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INC.,PACIFIC,MO 63069.
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GUITAR ARPEGGIOSTUDIES
N J A Z Z S T AN D A R D S
[-:
his book is all about the exciting world of arpeggios!
l l
LJ
played in many ways: with
Arpeggios are the notes that make up any given chord. They can be
finally, super-imposedover
different emphasison each note, in variedorder with different patterns,and
motifs'
differentchordsto createbeautifulcolorsand excitingand unusualmelodic
essential building blocks of any musician's
In conjunction with scales, arpeggios make up the
"safety
net" becausethey spell out the exact notes
vocabulary.For improvisors,arpeggiosinitially form a
outline the correct chord changes
in the chord being ptayeo.Mastery of arpeggioswill mean that you can
later be usedto createall kinds
for any song.As you developyour ear,iibecomes clear that arpeggioscan
of amazingtonal clustersand we will covertheseconceptsas well'
force you to play positions
Remembertoo that arpeggiosare greatfor building your techniqueasthey
here are only some of the
and fingerings that may be new to you. Ttre fingerings that are written
Practiceslowly,and eventually
possibilities.Tryplaying theseusingdifferentfingeringson differentfrets.
becausethese studieswill
you will be able to play through tunes with more confidenceand musicality
developyour fingersand your ears.
Havefun!
et'sbegin very simply with a G triad. This is, as the nameimplies, a three-notechord: G, B antl D
(i. e., l, 3, 5 of the scaleof G). If you havea simplebluesor songusingthis chord,this arpeggio
is a naturalchoice.
Note: All the 8ithnofesshouldbe playedwitha "swing"feel.
Example 1 3 G T r i a d@ N o . 2
G
o
'
J t '
i
Jr'
-bl,t
ti t
v
-yl
-bl,t
v
v
t
v
J.
?
t
A
-
F
-
E
f
r
6
a
!
E
E
4
-
Notice in measure3 how the Bb precedesthe chord tone B, which createsa nice blues feel.
Now, in examples2 and 3 we add theseshapesfor C and D triads.
IVofe:Ihese arethesameas shapelV (IUh ftet) andshapelll of theG triads(page11).
3fr.
E x a m p l e 2 3 G , C , D T r i a d@
s No.3
c
G
D
- t
o
J t '
-
i'
J -
G
i - l
J
?
a
I
tl
t
a
E
r
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v
-
-
-
a
-
l
v t r i o do r p e q q i o s
Example 3 3 G, C, D Triads@ No.4
c- ^
G
'
a J J t '
J'
J
D
G
, , - - l J
-
E
J
-t
t
J '
J
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r---
h
.
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a
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e
w
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?
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L
.,
Notice in Example 3 that I reversedthe order of the "D" arpeggio(descendinginsteadof ascending)
and this madefor anothervariation.
Now begin to play the arpeggiosin different patterns:
Example 3.{ 3 TriadArpeggios
@ No.5
u
J
i
J
f
?
q
a
A
2
A
9
t
6
t
I
E
E
E
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a
Example 3.2 3 TriadArpeggios
@ No.6
3
Example 3.3 3 TriadArpeggios
@ No.7
q
t r i o do r p e g g i o vs
-lr
hesearpeggiosstart by descendingso they are a little harderat first.
f-:l
t
LI
l
@ No.8
ndingTriadArpeggios
Example 34 3 Desce
T
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a
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@ No.9
ndingTriadArpeggios
Example 3.5 3 Desce
I
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a)
t
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t
I
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8
E
E
E
E
J
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Next, begin mixing the threetriad shapeswe've coveredthus far in a musicaletude.
Example 4 J MusicalTriadEtude@ No.10
c
G
D
l_l_r
|
F
a
t
-
-
J
-
-
G
I_l
I
J
t
t
t
q
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a
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l
-
t
I
-
E'
-
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t-.t-#
d
.
f
q
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a
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A
3
6
e
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t
6
q
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-
-
-
.
