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Jazz Guitar Arpeggios - The Best

Beginner's Guide
18–23 минуты

In this lesson you will learn how to play guitar arpeggios. You will learn
how to use arpeggios to improvise over chord changes and jazz
standards, as well as the music theory involved. Arpeggios are an
essential building block of the jazz player’s vocabulary and give your
solos that instant “jazzy” flavor. Understanding, practicing and mastering
arpeggios is essential for all jazz guitarists. Learning arpeggios will
improve your guitar solos instantly by making them more interesting to
listen to.

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and start playing today!

An Overview of What You Will You Learn

1. What Are Arpeggios?

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2. What Are Arpeggios Used For?

3. Basic Arpeggios Shapes

• Minor Arpeggios

• Dominant Arpeggios

• Major Arpeggios

4. Arpeggios Over a 2 5 1 Chord Progression

5. Arpeggio Charts
• Major Arpeggio Chart

• Minor Arpeggio Chart

• Dominant Arpeggio Chart

• Half-diminished Arpeggio Chart

• Diminished Arpeggio Chart

6. Arpeggios of the C Major Scale

7. Blue Bossa Arpeggio Study

8. Practicing Arpeggios

9. Diminished Arpeggios over Dominant Chords

10. Arpeggios Over Minor ii V I Chord Progressions

11. Arpeggios & Approach Notes

12. Arpeggios & Enclosures

13. Autumn Leaves Arpeggio Study

What Are Guitar Arpeggios and How Do They Work?

Here is the definition of the word arpeggio:

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An arpeggio is a broken chord, where the notes of the chord are played
in succession instead of simultaneously.

Arpeggios are used in all genres of music, such as jazz, blues, rock,
metal, classical music, pop, etc. In jazz (and metal) arpeggios are used
differently compared to other genres of music.

In pop music for example, an arpeggio on guitar is usually used for

accompaniment. Instead of playing or strumming the notes of a chord
simultaneously, the individual notes of the chord are played in
succession by applying a fingerpicking pattern, usually on acoustic
guitar.

Here’s an example of how an Am arpeggio can be used in pop music.

The base of this arpeggio is a basic Am chord shape and the notes of the
chord are not muted after they are played, but ring together.

In jazz (and blues, metal, etc), arpeggios are used as an improvisation

technique for soloing instead of accompaniment. In contrast to
arpeggios used in other genres of music, the notes of a jazz guitar
arpeggio are usually played with a plectrum (unless you play fingerstyle)
and muted after they are played, so they don’t ring together. Another
contrast is that these arpeggios are not based on a chord shape.

Here’s an example of how an Am arpeggio would be played in jazz:

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In this tutorial we will be focusing on the jazz-type of arpeggios.

What Are Arpeggios Used For?

Why learn guitar and practice guitar arpeggios? Because arpeggios

are a great tool to improvise over chord progressions and jazz standards:

• Chord tone soloing: playing arpeggios in your guitar solo will outline the
harmony of the tune (contrary to scales). This chord outlining gives your
improvisation a sense of direction, making it more interesting to listen
to.

• Arpeggios make it easier to improvise a nice voice leading, making your

solos more melodic.

• You can use arpeggios to add color and complexity to your solos by
using substitutions.

How To Start Using Arpeggios

Now, which arpeggios should you learn?

Every jazz guitarists needs to know how to play the arpeggios of all
chord types in all positions of the guitar neck.

This may not seem a simple task, but with a good practice routine, you
will be able to play all arpeggios without thinking in a relative short
period of time.

So, before learning how to use arpeggios in guitar solos, let’s get started
by learning the basic positions.

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Basic Arpeggio Shapes: Minor, Dominant and Major

We’re going to learn the basic arpeggio shapes (aka grips) by looking
at the most common chord progression in jazz, the 2 5 1 (II V I).

In this example we’ll be working with a 2 5 1 progression in the key of

G major:

To play over this kind of chord progression, you need 3 types of

arpeggios: minor, dominant and major.

The Minor Arpeggio

Here are the arpeggio notes of the Am7 chord:

Am7 Arpeggio A C E G

1 b3 5 b7

And here is the guitar arpeggio shape for the Am7 chord:

red dots represent the root or 1 of the guitar chord.

black dots represent the other chord notes. The letters are the note
names.

Here is the same arpeggio in relation to its scale (A Dorian) and chord
(Am7):

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Am7 arpeggio vs A Dorian scale Am7 arpeggio vs

Am7 chord

Am7 Arpeggio Exercise #1: practice the A minor arpeggio as notated

on the tabs below (until it flows naturally):

Am7 Arpeggio Exercise #2: you can also practice by playing the chord
before the arpeggio, a good exercise for your ears.

