arpeggio compendium-complete book

8/10/2019 Arpeggio Compendium-Complete Book

http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 1/75



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 tonicsThese exercises begin with triad arpeggios and progress to more elaborate and complexstructures (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 serveto develop one’s musical concept in the following ways: instrumental technique, toneproduction, musicianship/ear training, improvisation, composition, etc. In short, it is hopedthat 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 toinclude a wide variety of fingering and picking schemes to serve as models for any/allother individual musical creations. These pages are offered to be included into the guitar’slarge and exalted literature.

Scott McGill10 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 sacrificesinvolved 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 ArpeggiosMajor, Minor, Augmented, Diminished, Sus4, 6ths, 7 ths, 9ths, 11ths, 13ths

Scales Derived From Arpeggios

Arpeggios on Scales (Permutations) Octave Displacement

Arpeggios (Two Notes per String)Single-String Arpeggios, Diatonic Cycles (Triads, 7 ths, 9ths, 11ths, 13ths), Overlaps, Variants

Position StudiesMajor and Minor Tonalities with Permutations, Combined Minor Scales

Open-String Arpeggios, Arpeggios with Harmonics

Triad Inversion Arpeggios

Exotic and Synthetic Scales

Polytonal Arpeggios2, 3, 4 Triads with Inversions, 2, 3 7 th Chords and Alterations, Twelve-Tone Arpeggios, Articulations

Quartal Arpeggios

Triads, Diatonic, Alteration, 4-, 5-, 6-Note, Polytonal 4th

Chord Arpeggios, Inversions, 12-Tone 4th

ChordArpeggios, Inversions, Octave Displacement



Scott McGill's Biography

Proclaimed “The Thinking Man’s Yngwie Malmsteen” by celebrated jazz-fusion author andcritic, 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 (“GirlsJust Want to Have Fun”) and went on to receive his B.M. in Jazz Performance at TempleUniversity, graduating Summa Cum Laude. He continued his studies for the next ten yearswith legendary jazz/avant-garde composer Dennis Sandole, who also trained jazz greatsJohn Coltrane, Pat Martino, and James Moody, among others.

Scott’s international recording career has spanned the last ten years, performing asboth a solo artist and a member of such bands as The Hand Farm, Finneus Gauge, McGillManring 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 guitartechnique and improvisation. He is a Senior Lecturer in Jazz Guitar and an ensembledirector 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.


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 8/75The Guitar Arpeggio Compendium — Two-Octave Arpeggios 8

Arpeggios in Two Octaves

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http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 28/75The Guitar Arpeggio Compendium — Three-Octave Arpeggios 28

Arpeggios In Three Octaves

Major

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�

�

�

�

�

�

�

�

�

G9#

Dom 9

11

5

2

1

�

4

2

1

4

1

4

�

3

�

1

1

4

�

2

3

1

�

4

1

�

2

3

4

�

�

�

�

�

�

�

�

�

�

�

�

G9# #

Dom 7

9

11

2

1

�

4

3

1

�

1

4

3

�

1

2

1

1

�

2

3

1

�

4

1

�

3

4

�

�

�

�

�

�

�

�

�

�

�

�

G7b9#

�

Dom 7 9 11

1

4

2

1

�

1

�

3

�

1

4

�

2

1

1

�

4

�

2

3

1

�

4

1

�

2

4

�

�

�

�

�

�

�

�

�

�

�

�

G7#9#



Dom 7 9 11 5

2

1

�

4

3

1

�

1

3

2

�

1

2

1

1

�

2

3

1

�

4

1

�

3

4

�

�

�

�

�

�

�

�

�

�

�

�

G7b9# #

�

Dom 7 9 11 5

1

4

3

1

�

1

�

3

�

1

4

�

3

1

1

�

4

�

2

3

1

�

4

1

�

2

4

� � �

�

�

�

�

�

�

�

�

�

G7#9# #




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

0

4

2

1

2

�

�

�

�

�

1

4

2

1

�

� �

�

4

�

3

2

1

��

4

�

1

3

2

� ��

1

4

1

2

� � �

�

4

�

�

� � ��

�

� �

�

�

�

�

�


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 45/75The Guitar Arpeggio Compendium — Scales Derived from Arpeggios 45

Scales Derived From Arpeggios

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.

