Arpeggio Compendium-Complete Book

Introduction
This book is designed to aid the guitarist in the development of arpeggio technique.
Fingerings, strings, slurs (hammer-ons and pull-offs), and pick strokes have been
included in the examples, and it is suggested that they be played on all twelve tonics.
These exercises begin with triad arpeggios and progress to more elaborate and complex
structures (9ths, 11ths, 13ths, etc). The material may be approached in any way desired,
be it chronologically or by skipping around. It is my intent that these studies serve
to develop ones musical concept in the following ways: instrumental technique, tone
production, musicianship/ear training, improvisation, composition, etc. In short, it is hoped
that these examples will promote, encourage, and inspire musical action.
Although this text is geared primarily towards the pick-style (plectrum) guitarist,
fingerstylists can benefit greatly as well and are encouraged to substitute their own
right hand combinations for the down and up strokes given. Attention has been given to
include a wide variety of fingering and picking schemes to serve as models for any/all
other individual musical creations. These pages are offered to be included into the guitars
large and exalted literature.
Scott McGill
10 August 2007
With Gratitude
Maestro Dennis Sandole and Tom Giacabetti.
Barry Cleveland and Vincent DeMasi from Guitar Player Magazine.
Anders Lazaret for the brilliant cover art.
A special thanks to Josh Sager for friendship, encouragement, and his many sacrifices
involved in making this book a reality.
With love to Meredith and Declan
Glossary of Terms
Picking hand
= downstroke of pick
= upstroke of pick
Fretting Hand
1 = Index Finger
2 = Middle Finger
3 = Ring Finger
4 = Pinky Finger
= Slur (Hammer-on or Pull-off)

= Low E String
= A String
= D String
= G String
= B String
= High E String
Topics
Two- and Three-Octave Arpeggios
Major, Minor, Augmented, Diminished, Sus4, 6ths, 7ths, 9ths, 11ths, 13ths
Scales Derived From Arpeggios

Arpeggios on Scales (Permutations)
Octave Displacement
Arpeggios (Two Notes per String)

Single-String Arpeggios, Diatonic Cycles (Triads, 7ths, 9ths, 11ths, 13ths), Overlaps, Variants
Position Studies
Major and Minor Tonalities with Permutations, Combined Minor Scales
Open-String Arpeggios, Arpeggios with Harmonics

Triad Inversion Arpeggios
Exotic and Synthetic Scales
Polytonal Arpeggios
2, 3, 4 Triads with Inversions, 2, 3 7th Chords and Alterations, Twelve-Tone Arpeggios, Articulations
Quartal Arpeggios
Triads, Diatonic, Alteration, 4-, 5-, 6-Note, Polytonal 4th Chord Arpeggios, Inversions, 12-Tone 4th Chord
Arpeggios, Inversions, Octave Displacement
Scott McGill's Biography

Proclaimed The Thinking Mans Yngwie Malmsteen by celebrated jazz-fusion author and
critic, Bill Milkowski, Scott McGill has been a guitarist, recording artist, and educator
for 27 years.
At the age of 19, he played lead guitar for RCA recording artist, Robert Hazard (Girls
Just Want to Have Fun) and went on to receive his B.M. in Jazz Performance at Temple
University, graduating Summa Cum Laude. He continued his studies for the next ten years
with legendary jazz/avant-garde composer Dennis Sandole, who also trained jazz greats
John Coltrane, Pat Martino, and James Moody, among others.
Scotts international recording career has spanned the last ten years, performing as
both a solo artist and a member of such bands as The Hand Farm, Finneus Gauge, McGill
Manring Stevens, and FreakZoid; he has also served as a guest guitarist on many other
recordings. He has toured and/or recorded with such noted artists as Jordan Rudess
(Dream Theater), Michael Manring (Michael Hedges), and Percy Jones (Brand X, Tunnels),
along with producers Neil Kernon (Queensryche, Mahavishnu Orchestra) and David Torn
(Jeff Beck, David Bowie).
Today he is a musician, performer, and much sought-after teacher and clinician in guitar
technique and improvisation. He is a Senior Lecturer in Jazz Guitar and an ensemble
director at the University of the Arts in Philadelphia, PA. He and his family currently
reside in southern New Jersey. For more information, please go to www.scottmcgill.com.
Arpeggios in Two Octaves