-
t
l
l t t t l
v
0 r p e q q i os h 0 p e s
ow we arereadyto play the differenttriadic shapes(grips) and move them vertically up and down
the neckof the guitar.Pleaseseepage10-12for all thetriad shapes.(The4th finger alwaysmoves
you up to anotherpositionand the lst finger movesyou down the neckto a lower position).
Exampfe 5 3 Vertical
Movement
@ No.11
G
a
C
G
L
Jr
|
|
|
t t
A
I
c
G
D
G
T-
u
1 -
J
e
o
o
'
l
l
l
t J '
I
A
I
Now let'smoveon to the threemore "jazzy" arpeggiogroups:MinTth, DomTthand MajTth.Onceyou
memorizea given "grip", practicethesearpeggiosin the samemanneras your triad arpeggiosusing the
patternsoutlinedon pages5-6 and practicemoving the shapesverticallyup and down the neck aswe have
just donein Example5.
[rt's put thesegrips to usein one of the most commonjazz progressions,
a II-V-I:
Example 6 e il-V-lArpeggioStudyin 'C' Q No.12
DmiT
Curu7
o r p e g q i so h o p e sv
Sfudyin "F" @ No.13
Example 7 A il-V-lArpeggio
d
Fun,l7
97
GmiT
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t-l-J-J
JJ'
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t l t l
= r
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c
Example 8 3 ll-V-lArpeggioStudyin 'Bb" @ No.14
p7
CmiT
a)
C a
l
2
o
A
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1
6
IJ
Bburu7
A
e
-
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E
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o
E
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t
a
a
a
E
-
E
a
o
t
o
a
o
ny time you are learninga new piece,it's a good idea to be able to "outline" the chord changes
with arpeggios.Startslowly with a metronomemarkingof J = 48 and work up to brightertempos
as you becomemore comfortablewith the process.Guitaristsshouldalwaysvary the fingerings
and positionswherethey are playing to facilitatethe greatestfreedom.
Takecareto play thesestudiesin all registers/octaves
and throughoutthe full rangeof the instrument.
Eventually,it's a good ideato havethe metronomeclicking on "2" and"4" sincetheseare the strongbeats
of jazz. This will help with your senseof swing, too. Pleaseadhereto the continual 8th-noterhythms
becausethis will train you to developstronglines and rely on your ear.Advancedstudentscould begin to
makeup their own arpeggiostudiesuntil the processbecomessecondnature.
In-depthanalysisof thesestudieswill revealmany techniquesfor solo development.Thereare many
patterns
usedin thesestudies(l-3-5-7,l-7-5-3,3-l-7-5,3-5-7-1,5-3-l-7,7-5-3-1,
etc.)andalso,you will
"new"
noticethat on the first beatof the new measure,wheneverpossible,I haveuseda
note that is from
"F"
the next arpeggio(i.e, in going from G7 to CMaj7, the
of the G7 arpeggiodrops to the "E" of the
CMajT) - this enablesthe ear to actually hearthe chordschangingwithout actually playing/ strummingthe
actualchordsthemselves.Resolutionto the 3rds (both major and minor) are often selectedfor just this
purpose,though often other notescan signify the chord change,perhapsnot as strongly.
The following pagesshow different arpeggiogrips. The big black dot is the root of the chord. The
chord shapeis represented
by the big black dot in conjunctionwith the circledblack dots.The hollow dots
played sequentiallymake up the arpeggio.
o r p e q g i so t u d i e sv
O= R*t not.
O
= Tonesfound
in chordshapes
GmiT
G7
GMAJT
xb7b35
x b 7 3 5
1 X 7 3 5 X
C = Full
Arpeggiotones
3fr.
S h a p eI
3fr.
(
O
I
o)
3fr.
V
(
5 b7b3
(
S h a p el l
x x 1 5 b 73
OO
5fr.