All arpeggios can be arranged stepwise to form a scale:

Dom13 9

C13 9

C13 9

Maj 7 9

4

3

2

1

1

4

3

2

�

1

�

12

4

�

1

�

�

�

�

�

�

�

CMaj7#9

CMaj7#9

(pentatonic)

Alter all major, minor, augmented, and diminished arpeggios. Extend to the range of

your instrument.

Cºb b9

Cºb b9

dim 13 9

3

1 4

2

1

1 4

1 4

3

2

�

1 1

2 4


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 46/75The Guitar Arpeggio Compendium — Arpeggios on Scales 46

Arpeggios On Scales (Permutations)

Major

An arpeggio of a scale can be formed by arranging the scale in order of every other note.

Arpeggio

Perform the arpeggio starting on every 'C' note on the fingerboard, using all four fingers asa starting point. Play ascending and descending utilizing consecutive right-hand pickstrokeswhere necessary.

4

3

1

4

2

1

4

3

2

1

4

3

2

1

2

1

4

3

1

3

4

1

4

2

1

4

1

2

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

4

3

2

�

1

4

1

4

1

1

4

�

1

4

1

4

1

�

0

3

1

4

1

4

�

The high 'E' string requires octave displacement:

1

4

1

4

1

4

�

3

4

1

�

4

1

4

1

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.

C b9#

1 4

2

1 4

�

�

�

�

1

�

�

�

�

2

�

�

�

1 4

2

1

�

�

�

�

4

�

�

�

�

�

�

�


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 47/75The Guitar Arpeggio Compendium —Arpeggios on Scales 47

3

2

�

1 3

1

2

4

3

�

2

1 3

4



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.

1

1

4

3

1

4

�

3

Apply to all previous fingerings. Apply shifting

principle to 2nd, 3rd, 4th, 5th, 6th, & 7th note

in arpeggio.

Octave displacement creates new melodic possibilities either by isolating one note at a time

for displacement:

2

1

4

3

�

1

4

1

2

1

4

3

�

1

2

4

Or, by dropping the notes in sequential order:

2

1

4

3

�

1

4

1

2

1

4

3

�

1

2

1

Octave displacement example on higher strings:

Apply octave displacement principles to all previous examples.

1

4

1

4

2

1

4

Octave displacement applied to scale so that arpeggio ascends but notes descend.

1

4

1

4

�

1

4

1

�

4

1

4

1

4

1



Two Notes Per String

Start with two notes:

1

4

1

4

�

1

3

4

Then with one note:

2

1

4

�

1

4

1

4

�

With shifts:

1

1

4

1

4

1

4

Overlap using two per string:

11

44

11

34

11

44

11

34

�

21

44

11

4

4

�

Apply principles to a single string:

11

44

21

44

1

4

11

44

11

34

11

44

�

Exhaust all possibilities - use octave displacement.

The arpeggio can be played as a series of triads using an overlap principle.

Apply principles to a single string:

4

�

3

�

1

4

2

1

4

3

�

1

4

�

2

1

�

3

2

1

�

3

4

1

�

3

2

1

�

Descending:

�

2

�

1

4

2

1

4

2

1

4

2

�

1

4

2

�

1

4

�

1

1

4

2

1

4

�

Descending:

�

�

1

4

�

2

1

4

3

1

4

2

1

4

�

2

1

4

�

2

�

1

4

3

1

4

2

�

Descending:

�



�

Triad arpeggios across the neck in a diatonic cycle of 4ths (start on every scale degree):

2

�

1

4

�

2

�

1

4

3

�

1 4

�

2

1 4

2

1 4

2

1 4

2

1 4

2

�

1 4

�

1

1 4

3

1 4

etc...

�

�

�

1

�

4

�

2

�

1

�

4

�

2

1

4

�

2

�

1

3

4

1

4

3

1

etc...

�

�

�

4

�

3

�

1

�

4

�

�

3

�

�

1

4

�

2

1

�

3

2

1

etc...

�

�

Explore other possibilities - employ combinations of picked and slurred notes. Experiment with

7th, 9th, 11th, and 13th arpeggios.

2

�

1

4

�

2

�

1

4

�

2

1

4

�

2

1

�

4

Overlap principle on triad arpeggios:

Apply all previous picking and fingering sequences. Overlap with 7th, 9th, 11th, and 13tharpeggios.

etc...