Major
Minor
Augmented
Diminished
Sus4
The Guitar Arpeggio Compendium Two-Octave Arpeggios
CMaj
Cmin
CAug
Csus4
6th Chord Arpeggios
C6
Cm6
Maj6
3
2
3
4
Min6
7th Chord Arpeggios

Maj7
1
4
min7(version1)
min7(version2)
Dom7(version1)
CMaj7
Cm7
Cm7
C7
Dom7(version2)
C7
10
min7b5
dim7

Cm7b5
C7
C/Maj7
C7sus4
dim/Maj7
Dom7sus4
Maj7b5
CMaj7b5
11
Maj7#5
CMaj7#5
Cm/Maj7
Cm7#5
min/Maj7
3
2
min7#5
3
4
Dom7b5
Dom7#5
C7b5
C7#5
12
9th Chord Arpeggios

Maj9
CMaj9
Cm9
min9
Dom9
C9
min9b5
Cm9b5
Cm9#5
min9#5
13
dim9
dim/Maj9(version1)
dim/Maj9(version2)
Dom9sus4
Maj9b5
3
2
C9
C/Maj9
C/Maj9
C9sus4
CMaj9b5
14
Maj9#5(version1)
CMaj9#5
CMaj9#5
Cm/Maj9
Cm/Maj9
C9b5
Maj9#5(version2)
min/Maj9(version1)
min/Maj9(version2)
Dom9b5
15
Dom9#5(version1)
Dom9#5(version2)
Dom7b9(version1)
Dom7b9(version2)
Dom7#9(version1)
C9#5
C9#5
C7b9
C7b9
C7#9
16
Dom7#9(version2)
Dom7b9b5(version1)
Dom7b9b5(version2)
Dom7b9#5
Dom7#9b5
C7#9
C7b9b5
C7b9b5
C7b9#5
C7#9b5
17
Dom7#9#5
Maj6/9
min6/9
C7#9#5
CMaj%
Cm%
18
11th Chord Arpeggios

CMaj9#11
Cm11
Maj9#11

3
2
min11
Dom11
min11b5
min11#5
dim11
C11
Cm11b5
Cm11#5
C11
19
dim/Maj11
Maj9#11#5
min/Maj11

2
3
Dom11b5
Dom11#5
OR:
etc...
Dom11b9
C/Maj11
CMaj9#11#5
Cm/Maj11
C11b5
C11#5
C11b9
20
Dom11#9

3
2
Dom11b9b5
Dom11b9#5
Dom11#9b5
Dom11#9#5
3
2
Dom9#11
2
3
C11#9
C11b9b5
C11b9#5
C11#9b5
C11#9#5
C9#11
21
Dom9#11#5
Dom7b9#11
4
3
3
4
Dom7#9#11
Dom7#9#11#5
Dom7b9#11#5
C9#11#5
C7b9#11
C7#9#11
C7#9#11#5
C7b9#11#5
22

Maj13#11
3
2
min13
Dom13
min13b5
3
4
min13#5
dim b13
CMaj13#11
Cmin13
C13
Cm13b5
Cm13#5
Cb13
23
dim/Maj13
Maj13#11#5
min/Maj13
2
3
Dom13b5
3
4
Dom13#5
Dom13b9
2
3
C/Maj13
CMaj13#11#5
Cm/Maj13
C13b5
C13#5
C13b9
24
Dom13#9
Dom13b9b5
2
3
Dom13b9#5
Dom13#9#5
Dom13#11
Dom13#11#5
C13#9
C13b9b5
C13b9#5
C13#9#5
C13#11
C13#11#5
25
Dom11b13
Dom11b9b13
Dom11#9b13
Dom11b9b13b5
Dom11#9b13b5
Dom7b9#11b13
C11b13
C11b9b13
C11#9b13
C11b9b13b5
C11#9b13b5
C7b9#11b13
26
Dom7#9#11b13
Dom13b9#11
Dom13#9#11
Dom13b9#11#5
Dom13#9#11#5
4
2
C7#9#11b13
C13b9#11
C13#9#11
C13b9#11#5
C13#9#11#5
27
Arpeggios In Three Octaves

Major
G&
Sus4
diminished
Gmin
Augmented
minor
GMaj
Gsus4
The Guitar Arpeggio Compendium Three-Octave Arpeggios
28
Sixth Chord Arpeggios