,
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(
C)
5fr.
/
(
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0
5 X 3 b 71
5 X 3 7 1
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5X 13 , 7' t
5fr.
(
O
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x x 1 5 73
A
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t
S h a p el l l
)
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8fr.
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8fr.
8fr.
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5 b 7 b 3X
S h a p el V
5 b 7 3
1Ofr.
x 1 5 7 3 X
1Ofr.
10fr.
x x 5 1 3 7
S h a p eV
I2fr.
optional
fingering
l2fr.
I2fr.
v
o r p e g g i os t u d i e s
G(TR|AD)
G7b9
Gsus4
b g x b 73 5
1 5 1 4 5 1
O
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x x b 9 5 r 7 3
x x 1 5 1 4
OOO 5fr.
S h a p el l
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/
x x 3 b 7 b 95
x t 9 5 b 7 3
S h a p el V
x 1 4 5 1 X
x 1 3 5 1 3
8fr.
S h a p el l l
8fr.
x 1 5 1 3 X
1Ofr.
8fr.
x 1 5 1 45
1Ofr.
1 3 5 1 3 X
x x 5 b93b7
(
Izfr.
l2fr.
10fr.
1 X 5 1 4 X
(
I2fr.
I
O
S h a p eV
(D
D
)
r0
O
o r p e q q i so t u d i e sv
GmiT(bs)
c7(b5)
1 x 1 7 3 1 5 x
3fr.
S h a p eI
G7(fi5)
1)
GMAJT(il1
1 x t 7 3 f 5
3fr.
3fr.
3fr.
optional
fingerin
X X ti5t7xl
x x 1 15173
5fr.
5fr.
1 t l l 7 3
5fr.
5fr.
S h a p el l
f5x 3 b7I x
t 5 x 3 t 7 l x
: 5 X o 3 1 7 1X
8fr.
3tl17
8fr.
8fr.
7fr.
S h a p el l l
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ri6,7'3r
10fr.
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1 n 17 3 x
l0fr.
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S h a p el V
xb5
x ,3;7 x 15 1
S h a p eV
l2fr
317
x x $ 1 11 3 7
I2fr.
l2fr
I2fr.
v
orpeggios
summertime
"SummertimeArpeggios."
ow we are readyto move on to simple songs.Let's take the classic
First we will play all 8th-notearpeggiosthroughthe piece.
@ No.15
Arpeggios"
Example 9 ? "summertime
GmiT
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t
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2
Gmi7
Notice the B! in the 4th measure.This createsa nice leading tone to the Cmi chord in measure5 and
is a commonjazz technique.Also noticethe differentpattemsusedin organizingthesearpeggiosand the
ascendinsand descendinelines and how this sounds.
s u m m e r t i moer p e q q i ov s
n Example10 we will now usesomecommonchordsubstitutions
over this samepieceanddo ar
l-l
arpeggiostudywith thesenewsubstitutions.
| |
LI
Example {O C "Summertime
Arpeggios"
subsfifutions@ No.lG
GmiT
67
CmiT
BbmiT
EbmiT
GmiT
CmiT
p7
Bburu7GmiT 4,n;7(bs)
r--L.g
d
a
l
A
c
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v
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L J I J L r t l
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v
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n Examplel1 we play an actualsolo usingmany arpeggioideasincludingaltereddominant(Dr9.
t-l
| | c7fi5be).
LJ
Arpeggios"
FirstChorus@ No.17
Example 11 3 "summertime
CmiT
GmiT
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3
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s u m m e r t i m0er p e g g i o vs
Example {{ continued ) "summertime
Arpeggios"
secondchorus
c'r?gn)
BbmiT
21
25
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v
o r p e g g i oi d e o s
Notice all thesesuper-imposed
ideas:
Chorus
1:
3
In measure2 aBbmajTarpeggiois usedto createa Gm9 sound.
3
In measure4 a G7b9 arpeggiois usedto createtension.