Arpeggio Patterns

Here are 2 arpeggio patterns that are a little more technically

advanced, practicing these is optional, but a good exercise to get the
arpeggio shapes under your fingers. I’ve written out these patterns for

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Am7 only, but you can use the same pattern on all arpeggios, including
the dominant and major arpeggios that follow.

Am7 Arpeggio Pattern #1: This first pattern plays the arpeggio in 5th
and 4th intervals, achieved by skipping notes:

Am7 Arpeggio Pattern #2: this pattern divides the arpeggio in groups of
3 notes:

The Dominant Arpeggio

We go on to the notes and formula of the D7 chord:

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D7 Arpeggio D F# A C

1 3 5 b7

Here is the same arpeggio in relation to its scale (D Mixolydian) and

chord (D7):

D7 arpeggio vs D Mixolydian scale D7 arpeggio vs

D7 chord

D7 Arpeggio Exercise #1: Get this dominant arpeggio in your fingers

by practicing like you did for the Am7 chord:

D7 Arpeggio Exercise #2: Similar to the minor arpeggio examples, you

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can also play the chord before the arpeggio:

The Major Arpeggio

And then we arrive at the last chord of the chord progression, the Gmaj7
chord:

Gmaj7 Arpeggio G B D F#

1 3 5 7

Here is the same arpeggio in relation to its scale (G Major aka G Ionian
Scale) and chord (Gmaj7):

Gmaj7 arpeggio vs G major scale Gmaj7 arpeggio

vs Gmaj7 chord

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Gmaj7 Arpeggio Exercise #1: Practice this major arpeggio the way
we did for the minor and dominant arpeggio:

Gmaj7 Arpeggio Exercise #2: And with the Gmaj7 chord in front of the
arpeggio:

Movable Shapes

One thing you need to know: all arpeggio shapes are movable. If you
know the arpeggio for Am7 you can use that same ‘shape’ to find the
arpeggios for other minor chords.

For example: let’s say you want to find the arpeggio for Gm7. All we
have to do is slide the Am7 arpeggio shape 2 frets down. Instead of
starting on the 5th fret (in case of Am7), we start on the 3rd fret for Gm7.
You move the root of the arpeggio and play the shape from there, like
this:

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Arpeggios Over a ii V I Chord Progression

We know the basic positions for the arpeggios, now we’re going to
combine them so the arpeggios follow the 251 chord progression.

Exercise #1 – Ascending
The first thing we’ll practice is playing the arpeggios ascending, starting
from the root. This exercise is not very musical and you will never use
them like this for improvisation, but it’s a necessary step in learning how
to play arpeggios.

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Exercise #2 – Descending
Next, we’ll play the arpeggios descending:

Exercise #3 – Alternating
The next step is alternating the arpeggios. We do this by playing the
first arpeggio (Am7) for 1 bar and then switch to the nearest note of the
second arpeggio (D7) in the second bar. The same happens when we
switch to the third arpeggio (Gmaj7).

Exercise #4 – Alternating Variation

Let’s have a look at another alternating example, starting from a

different location of the guitar neck. Instead of starting the Am7
arpeggio on the low E-string, we will start it on the high E-string:

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When you’ve got these basic arpeggio shapes under your fingers, the
following (important) step is to start improvising using these shapes.
Practicing arpeggios starting from the root in streams of 1/8 notes is an
important step in the learning process, but not very musical. Once you
got this step under your fingers, it’s important to get creative so you don’t
end up sounding like a robot on stage…

Arpeggios can be started on any note and played in any order. You can
mix notes, skip notes and use any rhythm you can think of. Be creative!

Arpeggio Lick #1
Here’s a more musical example, using the same arpeggio shapes over
the same 251 chord progression, but with a variety in rhythm and note
order:

Now start to improvise yourself, using only the basic shapes you
learned so far. Use the backing track to make sure you make the
arpeggio change at the right time.

Arpeggio Charts

So far in this tutorial, we worked with arpeggio shapes that have their
root on the E-string (Am7 and Gmaj7) or on the A-string (D7). There
are of course a lot of other positions these arpeggios can be played.

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The following charts in the list below are an overview of arpeggio

positions for the most common chord types. The big diagram shows all
the notes of the arpeggio over the entire neck, the smaller diagrams
beneath it show the individual arpeggio grips.

