Improvisation Tools - Part 2: Arpeggios
(23 Jan 03)
Minor and Dom 7 Arpeggios
Minor 7 Arpeggios
It is a good idea to see these patterns in close relation to the 5 Pentatonic patterns (see Improvisation Tools - Pentatonic. There is only one note difference between Minor Pentatonic and Minor Arpeggio -- Minor Pentatonic includes a Perfect 4th).
Quick repeat: Minor7 = 1, b3, P5, b7, Cm7= c eb g bb
Cm7 Voicing
Cm7 Arpeggio
It is obvious that you should apply all major exercises to minor. I encourage you to examine each individual fingering regarding their intervalic structure. Here are some examples:- Where are the minor thirds in the patterns and which fingers play them?
- Imagine you only know roots and fifth. Improvise with them.
- What is my highest / lowest chord tone in each pattern?
- Practice 4- note sequence, 3- note sequence, and exercise in "3rds".
- Apply all drills and exercises to the minor arpeggio fingerings.
Combining Major and Minor
Here's an example of how you can apply one of the drill exercises to major and minor. Try to play a continuous line and think of the chord tones you resolve to when changing the chord (and fingering).
Other combinations:
I Am7 I Cmaj7 I
I Fmaj7 I Em7 I
Dominant 7 Arpeggios
The third chord family are dominant seventh arpeggios. There should be no need to say that you should repeat all steps introduced with major arpeggios (and hopefully practiced with minor too).
Quick repeat: Dominant7 = 1, M3, P5, b7, C7= c e g bb
C7 Voicing
C7 Arpeggio
If you want to focus entirely on Dominant7 arpeggios you could practice them by using a basic Blues progression:
C7 Blues
I C7 / / / I / / / / I / / / / I / / / / I
I F7 / / / I / / / / I C7 / / / I / / / / I
I G7 / / / I F7 / / / I C7 / / / I G7 / / / I
- Try to adapt the drills and exercises we talked about.
- Improvise with focusing on single chord tones.
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