Essential Single Octave Arpeggios

In order to get the most out of single octave arpeggios on the guitar, it is important tounderstand why they are played the way they are. In a seventh chord, there are fourunique notes:

Root – third – fifth – seventh

Depending on the type of seventh chord, the third, fifth and seventh may be altered.

Keeping in mind that there are four notes in a given seventh chord and arpeggio, wecan then take a look at the possible ways they can be played. This lesson will coversome of the more practical ways of performing seventh chord arpeggios.

Due to playability and sound, seventh chord arpeggios played over three strings arefar more widely used than others. This lesson will go into detail about the three ways toperform single octave arpeggios over three strings. If you are curious about lesserknown seventh chord arpeggio approaches, such as arpeggios played over 1, 2 or 4strings, check out the Approaches to Arpeggios page in the Jazz Guitar ResourceLibrary.

First lets take a look at the different options for playing arpeggios over three strings:

2-1-1 Arpeggio – The 2-1-1 stands for the distribution of notesacross the guitar. The 2 means that you will be playing 2 notes onthe string that the given arpeggio begins on, followed by 1 note onthe next highest string, and 1 note on the next highest string afterthat.

1-2-1 Arpeggio – The numbers here represent the same idea asthe previous arpeggio, but the distribution is slightly different. 1note is played on the string where the arpeggio begins, followed by2 notes on the next highest string and 1 note on the nexthighest string after that.

1-1-2 Arpeggio – This arpeggio begins with 1 note on the stringwhere the arpeggio begins, followed by 1 note on the next higheststring, and 2 notes on the next highest string after that.

The grids below present a visual example of the different types of single octavearpeggios. The examples use a major 7th arpeggio shape with the root on the E-string.

2 – Root and third on first string

1 – fifth on second string

1 – seventh on third string

1 – Root on first string

2 – third and fifth on second string

1 – seventh on third string

1 – Root on first string

1 – third on second string

2 – fifth and seventh on third string

The above options are all the different possibilities for playing the four notes of a singleoctave seventh chord arpeggio over three strings (assuming there are no doublednotes).

Using a C as a root for our arpeggios, lets take a look at how each of these arpeggioapproaches work with the 5 essential jazz guitar arpeggios

Major 7Dominant 7 Minor 7Minor 7b5Diminished 7

C Major 7th Single Octave Arpeggio

The C major 7th arpeggio contains unaltered chord tones:

1 – 3 – 5 – 7

C – E – G – B

The major 7th is a very important arpeggio for soloing in a jazz context. The major 7thchord is often used throughout jazz standards as the I or IV chord. It can also be used asa substitution for many different chord qualities. Check out the major 7th chord page formore information on the major 7th harmony.

2-1-1 Major 7 Arpeggio

1-2-1 Major 7 Arpeggio

1-1-2 Major 7 Arpeggio

C Dominant 7th Single Octave Arpeggio

The C dominant 7th arpeggio contains chord tones:

1 – 3 – 5 – b7

C – E – G – Bb

The dominant 7th chord and arpeggio are a very important part of jazz and music ingeneral. Both straight ahead blues, and jazz blues tunes feature the dominant 7th chordheavily. Knowing this arpeggio is a must for getting through the blues and almost everyjazz chord progression. For more info on the dominant 7 harmony, you can check outthe dominant 7th chord page here.

2-1-1 Dominant 7th Arpeggio

1-2-1 Dominant 7th Arpeggio

1-1-2 Dominant 7th Arpeggio

C Minor 7th Single Octave Arpeggio

The C minor 7th arpeggio contains chord tones:

1 – b3 – 5 – b7

C – Eb – G – Bb

The minor seventh chord and arpeggio are found frequently in II-V-I progressions. In amajor key, the minor 7th qualities appears from scale degree II, III, and VI. Jazz chordprogressions rely on minor 7th chords, some of these progressions include:

ii – V – I

vi – ii – V – I

iii – vi – ii – V – I

The minor seventh chord is also commonly used as the I in minor II-V-I chordprogressions. Know these arpeggios well, they will come up again and again in your jazzguitar journey! Visit the minor 7 chord page to learn more about the minor 7thharmony.

2-1-1 Minor 7th Arpeggio

1-2-1 Minor 7th Arpeggio

1-1-2 Minor 7th Arpeggio

C Minor 7b5 Single Octave Arpeggio

The C minor 7b5 arpeggio contains chord tones:

1 – b3 – b5 – b7

C – Eb – Gb – Bb

The minor 7b5 chord is a defining element of the minor ii-V-i progression. It is commonfor guitar players to overlook this arpeggio, but don’t fall into this trap. Navigatingminor ii-V-i’s in your soloing starts with having a keen overall awareness for theminor7b5 arpeggio. Learn more about the minor 7b5 chord here.

2-1-1 Minor 7b5 Arpeggio

1-2-1 Minor 7b5 Arpeggio

1-1-2 Minor 7b5 Arpeggio

C Diminished 7 Single Octave Arpeggio

The C diminished 7 arpeggio contains chord tones:

1 – b3 – b5 – bb7

C – Eb – Gb – Bbb

The diminished 7th chord is another chord that is featured heavily in jazz guitar. It iscommonly used as a chord substitution, particularly for dominant 7 chords. Thisarpeggio is great for adding tension to your solos, and creating outside sounding licks.For more information on diminished 7 chords, check out the diminished 7 chord pagehere.

2-1-1 Diminished 7 Arpeggio

1-2-1 Diminished 7 Arpeggio

1-1-2 Diminished 7 Arpeggio

Hungry for more arpeggios? Check out the Arpeggio page in the Jazz Guitar Resource

Library here.

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