ow that you have worked through the first position of the major turnaround arpeggios in two fingerings, here are two new fingerings for the same arpeggios, this time beginning with the root note of Cmaj7 on the th string of the guitar, moving to the closest next arpeggio shape from there.
The first fingering will start with your i le finge on the root note C, and continue through the changes from that initial starting arpeggio.
Click here to play audio example Audio Example
ere is that same group of arpeggios, though this time you will start the Cmaj7 arpeggio shape from your thi finge and move through each chord change from that starting position.
Click here to play audio example 1 Audio Example 1
Once you have these shapes under your fingers, try soloing over this slow backing track and use those shapes to create your lines. rom there, you can move between the first position and second position fingerings that you have learned so far in order to see and hea h th p siti ns lie on the fretboard when applied to a soloing situation.
Click here to play backing track 21 Backing Track 21
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& CŒ„Š7 A7(b9) D‹7 G7
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Arpeggio Practice Pattern 6: 5-7-1-3
oving on in your studies of this second arpeggio position, here is a practice pattern that you can use to build dexterity over these changes, as well as add inspiration when soloing over major turnarounds and other fast-moving chord changes.
This pattern is based on the interval structure, 5-7-1-3 for each change in the progression.
ere is the new arpeggio pattern applied to the first th st ing p siti n.
Click here to play audio example 2 Audio Example 2
You can also apply this pattern to the se n finge ing for the th-string arpeggio position, which you can see and hear in this example.
Click here to play audio example
Try working this pattern in the given key, C major, before moving on to other keys around the fretboard. As well, here is a sl a ing t a that you can use to run this pattern with some harmony, to hear how they sound over the changes, as well as begin to apply this pattern to your soloing lines and phrases.
Click here to play backing track 21
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Sample Licks
To finish your studies of this second arpeggio position for major turnaround changes, here are two licks that you can work on in the practice room and apply to your jazz guitar improvisations.
ere is the first lick, which uses only the plain a peggi n tes, written out in the first position that you learned from the th-string starting point.
Click here to play audio example
ere is that same lick applied to the se n finge ing for the th-string arpeggios.
Click here to play audio example Audio Example
This second sample lick mixes notes from the arpeggios with the p a ti e patte n:
Click here to play audio example
And here is that second lick applied to the se n a peggi finge ing in the th-string starting position.
Click here to play audio example 7 Audio Example
To finish your studies of these arpeggio licks, here is a e i te p a ing t a that you can use to practice applying these licks to your soloing lines and phrases over major turnarounds.
Click here to play backing track 22
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& CŒ„Š7 A7(b9) D‹7 G7
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Backing Track 22
Chapter 10 – Minor Turnaround Arpeggios Position 1
The second chord progression that you will use to study one-octave arpeggio shapes is the minor-key turnaround:
Again, you will be using the 3 to 9 arpeggio over the V7b9 chord, which means that you are using F#dim7 in place of D7b9.
To begin, here is the fi st p siti n for these arpeggios, starting with your first finger on the root note for Gm6 on the 3rd string, and moving to the closest arpeggio shape in each chord change from that starting point.
Click here to play audio example 68 Audio Example 68
As was the case with the major turnarounds that you studies, you can now learn a se n finge ing in this same position for the minor-key turnarounds, in this case beginning with your third finger on the root of the Gm arpeggio and moving around the changes from there.
Click here to play audio example 69 Audio Example 69
Once you have one or both of these fingerings under your belt, try putting on this sl in t na n a ing t a and playing those shapes over these changes. From there, you can begin to solo over this backing track, using one or both of the shapes in this section to create your lines and phrases.
Click here to play backing track 23 Backing Track 23
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& G‹6 B¨Œ„Š7 A‹7(b5) D7(b9)
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Arpeggio Practice Pattern 7: 3-5-7-1
You can now begin to apply a practice pattern to your minor turnaround arpeggio shapes in your studies. This pattern uses the intervals 3-5-7-1 for each arpeggio shape in the progression.
Because the Gm6 arpeggio has a 6 and no 7th in its interval construction, the interval pattern for that chord will be 3-5-6-1.
Here is that arpeggio pattern applied to the fi st finge ing from the previous section.
Click here to play audio example 70 Audio Example 70
Here is that same arpeggio pattern applied to the se n finge ing that you learned before.
Click here to play audio example 71
Once you have this pattern under your fingers over these changes, try applying it to the a t na n finge ings you learned previous. As well, you can also bring the major turnaround practice patterns, 7-1-3-5 and 5-7-1-3 to these changes in your practice routine as well.
To help you work on this pattern, here is a sl in t na n a ing t a to use in the woodshed.
Click here to play backing track 23 Audio Example 71
& G‹6 B¨Œ„Š7 A‹7(b5) D7(b9)
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Sample Licks
ere are two sample licks that use the first position fingerings that you can study and apply to your jazz guitar solos.
The first lick uses only the notes from ea h a peggi , without the practice pattern, which you can see and hear here as played in the first fingering position.
Click here to play audio example 72 Audio Example 72
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G‹6 B¨Œ„Š7 A‹7(b5) D7(b9)
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b œ œ œ œ œ œ œb œ œ œ œb œ# b œ œ œ
15 12 15 15 14 12 15 13 15 12 15 13 16 16 13 14
Here is that same lick applied to the se n finge ing for the first position of minor turnaround arpeggios.
Click here to play audio example 73
This second sample lick uses the p a ti e patte n mixed with arpeggio notes to create a line over the minor turnaround in the key of G.
Click here to play audio example 74 Audio Example 73
Lastly, here is that same se n li , but now applied to the second fingering in this position.
Click here to play audio example 75
hen you have these licks under your fingers, try soloing with them over the slow minor-turnaround backing track. If you are looking for a further challenge in the practice room, here is a e i te p a ing t a :
Click here to play backing track 24 Audio Example 75
& G‹6 B¨Œ„Š7 A‹7(b5) D7(b9)
? ? ? ? ? ? ? ?
Backing Track 24