Maj6(version1)
Gm6
min6(version2)
G6
min6(version1)
Maj6(version2)
G6
Gm6
29
Seventh Chord Arpeggios

Maj7
1
2
3
1
2
3
2
G7
Gm7b5
min7#5
3
4
min7b5
Gm7
Dom7
2
3
4
min7
GMaj7
Gm7#5
30
dim7
3
4
2
1
4
3
3
1
3
1
GMaj7b5
GMaj7#5
Maj7#5(version2)
G7sus4
4
2
Maj7#5(version1)
3
4
Maj7b5
G7
Dom7sus4
dim/Maj7
G7
GMaj7#5
4
2
31

min/Maj7
1
2
3
1
2
G7b5
Dom7#5
2
3
4
Dom7b5
Gm/Maj7
G7#5
3
4
32
9th Chord Arpeggios

Maj9
2
3
2
3
G9
min9b5
Gm9
2
3
Dom9
min9
GMaj9
Gm9b5

Gm9#5
min9#5
2
3
1
2
3
2
33
G9

dim9

G/Maj9
dim/Maj9
3
2
G9sus4
Dom9sus4
3
2

GMaj9b5
Maj9b5
2 1

GMaj9#5
Maj9#5
2 1
34

Gm/Maj9
min/Maj9

G9b5

Dom9b5
2
3
Dom9#5
2 1
2
3
Dom7b9
G9#5
G7b9
G7#9
Dom7#9
2
3
35

G7b9b5
Dom7b9b5
2
3
4
3

G7b9#5
Dom7b9#5
3
4
1 3
G7#9b5
Dom7#9b5
1 2
G7#9#5
Dom7#9#5
1 2
Maj6/9
G%
36
Gm%
min6/9
37

Maj9#11
2
3
GMaj9#11
Gm11

Min11
Dom11
1 4
G11
Gm11b5
Min11b5
3 2
1 4
1 4
2 4
Gm11#5

Min11#5
1 2
1 4
1 4
1 3
38
Dim11
G11
1 3
1 4
Dim/maj11
1 4
1 4
G/Maj11
Maj9#11#5
GMaj9#11#5
1 4
2
3
39
Gm/Maj11

min/Maj11
2 1 3
4 1 4
2 4
G11b5

Dom11b5
1 4
2 3
3 4
3 4
G11#5

Dom11#5
1 4
4
3
1 4
3 4
Dom11b9
4 4

2 1
4 3
2 1
3 1
G11b9
3 4
G11#9
Dom11#9
1
2
2 3
3 4
40
G11b9b5

Dom11b9b5
3 2

1 4
2 1
2 3
3 4
G11#9b5
Dom11#9b5
2 1
1 3
1 4
2 3
1 4
1
2
2 4
3
Dom11b9#5
G11b9#5
3 4
G11#9#5
Dom11#9#5
3 1
1 2
1 4
2 3
1 4
2 3
41
Dom9#11
4 2
1 4
1 1
2 3 1
2
3
G9#11
G9#11#5

Dom9#11#5
4 2
1 1
1 4
2 3
1 4
2
3
G7b9#11
Dom7b9#11
4 3
4 3
2 3 1 4
G7#9#11
Dom7#9#11
2 1
1 4
2 3 1
42
Dom7b9#11#5
4 3
G7b9#11#5
3 2
2 3
Dom7#9#11#5
3 1
1 4
2 3
G7#9#11#5
43

Three octave arpeggios based on the chords of the 13th have been omitted because of practical
range limitations, although some are possible, for example:
Emaj13#11
4 2
4 2
1 4
4 1
3 2
1 2
44
Scales Derived From Arpeggios

All arpeggios can be arranged stepwise to form a scale:
Dom13b9
C13b9
C13b9
This procedure can be applied to any arpeggio. Explore all possibilities.