3
In measure5 a Cmig aqpeggioaddsnice color.
3
In measure6 the sameideais used(a Bbmg arpeggio)but the rhythm is variedto add
interest.
--
In measures7 and 8 a CmajT arpeggio (creatingAmig) and Gbmaj7 arpeggio
(creatingEbmi9) are usedand againthe rhythmsusedaredifferent.Thesearpeggios
are ascending,ratherthan descending,which also addsinterest.
In measuresl0 and ll, I use a repeatingmotif from the Gmi arpeggioto build
excitement.
-\
J
a
In measure14, I usean Ami7b5 arpeggioand a DTbg arpeggio.
a
a
Measure16 is a compoundline using a chromaticline for the first seriesof tones
followed by aD7b9fl5 arpeggio.
J
Chorus
2:
-J
Measure20 usesan Abmig arpeggioover a G7 chord! This createswhat we call
poly-tonalityand gives you thesenice notes:Ab (b9 of G7), Eb (fls of G7), and Bb
(f,9 of G7). We'll discusspoly-tonalitylater in the sectionof the book on advanced
concepts.
-J
Measures2l and22 usea Cmi6 anda Bbmi6(orAmi7b5 andGmi7b5,respectively)
and again the rhythm of the arpeggiois varied to keep interest.
--
Measure23 usesan Ami6 (or Ffimi7b5)arpeggioand measure24 usesan Ebmi9.
q
Measure25 usesa Dmig arpeggiowhich createsa Gmi with a 9 and 13.
-J
Measure26 usesan AmiT arpeggiowhich gives a Gmi with a 9, ll and l3 which is
a colorful sound.
-
Measure27 againusesa BbmajTarpeggioover Gmi.
--
Measure30 usesaD7fr5arpeggio.
J
17
ow we can begin to play through the standardjazz repeftoireusing the appropriate
arpeggiofor
eachchord' In the first study (pp.18-20)we will staywithin a limited fret area
to show that the
entire "harmonicuniverse"existseverywhereon the guitar.In otherwords,you
can stayin one
positionand play all the arpeggiosfor any songin that one area(for example,
lst to 5th fret, or 5th to 9th
fret. etc.).
Later, the studiesmove aboutfreely throughoutthe entire rangeof the instrument,
which providesfor
the most flexibility for the improvisorand alsodevelopsgreattechnique.
'Day and Night' 3 Arpeggio
Study@ No.1g
gr;7(b5)
67
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r
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t
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t
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F
6
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6
a
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pgr17(b5)
a
v
0 r p e g q t 0 0s v e r s t 0 n d o r d s
'All The Things You Ain'tt' 3 Arpeggio
Study@ No.19
FmiT
7
Dburu
5
7
Curu
CmiT
FmiT
a
J
Eburu7
Bb7
IJ.J.J
1- - l-J-l-J
1
t
a
A
e
e
E
q
l
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2
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C
t
e
7
Aburu
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r
r
4r17(bs)97
e
A
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c
---
-
t
E
I
E
E
AmiT
g7
GullT
'
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L
t A
E'
L
q
Ft
E
a
9
l
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l
a
Guru7
E
17
-
I
IJ
13
7
Aburu
Eb7
" l - - s ,
l
l
o r p e q q i o v e r s t o n d o r d -s
sAll The Things You Aint"
StudyPage2
C Arpeggio
Ffrmi7
Euru7 67(fi5)
7
Aburu
Eb7
BbmiT
FmiT
25
d
o
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M V V a n r Y
A
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l
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CmiT
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r v t t t a a a
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Aburu
Tl
I
d
l r
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E
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BbmiT
33
