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Maj7b5 Arpeggios
B Y
P I N O
M A R R O N E
ITS A CHALLENGE TO CREATE IMPROvised melodies that outline a tunes chord structure. One way to sketch harmony is to spell out
chords using arpeggios. If you started playing
guitar by jamming over rock and blues vamps
as I did, you may find that it takes time to internalize these vertical sounds and shapes. Furthermore, its often difficult to create interesting
sounds beyond basic four-note, seventh-chord
formulas.
Superimpositions. A potent technique for
Ex. 1a
Fmaj7 5
======
&
=
b
1
T
A
B
2
2
Ex. 1c
Fmaj7 5
Fmaj7 5
b w
4
b
===============
&4
=
4
b
==============
& 4 b
=
Ex. 1b
5
5
T
A
B
7 12
7 12 13
2
1
13
10
T
A
B
9 10
7
b
(C # maj7 b 5)
# #
44
#
b
& {
================================
{
#
b
b
# #
Ex. 2
Dm7
G7
(Fmaj7 5)
(Bmaj7 5)
Cmaj7
(Cmaj7 5)
A7
T
A
B
..
1
5
2
2
1
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2
3
3
4
..
PH OTO : C E C I L I A M O L I N A R I
substitution is to work it out on your fretboard. Ex. 2 follows the principles described
in the chart. For clarity, well begin with chord
types described in the chart and run straight
arpeggios. Here are the details:
In bar 1, start on Dm7 s b3 to generate
a two-octave Fmaj7b5 arpeggio.
In bar 2, start on G7 s 3 (the launching
point for altered dominant sounds) and
arpeggiate Bmaj7b5.
In bar 3, start on Cmaj7 s root and
arpeggiate Cmaj7b5.
In bar 4, start on A7 s 3 and arpeggiate
C#maj7b5. (Again, this creates an altered
dominant sound.)
Okay so far? Substitutions can be tricky,
so take this material one step at a time and
review often.
Turning concepts into music. In Examples 3a and 3b, we put Ex. 2s maj7b5 arpeggios to work. Both four-bar lines are built
from the two-octave patterns we just played.
(To keep the lines flowing smoothly on the
page, a few notes are spelled enharmonically.
EXTENSIONS :
minor 7
b3
Dm7 = Fmaj7b5
6, 9
dominant 7
b7
G7 = Fmaj7b5
9, 13
altered dom7
G7alt = Bmaj7b5
#5, #9
root
Cmaj7 = Cmaj7b5
b5 (or #11)
b5
Em7b5 = Bbmaj7b5
11
major 7
minor7b5
Ex. 3a
# n
C j J b b n #
#
================================
&
3
Dm7
Swing feel
G7alt
Cmaj7
A7
Dm7
= 95
3 3
etc.
1
T
A
B
5
2
2 7
3 4
6 5
2
4
Ex. 3b
n
J b b b n #
# J
C
================================
&
3
3
3
3
3
Swing feel
Dm7
G7alt
Cmaj7
A7
Dm7
= 95
2 3
etc.
12 7
7 12
10
T
A
B
11
10
10 9 10
6
8
8 13 13 8
7
8
9
10 9 9
10
11
b
(Bmaj7 b 5)
(E b maj7 b5)
b
n
n b
bb 4
b
n
n n .
4
================================
&
Ex. 4
= 125
10
Dm7 5
(A maj7 5)
G7alt
Cm6
1 2 3
1 2 3
3 2
1 2
3
3 2
3
T
A
B
3
3
6
3
5
6
6
6
5
6 5
10
6
8
9
10
10
10
12
9 8
12
13
13121312
12 10 1210
1110
To be creative and spontaneous, you have to live with imperfection. John Abercrombie, Nov. 86 GP