Since all alteration possibilities are not shown because of space, the student is encouraged
to alter and extend all examples to their limitations.
1
2
CMaj7#9 (pentatonic)
CMaj7#9
Maj7#9
Alter all major, minor, augmented, and diminished arpeggios. Extend to the range of
your instrument.
Cb13b9
Cb13b9
dim b13b9
The Guitar Arpeggio Compendium Scales Derived from Arpeggios
45
Arpeggios On Scales (Permutations)

An arpeggio of a scale can be formed by arranging the scale in order of every other note.
Major
Arpeggio
/ 0
Perform the arpeggio starting on every 'C' note on the fingerboard, using all four fingers as
a starting point. Play ascending and descending utilizing consecutive right-hand pickstrokes
where necessary.
The higher strings (D, G, B, E) usually require shifting:
The high 'E' string requires octave displacement:
Start on every finger, every string, on all 'C' notes on the fingerboard. Apply every string/
every finger concept to all arpeggios covered thus far.
C7b9#11
The Guitar Arpeggio Compendium Arpeggios on Scales
46
47
More fingerings can be generated by starting on a given note, shifting to the next note in
the arpeggio on the string as the first, and then completing the series in the new position.
Apply to all previous fingerings. Apply shifting

principle to 2nd, 3rd, 4th, 5th, 6th, & 7th note
3
3
1
4
1
4
1
in arpeggio.
Octave displacement creates new melodic possibilities either by isolating one note at a time
for displacement:
Or, by dropping the notes in sequential order:
Octave displacement example on higher strings:
Apply octave displacement principles to all previous examples.
Octave displacement applied to scale so that arpeggio ascends but notes descend.
48
Two Notes Per String
3
4
1
1
1
1
4
4
3
4
1
1
4
4
2
1
4
4
1
1
4
4
1
1
Apply principles to a single string:

4
4
Overlap using two per string:
1
1
With shifts:
Then with one note:
Start with two notes:
4
4
2
1
1
1
4
4
1
1
3
4
1
1
4
4
Exhaust all possibilities - use octave displacement.

The arpeggio can be played as a series of triads using an overlap principle.
Descending:
Apply principles to a single string:
Descending:
Descending:
49
Triad arpeggios across the neck in a diatonic cycle of 4ths (start on every scale degree):
etc...

etc...

1
etc...

4
Explore other possibilities - employ combinations of picked and slurred notes. Experiment with
7th, 9th, 11th, and 13th arpeggios.
Overlap principle on triad arpeggios:
etc...
Apply all previous picking and fingering sequences. Overlap with 7th, 9th, 11th, and 13th
arpeggios.
50
Extend arpeggios to the 7th on each degree (all fingers):
Stretch:
Two to a string:
4
3
1
2
Extend to the 9th (all fingers):
51
Variant:
Start 11th chord arpeggios on the 'A' string, then 'D' string, etc...

1 4 2 1 4 2
1 4 3 2 1 4

1 4 3 2 1 4
52
11th Chords (cont.):
Variant:
13th Chords:

3
4
1
2
53
Variant:
Apply all previous principles. Explore all possibilities.

54
Triads may be placed on each degree of the scale. These are called "diatonic triads."
Major:
C:
IV
iii
ii
vi
vii
/0
[I]
In a major tonality, the I, IV, and V degrees are major chords, the ii, iii, and vi chords
are minor chords, and the vii is diminished. Play the triads as arpeggios utilizing all
previous fingering and picking procedures.
For example:

2 3
1 4
Em
Dm
1 4
Am
2 3
1 4
1 1 4
2 2
1 4
3 1
1 2
2 4
Full-position studies:
Em
Dm
Am
55
Permutations:
4
3
Variants:
Practice in all 12 keys. Apply all previous formats to diatonic triads. Extend triad studies
to diatonic 9th, 11th, and 13th chords.
56
Triads placed on the natural minor scale:
Cmin:
ii
III4
iv
VI4
VII4
[i]
In the natural minor tonality, the i, iv, and v chords are minor, the IIIb, VIb, and VIIb are
major, and the ii is diminished.
Apply the same procedures for playing diatonic major triads to the natural minor scale.
Cm
Eb
Fm
Gm
Ab
Bb
Cm
In the harmonic minor tonality, i and iv are minor, V and VIb are major, ii and vii are
diminished, and IIIb is augmented.
In melodic minor, the third of the scale degree is raised ascending only, the 6th and 7th
degrees follow like a natural minor while descending.
b3, b6, b7
b3
Construct arpeggios for the minor scales based on fingering and formation principles
used for the major scale. Also, try combining minor scales.
melodicminorascending
harmonicminordescending
57
Arpeggios with open strings