Extend arpeggios to the 7th on each degree (all fingers):

1

4

2

�

1

1

�

�

�

�

�

�

�

4

�

3

1

1

�

�

�

�

�

�

�

4

�

2

1

2

�

�

�

�

�

�

�

1

4

�

3

2

�

�

�

�

�

�

�

�

1 4

2

�

�

�

�

�

�

�

3

2

�

4

1

3

�

�

�

�

�

�

�

�

2

1 4

Stretch:

4

�

�

�

�

�

�

�

3

�

2

1

4

�

�

�

�

�

�

�

�

3

2

1

�

�

�

�

�

�

�

Two to a string:

1

4

1

4

1

4

1

1

�

�

�

�

�

�

�

4

3

�

1

2

4

1

4

1

�

�

�

�

�

�

�

Extend to the 9th (all fingers):

1

4

2

�

1

4

1

�

� � � � � � �

�

4

�

3

1 4

�

1

� � � � � � � � �

4

2

1 4

� � � � � � � � �



Variant:

1

4

3

2

�

1

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

2

1

4

3

�

1

2

�

�

�

�

�

�

�

�

�

1 4

�

2

1

2

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

3

2

1

4

�

2

3

�

�

�

�

�

�

�

�

�

2

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

4

3

1

4

�

2

4

�

�

�

�

�

�

�

�

�

4

�

�

�

�

�

�

�

�

�

3

2

�

1

4

4

�

�

�

�

�

�

�

�

�

3

�

2

1 4

�

�

�

�

�

�

�

�

�

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

�

�

�

�

�

�

�

�

�

�

�



11th Chords (cont.):

2

1

4

3

�

1

4

2

�

�

�

�

�

�

�

�

�

�

�

1 4

�

2

1 4

�

�

�

�

�

�

�

�

�

�

�

Variant:

3

2

1

4

�

2

1

3

�

� � � � � � � � �

�

2

�

1 3

2

1

� � � � � � � � � � �

4

3

2

�

1

4

3

4

�

�

�

�

�

�

�

�

�

�

�

3

�

2

1 4

3

�

�

�

�

�

�

�

�

�

�

�

13th Chords:

1

4

2

1

3

4

�

1

1

2

1

�

�

�

�

�

�

�

�

�

�

�

�

�

4

3

�

1 3

4

1

�

�

�

�

�

�

�

�

�

�

�

�

�



Variant:

1

4

3

2

�

1

3

4

1

�

�

�

�

�

�

�

�

�

�

�

�

�

4

3

�

2

1 4

2

�

�

�

�

�

�

�

�

�

�

�

�

�

2

1

4

3

�

2

1

4

2

�

�

�

�

�

�

�

�

�

�

�

�

�

1 4

�

3

2

1 4

�

�

�

�

�

�

�

�

�

�

�

�

�

3

2

1

4

�

3

2

1

3� � � � �

�

�

�

� � � � �

2

1 4

�

2

3

1� � � �

�

�

�

�

�

� � � �

Apply all previous principles. Explore all possibilities.

4

3

2

�

1

3

2

1

4

�

�

�

�

�

�

�

�

�

�

�

�

�

3

�

2

1

4

1

4

�

�

�

�

�

� � �

�

�

�

�

�



Triads may be placed on each degree of the scale. These are called "diatonic triads."

C:

Major:

V

V

v v °

[ ]

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:

1

C

�

4

�

2

3

m

4

�

1

1

Em

4

3

2

F

4 1

1

G

4

�

2

�

3

m

4 1

1

º

4

�

2

�

2

C

4 1

�

2

�

1

4

�

4

1

2

�

4

�

3

�

1

1

2

4

�

Full-position studies:

2

�

1

3

�

4

�

�

2

�

1

�

1

4

�

4

m

1

1

�

1

3

2

4

�

1

1

Em

�

4

�

2

�

3

�

�

1

�

1

�

1

4

�

4

F

1

1

�

2

3

2

4

�

1

�

2

G

1

�

3

4

�

�

2

�

1

�

1

4

�

4

m

1

1

�

1

3

2

4

�

1

1

º

�

4

�

2

�

3

�

�

1

4

�

1

4

�

4

C

1

1

�

2

3

�

4

1

2



Permutations:

