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Joined: Feb 2006
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Joined: Feb 2006
Posts: 1,129 |
Hi all,
I've for many years neglected mastering playing arpeggios over chord sequences - especially those in the Jazz Realbook.
When I do practice, I'm at the stage where I'm learning the different fingerings (positional) for the 'fundamental' major, minor, major 7th, minor 7th, augmented, and diminished arpeggios. This is proving quite challenging and time consuming, but I've got some momentum.
The next phase, according to my teacher, is to practice these fingerings in the context of ii-V7-I's.
My question is - what is a logical sequence to practice these apreggios with respect to progressions:
1.) should I start with ii-V-I's using only the major triads, and then practice them with 7ths ? e.g. iim7 - Vx7 - IM7
2.) what are some good ways to cycle through all the keys - e.g. should I do ii-V-I's in this order (e.g. cycle of 4ths) -
a. in the key of C, F, Bb, Eb... e.g. Dm7-G7-CM7-Gm7-C7-FM7..etc
3.) are there other 'typical modulations' which I should practice to cycle through all 12 keys in a pleasantly sounding manner ?
4.) Might you have any suggestions for practicing arepeggions that I haven't explicitly asked about ?
Thanks in advance,
Joe V.
Last edited by Joe V; 11/15/14 02:13 AM.
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Joined: May 2005
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Beringer's Method for Pianoforte is great for all kinds of exercises. Later, Ray
Asus Q500A i7 Win 10 64 bit 8GB ram 750 HD 15.5" touch screen, BIAB 2017, Casio PX 5s, Xw P1, Center Point Stereo SS V3 and EWI 4000s.
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Joined: Jul 2007
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Hi Joe,
You probably know I come from piano and sax, not guitar
Here is some food for thought..
You could try learning to take a fixed chordal structure such as an ascending arp around the cycles. For a blues perspective the cycle of fourths ascending, the whole tone cycle descending, would be a good place to start as these are called for in standard blues.
A basic way I cut this all up is think in terms of three sections plus the chord, so C major is CDE, EFG, GABC, CEGB. If I come across a chord I don't know I will first practise these sections, which all end on a chord tone and fit most places, I will make sure I can ascend and descend - muscle memery stuff. I will then take the idea aound some cycles, cycles of fourths, fifth, whole tones, minor thirds (esp with dim chords) and so on.
The cycles I use are cycle of fourths, fifths, whole tone, chromatic, minor third (dim)
The first few ideas are a lot of work, but as always two or three ideas in the process starts to flow.
Remember its fragments where "its at" (OK old hippy)
Once you have a bit going, you can begin fitting them on actual real life phrases. Take two or more different chords and work on them - BIAB is a godsend for this.
I never feel I really own an idea (even a simple idea) until I can deliver it instantly in all twelve keys. Simple things first is also a golden rule, first up the chord, then down, then half way up and half way down, then uop chord one, down chord two etc...
Thinking like this builds little lego bricks that can be put together in many different ways.
Of course this is not the 'whole story' but there is enough in this to build a repertoire. Guitars of course have neck positions, and there are many other approaches, but with little brick that go CDE over C and DEF over d minor a lot can be done.
I think of these excercises as what ballet calls the 'obligatories', if I can do them I go and make sure I can at least do this. They are for me 'main highways'.
If they don't suit then of course design your own, but make sure you can takle somebasic ideas around all twelve keys, in any order, then you can use these ideas as kit to constructed larger and better things, you could include chromaticism
Win 11 64, Asus Rog Strix z390 mobo, 64 gig RAM, 8700k
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