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-
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22
ai
a
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In "All theThingsYouAin't"
3
3
FmiT in measureI is played in the IV shape
BbmiT in measure2 is playedin the I shape
Eb7 in measure3 is the IV shape
Af MajT in measurefour is shapeI
DbMajT in measurefive is shapeIV
3
3
G7 in measuresix is shapeI
CMajT in measuresevenis shapeIV
3
CmiT in measure9 is shapeIV
FmiT in measurel0 is shapeII
Bb7 in measure11is shapeV
EbMajTin measure12 is shapeIII
AbMajT in measure13 is shapeI
Ami7b5 in measure14 is shapeV
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
D7 in measure14 is shapeIII
GMajT in measure15 is shapeI
AmiT in measure17 is shapeV
D7 in measure18 is shapeIII
GMajT in measure19 is shapeI
Fflmi7 in measure21 is shapeI
87 in measure22 is shapeIV
EMajT in measure23 is shapeIII
C7il5 in measure24 is shapeI
FmiT in measure25 is shapeIV
BbmiT in measure26 is shapeII
Eb7 in measure27 is shapeV
AbMajT in measure28 is shapeIII
DbMajT in measure29 is shapeI
DbmiT in measure30 is shapeI
CmiT in measure3l is shapeI
B'7 in measure32 is shapeI
BbmiT in measure33 is shapeI
Eb7 in measure34 is shapeIII
AbMajT in measure35 is shapeI
0 r p e g g t 0o v e r s t 0 n d o r d s
o r p e q q i o v e r s t o n d o r d -s
rWinter Leavest' 3 Arpeggio
Study@ No'20
Bburu7
g7
gr17(b5)
-Tl
a r
t
-
-
E
E
R
A
;fr
J '
st.p.i-
ShapelV
ShapeI
GmiT
Gmi
A
ShapeI
E
E
Q
Eburu7
9
97
4*;7(b5)
13
-
I
ShaPe
?
6
=
--ffi
-
ShapelV
#
#
-Ttl
T-_-l
-
E
o
c
Shapell
e
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W
E
GmiT
ffi
6
o
o r p e q q i oosv e r s t o n d o r d s
sWinter Leaves" 3 ArpeggioStudyPage2
Gmi7
4,n17(b5)
CmiT
25
4r;7(b5)
g7(be)
IJ-L
ShapeI
| , .
ShapelV
Gb7
GmiT
FmiT
E7
F=
A
-
ShaPe
lll
Shapell
Shape
lll
t 1
Shapelll
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t
A
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6
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Eburu7
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Shapelll
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Gmi
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j e
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exciting possibilities.super-imposition
uper_impositionof arpeggiosopens a whole world of
an EmiT over a CMajT' Using a II V
meansplaying differentarpeggiosover a given chord,e'g",
ideas'
I progressionas an example,here are someof my favorite
a Dmig sound. I then move up a minor
In Example 12, luse an FMajT arpeggioover a DmiT to create
and 11 sound'
3rd and play an Abmaj7over a G7 to createa G7 with ab9,b13
upin MinorThirds@ No'21
Exampfe 12 C Maior7 Arpeggio
67
DmiT
Curu7
3
t--.--v
a
#
r r l l ro
d
E
-
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A
t
t
r
1-
v - J v o
E
ED
G7 and then use a GMajT over the CMajT
In Example 13, I use the sameideasover the DmiT and
that in this example,Iam usingMajT arpeggios
g,
which createsacMzjl with a fi 11and l3 sound.Notice
over eachchord!
@ No'22
Example {3 3 Maior7 Arpeggios
DmiT
67
7
Curu
a G7 with ab9bl3 il9 sound'
In ExamPle14,I usean Abmg over a G7 which creates
@ No.23
ArPeggios
Example 14 3 Attered
DmiT
67
Curu7
4
v
o d v o n c e do r p e g q i o s
n Example 15, I usean EmiT arpeggioover the CMajT which createsa CMajg sound.
Example {5 @ No.24
DmiT
Curu7
In Example 16,I use l6th notesto play a compoundideaover the G7 chord (compoundmeaningtwo
ideasat once)- first an Abmi6 (or Fmi7b5)is usedand for the last beatof the measurean Abmig is used.