4

1

3

3

�

1

1

1

�

�

�

�

�

�

1

�

1

�

3

1

4

4

�

�

� �

�

�

1

2

2

�

1

1

2

�

�

� �

�

�

1

�

3

�

3

1

2

�

�

� �

�

�

4

1

2

2

�

1

1

2

�

�

� �

�

�

1

�

3

�

3

1

2

4

�

�

� �

�

�

1

3

3

�

1

1

1

�

�

� �

�

�

1

�

1

�

3

1

4

�

�

� �

�

�

4

�

1

3

3

2

�

1

�

1

�

�

� �

� �

1

2

�

3

1

4

4

� � � � � �

�

1

2

2

3

�

1

�

2

�

� � � � �

1

4

3

�

3

1

2

� � � � � �

4

�

1

2

2

3

�

1

�

1

� � � � � �

1

3

�

4

1

3

4

� � � �

�

�

�

1

3

3

2

�

1

1

� � � � � �

1

�

2

�

3

1

4

�

�

� �

�

�

Variants:

Practice in all 12 keys. Apply all previous formats to diatonic triads. Extend triad studies

to diatonic 9th, 11th, and 13th chords.

2

4

1

2

4

1

1

� � � � � �

�

4

1

2

�

4

1

1

�

�

� �

�

�

2

4

1

�

4

3

1

� � � � � �

�

3

4

�

1

3

�

4

�

�

� �

�

�



Cmin:

Triads placed on the natural minor scale:

°

4

v

v

V 4

V 4

[ ]

�

In the natural minor tonality, the i, iv, and v chords are minor, the III

, VI

, and VII

are

major, and the ii is diminished.

Apply the same procedures for playing diatonic major triads to the natural minor scale.

1

4

Cm

3

�

2

�

4

Dº

1

1 4

Eb

2

3

Fm

4 1

1 4

Gm

3

2

4

b

1

1

4

b

2

3

4

Cm

1

In the harmonic minor tonality, i and iv are minor, V and VI

are major, ii and vii are

diminished, and III

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.

3

3, 6, 7

Construct arpeggios for the minor scales based on fingering and formation principles

used for the major scale. Also, try combining minor scales.

melodic minor ascending

harmonic minor descending


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 58/75The Guitar Arpeggio Compendium — Arpeggios with Open Strings 58

Arpeggios with open strings

Open string arpeggios yield unique, sonorous effects:

CMaj

3

2

�

0

0

1

0

�

3

4

1

Eb b # b9

1

�

0

3

0

2

0

�

�

�

Arpeggios with harmonics (natural):

Explore other possibilites of open string notes and harmonics, combined with stopped(fretted) notes. The open-string notes and harmonics can serve as either extensionsor alterations.

12th

Em

�

0

0

12th

5th

�

12th

12th

5th

12th

�

5th

5th

22nd

5th

Descend


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 60/75The Guitar Arpeggio Compendium — Triad Inversions 60

Figurations (four-note):

Experiment with other permutations. Extend to 5, 6, 7, etc. note figures. Repeat procedureusing Cmin, C+, and C triads. Apply to any three-note chords (triads).


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 62/75The Guitar Arpeggio Compendium — Scales 62

Hungarian Minor

�

�

�

�

�

�

�

�

Neopolitan Major

�

�

�

�

�

�

�

�

Neopolitan Minor

� � � � � � � �

Double Harmonic

� � � � � � � �

Oriental

�

�

�

�

�

�

�

�

Spanish Gypsy

�

�

�

�

�

�

�

�

Persian

� � � � � � � �

Hindustan

� � � � � � � �

Ananda Bhairava

�

�

�

�

�

�

�

�

Mukhari

�

�

�

�

�

�

�

�

Whole Tone

� � � � � � �

�

Six Tone Symmetrical

� � � � � �

�

Six Tone Symmetrical

�

�

�

�

�

�

�

Prometheus

�

�

�

�

�

�

�

Prometheus Neopolitan

� � � �

�

�

�

Javanese

� � � � �

�

�

�

Todi

�

�

�

�

�

�

�

Blues

�

�

�

�

�

�

�



Major (Diatonic) Pentatonic

�

�

�

�

�

�

Minor Pentatonic

�

�

�

�

�

�

Chinese

� � � � � �

Japanese

� � � � � �

Hirajoshi

�

�

�

�

�

�

Kumoi

�

�

�

�

�

�

Balinese (Pelog)