Open string arpeggios yield unique, sonorous effects:
CMaj7
Eb7b5#5b9
Arpeggios with harmonics (natural):

Em7
12th
12th
5th
12th
12th
5th
12th
5th
5th
22nd
Descend
5th
Explore other possibilites of open string notes and harmonics, combined with stopped
(fretted) notes. The open-string notes and harmonics can serve as either extensions
or alterations.
The Guitar Arpeggio Compendium Arpeggios with Open Strings
58
Arpeggios based on triad inversions (four-note)

Combined fingerings (reverse to descend):
Apply various combinations of pickstrokes and slurs.
1 1
1 1 1 3 4 2 1
3 2 1 1
3 1 1
1 1 4
1 1 4
2 1 1
1 1 4
3 1 4
2 1 4
The Guitar Arpeggio Compendium Triad Inversions
1
2
2
2
3
2
59
Figurations (four-note):
Experiment with other permutations. Extend to 5, 6, 7, etc. note figures. Repeat procedure
using Cmin, C+, and C triads. Apply to any three-note chords (triads).
The Guitar Arpeggio Compendium Triad Inversions
60
Scales
Apply all arpeggio studies discussed thus far on scales (diatonic and otherwise) to the
following modal, synthetic, and ethnic scales. Analyze diatonic triads, 7th, 9th, 11th, and
13th chords in each scale.
HarmonicMinor
MelodicMinor
Dorian
Lydian
Phrygian

Mixolydian
Aeolian
Locrian
SuperLocrian
LydianMinor
MajorLocrian
Overtone(LydianDominant)
LydianAugmented
Enigmatic
LeadingWholeTone
HungarianMajor
The Guitar Arpeggio Compendium Scales

61
HungarianMinor
NeopolitanMajor
NeopolitanMinor
DoubleHarmonic
Oriental
SpanishGypsy
Persian
Hindustan
AnandaBhairava
Mukhari
WholeTone
SixToneSymmetrical
SixToneSymmetrical
Prometheus
Javanese
PrometheusNeopolitan
Todi
Blues
62
Major(Diatonic)Pentatonic
Chinese
Hirajoshi
Balinese(Pelog)
Malakosha
Scriabin(PianoSonataNo.7)
Hejjajji
MinorPentatonic
Japanese
Kumoi
Egyptian
Iwato
LocrianPentatonic
SymmetricalDiminished(Octatonic)
Octatonic-Symmetrical(DominantDiminished)
8-ToneSpanish
Algerian
63
Develop arpeggios from all scale types:
Japanese(Pentatonic)
SixToneSymmetrical(Hexatonic)
Enigmatic(Heptatonic)
64
SymmetricalDiminished(Octatonic)
Apply all previous fingering and picking principles.
65
Polytonal Arpeggios
Arpeggios can be constructed from two, three, or four distinct triads.
G/Db
Db
(1stinv.)
Gmin/Fmin/Eb
Gmin
E&
G
Fmin
G/E&/Dmin/B
Eb
Dmin
Bmin
Arpeggios can start and end on any inversion:
Amin
Bbmin
(1stinv.)
Bbmin
Amin
The Guitar Arpeggio Compendium Polytonal Arpeggios
66
Two seventh chords:
3
4
CMaj7
CMaj7
BbMaj7+5
(2ndinv.)
(2ndinv.)
BbMaj7+5
Three seventh chords:
GMaj7b5
F7
GMaj7b5
F7
(1stinv.)
E7b5
(1stinv.)
E7b5
Four mutually-exclusive triads or three mutually-exclusive seventh chords form arpeggios

consisting of all 12 tones with no doublings. This doesn't rule out two, three, or four
triads with a doubling or more.
Eb
Eb
(Gisduplicated)
Eb
Explore all possibilites with duplicated notes. Exhaust all combinations.
Two altered triads:
2
3
The Guitar Arpeggio Compendium Polytonal Arpeggios
Gsus2
or Asus4
(2ndinv.)
F#sus2
or G#sus4
(2ndinv.)
67
Twelve-Tone Arpeggios
Twleve-tone sets can be made into arpeggios. Here is an example using two distinct wholetone hexachords:
D9#11#5
G9#11#5
4
G9#11#5
D9#11#5
Experiment with all combinations of polytonal triads, 7th, 9th, and 11th chords. Combine
any/all altered triads, 7th chords, etc. Create arpeggio formations from twelve-tone sets
of original creation, or from any of the modern masters of this technique (Schoenberg, Berg,
Webern, Boulez, etc...).
The Guitar Arpeggio Compendium Twelve-Tone Arpeggios
68
Articulation
Although picking patterns have been included for virtually every note, based on the
direction of the phrase the student is strongly encouraged to experiment with
ascending and descending slurs (hammer-ons and pull-offs) in all examples. Just
one slur changes all of the pick strokes and can create a completely different sound.
GMaj7