All 22 grips below need to be memorized and practiced so you can play
them fluently and without hesitation…

Major Arpeggio Chart (Gmaj7)

CAGED

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Those of you familiar with the CAGED system, will recognize that the 5
Gmaj7 arpeggio shapes above correspond with the 5 basic chord
shapes (C A G E D):

Minor Arpeggio Chart (Am7)

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Dominant Arpeggio Chart (D7)

Half-Diminished Arpeggio Chart (Bm7b5)

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Diminished Arpeggio Chart (B°7 = D°7 = F°7 = Ab°7)

Only 2 grips for diminished chords because diminished chords are

symmetrical (learn more about diminished chords here).

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Arpeggios of the C Major Scale

A good exercise to practice the arpeggio shapes above is to play the

arpeggios of the chords of the C major scale in 1 position.

Here are the diatonic chords in the key of C (if you’re not sure where
these chords come from, have a look at our Chord Tutorial):

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5

I II III IV V VI VII

C Major Scale Arpeggios Exercise #1

In this exercise we play every chord arpeggio for the length of 1 bar, while
staying in the 7th position (more about guitar positions).

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C Major Scale Arpeggios Exercise #2

This is the same exercise as above, but this time starting in 2nd
position:

Practice this exercise in all positions of the guitar neck.

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Blue Bossa Arpeggio Study

In this section you are going to learn how to use the arpeggio shapes you
learned earlier over a jazz standard, Blue Bossa in this case.

When learning a tune, it’s important to be able to play the arpeggio of

any chord you encounter, anywhere on the guitar neck.

Start by playing the arpeggios through the song using only quarter
notes, and stick to using only a single arpeggio shape per chord.

After playing through Blue Bossa using quarter notes, try playing
through the lick below.

The lick uses the same notes as the arpeggios from the previous
example, but changes the order of the notes and varies the rhythm.

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For additional practice and soloing ideas, play only eighth notes
through the chord changes:

Practicing Arpeggios

When practicing new scales, arpeggios, or chords, it’s a good idea to

practice in a musical context. Often when I try to incorporate a new
concept or fingering into my playing, I make a little tune out of the new
material.

Here’s an example of such a tune. This exercise will teach you how to
play 9 and 13 arpeggios, as well as their respective chords.

F9 Arpeggio

The first chord and arpeggio is an F9, which is an F7 + the tension 9:

F A C Eb G

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1 3 5 b7 9

Here’s the chord (1st diagram) and arpeggio diagram (2nd diagram). In
the exercise I use variations of the arpeggio to make it more interesting:

Bb13 Arpeggio

The second type of chord and arpeggio is the Bb13 (bar 9), which is an
Bb7 + the tension 13:

Bb D F Ab G

1 3 5 b7 13

Here’s the chord (1st diagram) and arpeggio diagram (2nd diagram). In
the exercise I use variations of the arpeggio to make it more interesting:

The scale I use to end the tune is the F minor blues scale (bar 15).

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Arpeggio Practice Tune

Backing Track

Listen & Play Along

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How to Use Diminished Arpeggios over Dominant

Chords

Diminished arpeggios are often used to play over dominant (7b9)

chords. Here is the rule of thumb:

You can play a dim7 arpeggio from the b9, 3, 5 or b7 of any dominant 7th
chord. This will result in a 7b9 sound.

For example: over a G7, you can play an Abdim7, Bdim7, Ddim7 or
Fdim7 arpeggio:

Abdim7 Arpeggio Ab Cb Ebb Gbb

Played over G7 b9 3 5 b7

Bdim7 Arpeggio B D F Ab

Played over G7 3 5 b7 b9

Ddim7 Arpeggio D F Ab Cb

Played over G7 5 b7 b9 3

Fdim7 Arpeggio F Ab Cb Ebb

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Played over G7 b7 b9 3 5

In this arpeggio technique exercise, you’ll learn how to play diminished

arpeggios over dominant chords. The exercise is played over a ii V I VI7
chord progression in C major.

Dm7 (ii): over the first chord a normal Dm7 arpeggio is played:

G7b9 (V): here a diminished arpeggio (Bdim7) starting from the 3rd (b)
of the dominant chord is played. There is a slight difference between the
arpeggio shape played ascending and the shape played descending to
make it easier to go to the next arpeggio shape.

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Notice that the Bdim7 outlines the 3, 5, b7 and b9 notes of the G7b9
chord. It is a rootless arpeggio (there is no 1), which we often refer to as
the 3-b9 arpeggio.

Diminished chords (and arpeggios) are symmetrical because they are

built by stacking minor thirds. This means that you can treat any note of a
dim7 arpeggio as the root note: you could think of the Bdim7 arpeggio as
either Bdim7, Ddim7, Fdim7 or Abdim7, they are all the same.

Cmaj9 (I): here I play an Em7 chord over Cmaj7. Em7 is the first
superimposed chord of Cmaj7 and the arpeggio shape is the same as
the Dm7 you used before, but 2 frets higher.