� � � � �

�

Egyptian

� � � �

�

�

Malakosha

�

�

�

�

�

�

Iwato

�

�

�

�

�

�

Scriabin (Piano Sonata No. 7)

� � �

�

�

�

Locrian Pentatonic

� �

�

�

�

�

Hejjajji

�

�

�

�

�

�

�

Symmetrical Diminished (Octatonic)

�

�

�

�

�

�

�

� �

Octatonic - Symmetrical (Dominant Diminished)

�

�

� �

�

�

�

�

�

8-Tone Spanish

�

�

� �

�

�

�

�

�

Algerian

�

�

�

�

�

�

�

�

�

�

�



Japanese (Pentatonic)

Develop arpeggios from all scale types:

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

Six Tone Symmetrical (Hexatonic)

� � � � � � � � � � �

�

�

� � � �

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

Enigmatic (Heptatonic)

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

� �

� � �

�

�

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�

� �

�

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�

�

�

� � � � �

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�



Symmetrical Diminished (Octatonic)

�

�

�

�

�

�

�

� �

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

� � � � �

�

� � � � � �

�

�

�

�

� � �

Apply all previous fingering and picking principles.

�

�

�

�

�

�

�

�

�

�

�

�

�

�

�

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http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 66/75The Guitar Arpeggio Compendium — Polytonal Arpeggios 66

Polytonal Arpeggios

Arpeggios can be constructed from two, three, or four distinct triads.

G/Db

1

4

2

1

3

�

4

1

4

�

3

2

1

4

G

�

(1st inv.)

Db

�

Gmin/Fmin/Ebº

2

1

4

1

4

�

3

2

1

3

Gmin

�

Fmin

�

Ebº

�

Gº/E&/Dmin/B

1

4

2

2

1

4

�

2

1

4

2

1

4

Gº

�

E&

�

Dmin

�

Bmin

�

Arpeggios can start and end on any inversion:

3

G1

1

4

�

B min

1

1

4

Amin

1

4

(1st inv.)

G

�

Bbmin

�

�

min


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 67/75The Guitar Arpeggio Compendium — Polytonal Arpeggios 67

Two seventh chords:

1

CMaj7

4

1

4

1

B Maj7+5

3

4

�

1

4

(2nd inv.)

CMaj7

�

�

(2nd inv.)

�

�

BbMaj7+5

Three seventh chords:

1

GMaj7 5

4

1

1

4

�

2

F7

1

3

1

E7 5

3

2

4

GMaj7b5

�

(1st inv.)

F7

�

�

(1st inv.)

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.

2

G

1

4

4

E

3

�

1

3

�

G

2

1

2

E

1

4

G

�

(G is duplicated)

Eb

�

Explore all possibilites with duplicated notes. Exhaust all combinations.

Two altered triads:

2

0

0

4

1

�

1

23

1

4

�

2

1

4

Gsus

or Asus4

(2nd inv.)

�

�

F#sus

or G#sus4

(2nd inv.)

�

�


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 68/75The Guitar Arpeggio Compendium — Twelve-Tone Arpeggios 68

Twelve-Tone Arpeggios

�

Twleve-tone sets can be made into arpeggios. Here is an example using two distinct whole-tone hexachords:

Experiment with all combinations of polytonal triads, 7th, 9th, and 11th chords. Combineany/all altered triads, 7th chords, etc. Create arpeggio formations from twelve-tone setsof original creation, or from any of the modern masters of this technique (Schoenberg, Berg,Webern, Boulez, etc...).

2

�

1

4

�

G9# #

1

4

�

3

�

�

1

�

1

4

�

2

D9# #

�

1

4

�

�

� �

G9# #

D9# #


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 69/75The Guitar Arpeggio Compendium — Articulation 69

Articulation

Although picking patterns have been included for virtually every note, based on thedirection of the phrase the student is strongly encouraged to experiment withascending and descending slurs (hammer-ons and pull-offs) in all examples. Justone slur changes all of the pick strokes and can create a completely different sound.