GMaj7
Also experiment with notes on different strings being attacked by the fretting hand only
("hammered" or "tapped" notes).
(. = tapped note)

GMaj
GMaj
All of arpeggios can be played with strict alternate picking as well. This would be excellent
practice for developing accurate crosspicking, and would yield beneficial results for both
hands. Start with both a downstroke and upstroke and alternate the pick strokes.
The Guitar Arpeggio Compendium Articulation
69
Quartal Arpeggios
(Chords Based on 4th Intervals)
There are three types of quartal triads:
1. Two perfect 4ths
]P4
]P4
2. Perfect 4th - Augmented 4th
]A4

]P4
2. Augmented 4th - Perfect 4th
]P4
]A4
These chords can be inverted and permutated. Figurations can be triadic inversions:
0
/
2
3
The Guitar Arpeggio Compendium Quartal Arpeggios
70
Diatonic Chords
Major:
Or any other operation normally associated with chords built in 3rds.

4-note chords:
]P4

]P4
]P4
5-note chords:
]P4
]P4

]P4
]P4
(stretch)
(stretch)
= Ab Major Pentatonic Scale
/0
71
6-note:
7-note:
= Locrian Scale
4-note Chord Inversions
Reverse to descend
Extend these to the range limit of your instrument. Apply any figuration, and apply to
all 4-note chords built in 4ths. Extend to 5-, 6-, 7-, etc... note chords built in 4ths.
72
Polychord Arpeggios - Fourth Chords

OR:

Scale: Todi (Hexatonic)
4
3
Inversions
Scale: Dominant Bebop (Octatonic)
Inversions
Scale: Unadecuple (11-tone)
73
Twelve-Tone Arpeggio in Perfect 4ths With

Octave Displacement
(Multiple Fingerings)
Stretch
Stretch
Stretch
Stretch
Reverse
Octave displacement (florid) applied to the above set:
OR:
the above set in various cycles
4-note chords:
3-note chords:
Augmented Cycle
Diminished Cycle
74
Complete Chromatic
Perfect 4th Diads in twelve Tones:
VIII

1
2
3
4
4
4
1
1
1
1
4
3
2
1
3
4
1
2
1
1
4
4
1
1
2
1
3
4
1
2
1
1
4
4
1
1
Florid Octave Displacement (6-note chords in augmented 4th cycle):
2
1
etc...
(descend in whole steps)
The cycle descends in whole steps
4
3
75

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Arpeggio Compendium-Complete Book

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Introduction

With love to Meredith and Declan

= Slur (Hammer-on or Pull-off)

Scales Derived From Arpeggios

Arpeggios (Two Notes per String)

Open-String Arpeggios, Arpeggios with Harmonics

Scott McGill's Biography

Arpeggios in Two Octaves

The Guitar Arpeggio Compendium Two-Octave Arpeggios

6th Chord Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

7th Chord Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

9th Chord Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

11th Chord Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

13th Chord Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

The Guitar Arpeggio Compendium Two-Octave Arpeggios

Arpeggios In Three Octaves

The Guitar Arpeggio Compendium Three-Octave Arpeggios

Sixth Chord Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

Seventh Chord Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

9th Chord Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

11th Chord Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

13th Chord Arpeggios

The Guitar Arpeggio Compendium Three-Octave Arpeggios

Scales Derived From Arpeggios

This procedure can be applied to any arpeggio. Explore all possibilities.

The Guitar Arpeggio Compendium Scales Derived from Arpeggios

Arpeggios On Scales (Permutations)

The higher strings (D, G, B, E) usually require shifting:

The high 'E' string requires octave displacement:

The Guitar Arpeggio Compendium Arpeggios on Scales

The Guitar Arpeggio Compendium Arpeggios on Scales