A7b9 (VI7): here a diminished arpeggio (C#dim7) starting from the 3rd
(c#) of the A7 chord is played. There is again a slight variation in the
second shape to facilitate going to the next arpeggio.

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Diminished Arpeggio Exercise

The music notation and backing track:

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Here is another example. Notice that all the notes are from the Bdim7
arpeggio (the 3-b9 arpeggio over G7b9), but I’ve labeled the Ddim7 and
Bdim7 arpeggio shapes so you can see how you can use any root note
from Bdim7 to build other dim7 shapes on the fretboard.

Using Arpeggios Over Minor ii V I Progresssions

Now that you know how to relate a dim7 arpeggio to the V7b9 chord,
let’s have a look at two fingerings for these arpeggios and how you can
apply them to improvise over minor ii V Is.

A very cool fingering is the shared root fingering: because any note in a
dim7 arpeggio can be considered the root, if you take a Bdim7 and start
from the second note in that arpeggio (D), you are now sharing a root
note with the iim7b5 chord.

This means that you can now play iim7b5-iidim7 over the iim7b5-V7b9
section of the progression, allowing you to solo over those changes
without changing the root note or moving your hand on the fretboard
between chords.

Here are the four arpeggios for a minor turnaround in C with the Dm7b5
arpeggio starting on the 6th string.

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Here is a sample lick that uses all four of these shapes in its
construction:

Moving on, here are all four arpeggios in the minor key turnaround in C
from the 5th string:

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Here is a sample lick to hear these shapes in action:

To help you take these minor ii V I arpeggios to a musical situation,

here is a sample solo written out over the chord changes to a tune I’ll call
Tune Down, which is a minor key version of the Miles Davis track, Tune
Up.

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Spicing It Up – Approach Notes

Arpeggios relate directly to the chord you’re soloing over, but they can
sound a bit plain, as they offer nothing new to that chord. To help you
avoid this in your solos, you’ll have a look at some common chromatic
techniques over arpeggios.

The first arpeggio concept is called approach notes, where you

approach any note in an arpeggio by one fret below. When doing so, you
create a tension and release sound in your lines.

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The only rule is that you can’t resolve to the chromatic notes. So, if
you play an approach note, you then have to play a chord tone afterward.

Here’s an example of this technique in action, as you approach each

note in an Am7 arpeggio from a fret below. The approach notes are in
blue so you can easily see them on the fretboard. After you’ve worked
this exercise over Am7, take it to other keys and arpeggio types in your
solos:

Here’s the reverse of the previous exercise as you now descend an

Am7 arpeggio with approach notes.

Here’s a lick that uses arpeggios and approach notes as you bring this
concept to a musical situation. Learn this lick in the given key, then take
it to other keys if you can. From there, write out a few licks of your own
over this progression.

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Spicing It Up: Enclosures

The next bebop technique uses two chromatic notes for each arpeggio
note, as you encircle chord tones in your lines.

When playing enclosures, you play one fret above, then one fret below,
then the chord tone.

There are a number of enclosures that you can use in your solos, but this
is the best one to start with as it’s the most commonly used.

Here’s an example of an enclosure as applied at an Am7 arpeggio,

ascending a two-octave version of that arpeggio. Work this exercise with
a metronome in as many keys as you can, and then take it to other
arpeggio shapes.

The next exercise reverses the previous one, as you now descend an
Am7 arpeggio with enclosures.

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Here’s a lick that uses arpeggio enclosures over a ii V I vi progression

in G major. After you learn this lick, write out 2-3 of your own that use
arpeggios and enclosures in its construction.

Autumn Leaves Arpeggio Study

To complete our arpeggio tutorial, we will learn how to use arpeggios in a

song. To get you started applying arpeggios over chord changes, here is
a solo over Autumn Leaves that uses arpeggios and concepts from this
section.

Work the solo one phrase at a time until you can put everything
together to form the solo as a whole. From there, you can play it along
with the audio example, as well as solo over the backing track as you
create your own arpeggio solos over this tune.

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This lesson is available as a printable PDF (a part of our Beginner’s

Guide to Jazz Guitar) for our newsletter subscribers. If you are not
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Download the Beginner's Guide to Jazz Guitar

and start playing today!

Now you have learned the basics of arpeggios. If you want to learn how
to use arpeggios in your guitar solos step-by-step, then check out
our ebook The Easy Guide to Jazz Guitar Arpeggios (you can download
a sample of the ebook on this page as well…). The 182-page ebook
provides you with all necessary arpeggios shapes, theory, audio
examples (over 100), sample solos, practice pointers and backing tracks
you need to get a good grasp on arpeggios. Click here for more info…

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