 Ebmi7
6
7
8
6
5
6
4
6
4
3
6
5
6
6
4
8
4
6
7
5
4
6
3
5
[TRACK 203] Arpeggio Over Standard Chord Changes: Blue Bossa
Fmi7 Cmi7
8
11
10
8
10
8
8
11
8
11
8
8
10
8
10
11
8
11
10
8
10
9
8
11
8
9
10
8
10
11
8
11
Cmi7 G7
Dmi7(b5)
5
8
6
5
7
6
4
8
3
6
3
4
5
3
5
2
3
6
5
3
5
4
3
6
3
4
5
3
5
6
3
6
Dbmaj7 Ab7 Ebmi7
6
9
8
6
8
7
6
9
4
7
4
5
6
4
6
3
4
3
6
5
4
6
6
8
4
6
6
5
6
3
4
3
Dmi7(b5) Cmi7 G7 Dmi7(b5) G7
5
8
6
5
7
6
4
8
3
6
3
4
5
3
5
2
3
6
5
3
5
4
3
6
4
6
7
5
4
5
3
5
[TRACK 204] Arpeggio Over Standard Chord Changes: Tune Up
Dmaj7 A7 Emi7
7
10
9
7
9
8
7
10
5
8
5
6
7
5
7
4
5
4
7
6
7
7
5
9
5
7
7
6
7
4
5
4
Cmaj7 G7 Dmi7
5
8
7
5
7
6
5
8
3
6
3
4
5
3
5
2
3
2
5
4
5
5
3
7
3
5
5
4
5
2
3
2
Bbmaj7 F7 Ebmaj7
Cmi7
8
11
10
8
10
8
8
11
8
10
10
8
10
7
8
6
6
5
8
7
8
7
6
6
10
8
8
7
8
5
6
5
Bbmaj7 A7 A7 Emi7 Emi7
7
10
9
7
9
8
7
10
5
8
5
6
7
5
7
4
6
5
8
7
8
7
6
10
7
8
9
7
6
7
5
7
[TRACK 205] Arpeggio Over Standard Chord Changes: How High The Moon
C7 Gmi7 Gmaj7
10
9
12
11 12
12
10 14
10
12
12 11
12
9
10
9
10 13
12
10 12
11
10 13
8
11
8
9
10
8
10
7
Fmi7 Bb7 Fmaj7
8
7
10
9
10
10
8
12
8
10
10
9
10
7
8
7
8
11
10
8
10
9
8
11
6
9
6
7
8
6
8
5
Gmi7 Ami7(b5) D7(b9) Ami7 D7
Ebmaj7
6
5
8
7
8
8
6
10
5
8
5
5
7
4
5
3
3
6
5
3
5
3
3
6
5
8
8
5
7
4
6
3
Ami7 Bmi7 Bb7 Ami7 D7 D7
Gmaj7
3
2
5
4
5
4
3
7
5
8
5
5
7
4
5
3
7
10
9
7
8
7
6
9
5
8
5
5
7
4
5
3
C7 Gmi7 Gmaj7
10
9
12
11 12
12
10 14
10
12
12 11
12
9
10
9
10 13
12
10 12
11
10 13
8
11
8
9
10
8
10
7
Fmi7 Bb7
Fmaj7
8
7
10
9
10
10
8
Ebmaj7
6
5
8
7
8
8
6
12
8
10
10
9
10
7
8
7
8
11
10
8
10
9
8
11
6
9
6
7
8
6
8
5
Ami7 Gmaj7 Ami7(b5) D7(b9) D7 10
5
8
5
5
7
4
5
3
3
2
5
4
5
4
3
5
7
8
8
5
7
4
6
3
Ami7 Gmaj7 D7
Bmi7
7
10
Bb7
9
7
8
7
6
9
5
8
5
5
7
4
5
3
3
2
5
4
5
4
3
7
3
7
3
4
5
4
5
2
[TRACK 206] Arpeggio Over Standard Chord Changes: All The Things You Are
Fmi7
8
8
10
11
8
9
10
11
Abmaj7 4
8
4
5
6
5
6
3
Cmaj7
3
2
5
4
5
5
3
7
Fmi7
8
9
10
8
10
11
8
Bbmi7
6
6
9
6
6
8
6
8
9
Dbmaj7
4
3
6
5
6
6
4
8
3
5
5
4
5
2
3
2
Bb7
6
5
8
6
8
7
6
9
Eb7
6
5
8
6
8
8
6
9
G7
3
6
3
4
5
3
5
2
Cmi7
8
11
10
Ebmaj7 6
8
8
8
10
8
8
11
7
8
5
6
5
Figure.1 Fmi7 arpeggio for D7 altered sound(#9, b5, b7, and b9) Figure.2 F#9 arpeggio for C7 altered sound as flat five substitution (b5, #5, b7, b9, and 3)
Gmaj7
D7
Abmaj7
3
4
5
6
4
5
6
5
3
5
4
5
4
8
3
5
7
2
4
6
8
5
6
8
6
7
5
7
D7
Gmaj7
8
8
Ami7
Figure.1>
7
7
5
5
5
8
7
7
5
7
4
5
3
F#mi7 3
7
3
4
5
4
5
2
9
12
11
9
11
10
9
12
B7 C7(#5) Emaj7
Figure.2>
7
10
7
8
9
7
9
6
7
6
9
8
9
9
7
11
12
9
11
9
9
11
11
9
Fmi7
8
11
10
8
10
9
8
11
Abmaj7
4
8
4
5
6
5
6
3
Bbmi7
6
9
6
6
8
6
8
3
6
5
5
4
3
6
Eb7
6
8
8
6
8
5
6
4
6
8
6
8
8
9
Dbmi7
Dbmaj7
4
3
6
5
6
6
4
8
Bdim7
3
5
6
9
Cmi7
Eb7
7
9
6
7
9
6
8
4
3
6
5
6
4
8
4
5
6
4
6
7
4
Bbmi7
10
Abmaj7
5
7
6
6
8
9
6
6
8
9
4
8
4
5
6
5