Example {6 3 Compound
Arpeggios
@ No.25
DmiT
::)
a)
?
a
.,
A
F t
I
7
Curu
67
E
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o
-
aa o
l v v
v
--DJbJbl
u_.L]
a
t
n
e
o
l
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a
c
a
t
r Q
a
a
c
I
I t
In Example17,I usea Bmi7b5arpeggioover the DmiT to createa Dmi6 soundand a Dmi7b5 over
the G7 to createa G7 soundwith an l1 and a b9. Over the CMajT I usean Amig arpeggiowhich creates
a CMaj l3 sound.
Example 17 @ No.26
DmiT
Curu7
67
a
p
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e
a
l-r |
3
?
a
a
a
A
h
I
a
a
n
o
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tJJ
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€>
E
E
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e
2
o
t
E
-
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o d v o n c e do r P e Q Q i ovs
here are many other arpeggiosthat can be usedover a II V I - explore!
f:l l r
_
tL-J l
In Example 18, I use a compoundidea over a Cmi vamp. In measure1 I use CmiT and GmiT
arpeggioswhich createsa Cmig(ll) sound. In measure2 I use a CmiT arpeggioand a DmiT arpeggio
which createsa Cmig(l lll3). This line resolvesto eitheran Eb or G (the b3 and 5 of C minor).
@ No.27
Arpeggios
Example {8 C Diatonic
Cmi
t-4j
1-
a)
r
,
E
c
u
o
v
v
-
E
-
c
-
z
In Example 19, I move diatonicallythrough the key of Bb Major (C Dorian) using Cmi7, Dmi7,
ElMajT and F7 arpeggiosin ascendingand descendingorder'
@ No.28
Arpeggios
Example {9 ) Diatonic
In Example 20,luse Csus4and Cilsus4over a Cmi vamp to createnice tension.I startthe Cilsus4at
the end of the Csus4phrase(beat4) which givesa senseof rhythmic anticipation,too.
@ No.29
Arpeggios
Example 20 3 lnside/Oufside
CmiT
-
T
l
l
a
I
r
re
r
Z
-^_
r
l-_l_
r
F
n
r
n
a
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rn
t-
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o
-
-
J
I
l l
| |
a a
| |
aa
r r
fi
-
n
a
,la
tv
21,thissame
idea(csus
4 andcilsus4)
isexrended
bysoi;;I
l-l n Example
| |
L-J
two arpeggiosin eachmeasure.
"J;:.H::
;.
Example 21 3 lnside/Oufside
Arpeggios
@ No.J0
CmiT
Example 22 utllizes more poly-tonality (several different chordal ideas applied over one chord).
MeasureI movesfrom Csus4to Ebsus4and measure2 movesfrom Dsus4to Cfisus4and resolvesfinally
to Csus4.
Example 212 3 Poly-Tonality
@ No.Jl
CmiT
Starting with Example 23 we will use a G7 vamp to try different arpeggiatedideas. I start with a
Bmi7r5 in Example23 which createsa G9 sound.
Exampfe 23 3 DiatonicArpeggios
@ No.J2
o d v o n c e od r P e Q Q i o- s
glllll3),
n Example 24,I use a Dmig in measureI (G7
3 and4'
aG7 9 lllll3 sound)anda Bmi7b5in measures
Example A
an Amig in measure2 (also creates
33
@t'Jo.
Arpeggios
3 Diatonic
67
(G7 glllll3 sound),a Bmi7b5
In Example 25,I use a descendingFMajT arpeggioin measure|
arpeggioin measure2, andan FMajT arpeggioagain in measure3.
@ No.34
Arpeggios
Example 25 3 Diatonic
67
a)
3
r._r
I
e
s
3
an
I
I+t
a
t
an
al
E
a
..|
. A
A
'
N
g
o
of this book'
In Example26,wecomefull circle to the triad arpeggiosthat we learnedin the beginning
an E triad over a G] (G13b9sound)!!