G Maj7

2

1

4

3

4

3

�

1

1

2

�

1

4

2

3

�

�

�

�

Maj

Also experiment with notes on different strings being attacked by the fretting hand only

("hammered" or "tapped" notes). (. = tapped note)

G Maj

All of arpeggios can be played with strict alternate picking as well. This would be excellentpractice for developing accurate crosspicking, and would yield beneficial results for bothhands. Start with both a downstroke and upstroke and alternate the pick strokes.

2

1

4

4

3

�

1

2

1

�

1

4

�

�

Maj


http://slidepdf.com/reader/full/arpeggio-compendium-complete-book 70/75The Guitar Arpeggio Compendium — Quartal Arpeggios 70

Quartal Arpeggios(Chords Based on 4th Intervals)

There are three types of quartal triads:

1. Two perfect 4ths

] P4

] P4

1

1

1

�

3

1

1

�

3

�

�

�

�

2. Perfect 4th - Augmented 4th

] A4

] P4

1

1

2

�

3

�

2

4

�

1

� � �

�

2. Augmented 4th - Perfect 4th

] P4

] A4

1

2

3

�

4

�

3

4

1

� � � � �

These chords can be inverted and permutated. Figurations can be triadic inversions:

1

1

�

4

1

1

�

3

3

1

�

4

1

�

1

�

4

2

3

�

�

�

�

�

�

�

�

�



Diatonic Chords

Major:

1

1

�

2

�

3

�

1

3

�

�

4

1

�

1

3

�

2

1

1

1

�

1

�

3

�

1

4

�

�

4

3

�

2

3

�

2

1

1

�

1

2

�

4

1

4

�

4

2

�

�

�

1

3

�

2

1

1

�

1

2

�

4

1

4

�

4

3

�

�

�

1

3

�

2

1

Or any other operation normally associated with chords built in 3rds.

4-note chords:

] P4

] P4

] P4

1

�

(stretch)

4

1

�

4

1

�

1

�

4

3

�

1

3

�

�

�

�

5-note chords:

] P4

] P4

] P4

] P4

1

(stretch)

1

�

4

�

1

�

4

1

�

1

�

4

1

�

4

�

�

�

�

�

= A Major Pentatonic Scale



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.

1

2

3

�

4

2

4

�

1

3

1

2

�

1

4

3

�

4

1

2



Polychord Arpeggios - Fourth Chords

1

2

3

�

1

2

3

�

�

�

�

�

OR:

1

2

1

�

4

1

�

4

�

�

�

Scale: Todi (Hexatonic)

3

4

1

�

4

�

3

1

1

�

43

�

�

�

�

�

Inversions

Scale: Dominant Bebop (Octatonic)

�

1

3

4

1

�

1

3

�

4

1

�

3

1

�

3

�

�

�

�

�

�

Inversions

Scale: Unadecuple (11-tone)



Twelve-Tone Arpeggio in Perfect 4ths WithOctave Displacement(Multiple Fingerings)

Stretch

Stretch

Stretch

Stretch

1

1

1

1

1

1

1

4

1

4

1

1

4

3

4

4

1

1

1

1

4

4

4

4

1

1

1

1

1

1

1

4

�

�

�

1

4

1

1

�

4

3

2

4

1

1

1

1

4

4

4

4

Reverse

�

�

Octave displacement (florid) applied to the above set:

1

�

3

4

�

1

4

2

1

3

1

4

�

1

3

2

OR:

the above set in various cycles

4-note chords:

1

1

1 4

1

1

�

1 4

�

1

4

1 4

Augmented Cycle

�

�

�

3-note chords:

1

1 1

3

1 4

1

1 4

3

�

1 4

Diminished Cycle

�

�

�

�



Complete Chromatic

Perfect 4th Diads in twelve Tones:

The cycle descends in whole steps

12

34

11

44

�

11

43

21

12

34

11

44

�

11

4

21

12

34

11

44

�

etc...(descend in whole steps)

11

43

21

�

�

�

�

�

�

Florid Octave Displacement (6-note chords in augmented 4th cycle):

1

4

1

4

2

3

1

4

1

4

2

3

1

4

�

1

4

2

�

3

1

4

1

4

�

2

3

�

� � �

arpeggio compendium-complete book

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