6
3
[TRACK 207] Arpeggio Over Standard Chord Changes: Autumn Leaves
F7
8
Cmi7
8
8
10
11
8
8
10
11
Ebmaj7
6
8
8
7
8
5
6
5
10
10
8
10
7
8
6
Ami7(b5)
5
8
6
5
7
5
8
8
Bbmaj7
6
5
8
7
8
7
6
10
D7
5
7
7
5
7
4
5
3
Figure.1 Adim7 arpeggio for D7b9 sound(5, b7, b9, and 3) in G Harmonic minor progression
Gmi7
3
6
5
3
5
3
6
F7
8
3
3
10
10
8
10
7
8
6
3
3
5
3
5
6
Bbmaj7
6
5
6
7
8
6
7
8
Cmi7
8
10
Ebmaj7 6
10
D7
Ami7(b5)
11
8
8
8
8
8
10
11
7
8
5
6
5
Gmi7
Figure.1>
5
8
6
5
7
5
8
8
4
5
7
5
4
7
Ami7(b5)
5
8
6
5
7
5
8
8
4
6
5
7
8
7
7
D7
Figure.1> 5
7
4
5
7
4
6
8
Figure.2 Gmi7 arpeggio for Gmi7 C7. simplified IImi7 for IImi7 V7 Figure.3 Fmi7 arpeggio for Fmi7 Bb7 Figure.4 Ebmaj7 arpeggio for Ami7(b5) D7(#5) in G Harmonic minor progression
3
5
6
3
3
3
5
3
6
10
10
8
10
7
8
6
5
6
8
5
7
5
6
3
5
3
5
6
8
7
8
7
8
6
8
10
11
Ebmaj7 6
10
8
10
8
8
8
7
8
5
6
D7
Gmi7
Figure.2> 5
8
7
7
5
7
4
5
3
10
10
12
13
Ami7(b5) D7(#5) Bb7 Gmi Ebmaj7
12
11
9
10
Figure.4>
Figure.3> 8
8
10
11
8
6
5
5
C9
Fmi7
11
11
8
3
Bbmaj7
Ami7(b5)
5
6
Cmi7
F7
8
Gmi7
8
7
8
8
6
10
6
8
8
7
8
5
6
5
7
7
10
13
[TRACK 208] Arpeggio Over Standard Chord Changes: There Will Never Be Another You
Ebmaj7
5
6
7
8
6
8
8
10
G7(b9)
10
7
8
10
7
9
10
8
Bbmi7
6
9
8
6
8
6
6
9
6
8
8
7
8
5
6
5
Cmi7
8
6
5
8
5
8
8
6
Eb7
6
8
8
6
8
5
6
4
Dmi7(b5)
10
8
6
10
7
10
9
8
8
6
8
8
5
8
5
6
Abmaj7
4
8
6
5
6
5
8
8
Figure.1 C#mi7 arpeggio for Bb7 altered sound(#9, b5, b7, and b9) Figure.2 C#7 arpeggio as flat five substitution for G7 altered sound(b5, b7, b9, and 3)
Bb7 Fmi7(b5)
Ebmaj7
Cmi7
Figure.1>
7
9
10
8
6
9
6
7
F7
8
7
10
8
10
10
8
11
Bb7
6
9
6
7
8
6
8
5
6
5
8
7
8
8
6
10
8
10
10
8
10
7
8
6
Ebmaj7
6
5
8
7
8
8
6
10
G7(b9)
Dmi7(b5)
8
11
8
8
10
8
10
11
Fmi7
8
6
8
6
5
8
6
9
6
8
8
7
8
5
6
5
Cmi7
Figure.2>
10
8
6
10
7
10
9
8
9
12
9
10
11
9
11
8
8
11
10
8
10
8
8
11
Figure.3 Figure.4 Figure.5 (b5, b7,
Ebmaj7 arpeggio for D7 altered sound (b9, 11, #5, and R) C#dim7 arpeggio for C7b9 sound (b9, 3, 5, and b7) E7 arpeggio as flat five substituion for Bb7 altered sound b9, and 3)
Bbmi7 Eb7
8
11
8
8
10
8
10
11
9
8
11
8
11
9
10
Fmi7(b5) Bb7 Abmaj7
10
11
8
8
10
9
8
11
Gmi7
C7
7
9
10
8
7
8
9
11
6
11
8
8
8
10
7
5
8
5
7
8
6
7
5
6
4
11
8
5
6
8
7
8
8
6
10
D7
5
8
7
8
Ebmaj7
6
8
Figure.4> 10
7
8
10
7
6
Ebmaj7
Figure.5> 8
10
C7 G7
Ebmaj7
Fmi7 Bb7
5
8
Ebmaj7
Figure.3> 6
11
7
6
8
8
7
8
5
6
5
6
8
5
7
“Music comes from life. Many times you’ll find that you learn more about music from life than from music.” Mick Goodrick
Across The Ocean
From "Infinite Loop - Across The Ocean" (Jazzistik, 2009)
Bbmi7
Bbmi7
Ebmi7
Bbmi7
Bbmi7
Ebmi7
Bbmi7
Ebmi7
By Kimie Kim
Bbmi7
Bbmi7
Cmi7/F
Bbmi7/Eb
Cmi7/F
Bbmi7/Eb
Cmi7/F
Bbmi7/Eb
Cmi7/F
Bbmi7/Eb
Copyright © 2009 Kimie Kim All Rights Reserved