Only now I am super-imposing
35
@t'Jo.
subsfifufions
Triadic
Example 26 ? Poty-tonat
67
tudy of scalesand chordsprovidethe industriousstudentwith ampleopportunityto be creative.
As an example,hereis a pretty chord voicing that I like:
ffi5fr
x 2 x3 x 1
This couldbe thoughtof as manypossiblechords(EbMajTf11,A7sus4/Eb,F13,Dmillbg, etc.). If I
makean arpeggioout of eachnotein the chordwe get: Eb, G, A, D. (Note: This is similarto the Maj7fi I I
"grip"
minusone note.)
This givesus a nice arpeggiogrip to play over any of the aforementioned
chords.SeeExample27.
Example 27 Q No.36
|
a
' ' -
J
E
?
6
o
A
F
E
A
a
E
-
E
t
c
e
a
l
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6
v
l
^
P
t
l
I
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t
-
)
t
t
I
l
a
I
e
,
tt-
I
-
I
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|
f
v
-
o
-
o
a
A
E
t
v
a
E
-
Another techniquefor creating arpeggiosis to make chordal clustersfrom scales.For instance,
supposewe takethesenotesfrom a G Major scale: 1,2,5,6 (G, A, D andE). This createsa G6 chord.but
hasmany otherapplications(Emi7,Dsus4,A7sus4,BbMajl3fill, etc.).SeeExample28.
Example 28 @ No.37
e p i l o q u ev
andcontinueto makeup fresharpeggios:
n fa n e canextendthis ideato any otherscales
\VnV
/
tJU
canbe used
In Example 2g lhavetaken1,b3,4 and7from thec melodicminorscale thisarpeggio
andothers'Explore!
EbMaj7fr5,
overCmi(Maj7),B7bgb5,F7$5,
Example 29 @ No.38
chord types: Maj7,
Finally, to generatefresh ideas,take any chord and start with the three essential
arpeggiosto use'
Dom.7, and Min.7. Applying all l2keys to thesechord typeswe get 36 different
this chord, eight chords
For example,lets take an A7 chord. If I apply all lLMaj7 chord types against
chord so I've omitted them'
will be useable- the other four chordshave a Gil in them which violatesthe A7
FMaj7,GbMajTandGMajT'
The eighruseablechordsare: BbMajT,BMajT,CMaj7,DMaj7, EbMajT,
hasthesenotes:Bb' D'
My favoritesareBbM ajl,cMajl, DMajT and GMaj7. we seethat a BbMajT
G' B createsan A7il9'h9sound'
F, A which createAl1, il5, b9 sound. The CMajT with thesenotes: C' E'
glllll3 soundthat wasfavoredby wes
The DMajT createsanA add4+6 sound. The GMajT createsanA1
Montgomery.
(the chord we are playing over), you
By mixing and matching thesearpeggioswith an A7 arpeggio
can createa nice senseof color. see Examples30, 31,32 and 33.
epiloque
Example 3O @tVo.39
nt
I
a)
I {
I
3
L---
E
I
o
O
a
,
A
Bbun,lTI
I I
o
I
Example 31 @ No.40
l
R
z
I
I
C
u
r
u
T
l
l
i
G
t
u
v
r
u
a
O
fl
,
a
^
v
o
---v
u
v
-
Example 32 @ No.41
I
3
D
u
a)
n
r
T
3
a
I
I
g
p
'
'
-
I
f r J J
3
;
z
e
E'
o
f
i
Example 33 @ No.42
I
Duru7I t
Guru7I
t
|D
I
97 I
]
I
DunlT
l
l|C
E
?
