There are two basic patterns we want to
remember for these arpeggios. The first one
will go 3rd–5th–7th–root, and the second pattern will be 7th–root–3rd–5th. Both of these
patterns work best for ascending lines. Reverse
the order to get the descending version. In
Fig. 3, you can see an example of some arpeggio fingerings over the progression’s first four
measures using the patterns mentioned above,
along with the line from Fig. 2.
Even though these are rhythmically pretty
boring (generating rhythmic interest is a
topic for a different column), the goal here
is to get the new shapes together and to
really understand the sound of the chords.
There are a few things I did differently in
this example. In the third measure, I sub-
stituted the 9th of the chord (D) for the
root on the “and” of beat 1. This “ 9 for 1”
technique can be used in chord voicings
as well. Since the last two measures of the
example are both over a C7 chord, I wanted
to change the direction of the line. In the
fourth measure, I started with the 3rd (E)
and descended to the 9th (subbing for the
root again) and then continued to the %7th
and 5th.
LESSONS > BEYOND BLUES
two measures of the progression. Here, we
are going from the I chord (C7) to the IV
chord (F7). As you will notice from the
guide tone shapes we worked on earlier,
the 3rd of the C7 chord (E) is a half-step
away from the %7th of F7 (E%). This creates
a built-in resolution when moving between
these two chords. The whole lick is made
up of chord tones and is based out of the
8th position. The last three notes of the
first measure are simply a displaced C major
triad, and that leads nicely into the E% in the
second measure. If you listen to the solos of
Kenny Burrell, Grant Green, and Robben
Ford you will begin to spot these subtle, but
important, shifts.
Fig. 3
C7
8
9
8 10
F7
8 10
7 10
C7
8
79
8
C7
5
7
85
Fig. 4
C7
F7
10
8
8
11
8
9
8
10
7
Click here to hear sounds
clips of these examples.
JASON SHADRICK is an associate edi-
tor of PG, and he as been mixing blues,
jazz, and rock since he first picked up a
guitar. Mostly because nobody told him
not to. He has degrees in Music Business
and Jazz Pedagogy, and he previously
worked with Lower Dyad Records and
the National Guitar Workshop.