A t a r i E E E E r r r - - - - - -
E
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a
a
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l
"Rising Star"in DownBeat's2003CriticsPoll, sheis alsothe only
imi Fox is at the peakof her career.Named
"66 Hot 6-Stringers:DownBeat'sLook at the Guitarists
womanprofiled in that magazine'sspecialfeature,
"66
MakingToday'sScene,"which presents guitaristsin the worldsof jazz, bluesandbeyondwhosework is
innovating,invigorating and perpetuatingthe guitar tradition."
From virtuoso solo guitar to performancesof her original music with orchestra,Mimi truly does it all. She has
performedwith fellow guitaristsCharlie Byrd and Charlie Hunter, as well as with the Grammy award winner David Sanchez,
saxophonistDon t anphere,ManhattanTransfer'sJanis Siegel, and the German Hammond 83 organ phenomenonBarbara
Dennerlien,among many others. She has sharedthe bill with a wide array of artists including Diana Krall, Stevie Wonder,
Kenny Burrell, and John Sebastian,and has been guest soloist with several orchestras,including Orchestra Sonoma,
performing her original scores.Fox hascomposedmusic for theaterand film, and has beenfeaturedon a numberof television
showssuchas BEf on Jazz.
Mimi maintains a whirlwind touring schedule,playing major jazz clubs and festivals from New York to Tokyo,
including tours of the Caribbean,Japan,Thailand, and Austrailia. She has performed at The Village Gate in New York City;
BluesAlley in Washington,D.C.; Jazz Alley in Seattle;andYoshi's,the GreatAmericanMusic Hall, and Kimball'sEastin the
San Franciscoarea.She is a favorite at jazz and music festivals such as the Jazz on the Water Festival,The GuinnessCork
Ireland Jazz Festival,the Britt Festival,the Dominican Republic JazzFestival,The San Francisco& San JoseJazz Festivals,
The perth InternationalJazz Festival, Bumbershoot,PortTownsend, and Monterey lazz Festivals.Phil Elwood, dean of the
"Outstandingperformer?From the galaxy of stars atthe JazzFest,guitarist Mimi
San Franciscomusic critics, singled her out:
Fox came acrossas the brightest."
Newly signedto guitarist SteveVai'sFavoredNations recordlabel, shejust finished recordinga new CD to be released
in March of Z14.Focusing on Mimi's original compositions,it featureslegendarybassistRay Drummond and runs the gamut
from blazing be-bop to greasyblues and beautiful ballads.
Her most recently releasedrecording,Standards(Origin Records),is a solo guitar tour de force and has receivedrave
"This may be the finest solo jazz guitar playing I
reviews including one from Jim Josselynin CadenceMagazine who said,
"a fiery virtuoso" in Just Jau Guitar magazine,and said,"This is jazz guitar
haveever heard."CharlesChapmancalled Mimi
at its best."
Kick, her secondCD as a leader,showcasedher extraordinarysoloing and featuredspecialguestsJoey DeFrancesco
on organ,keyboardistRussellFerrante,drummer Will Kennedy,and guitarist Charlie Hunter.Kicfrsquickly rose to fifth place
on jazz radio chartsand number20 on Billboard jazz charts.Allaboudazz.comawarded Kicksfour starsout of four and raved,
'This is a stronglymelodiccollection,andone thatswingsout stylishly...Mimi Fox is a majortalent...stronglyrecommended'"
Bom in New York City, shestartedplaying drumsat nine,and then guitarwhen shewas ten. Shewas inspiredby the
wide variety of music enjoyedby her family-show tunes,classical,Dixieland,Motown-and her own youthful inclination
"becauseit was on sale." The one shc
toward pop, folk, and R&B. When she was fourteen, she bought her first jazz album
"blown away" by it. That album, John Coltrane'sclassicGiant Steps,changedthe course
chosehad no guitarist, but she was
of her musicallife.
She began touring right out of high school and eventually moved to San Francisco in 1979, where she becamea
sought-aftermusician. She is Chair of the Guitar Departmentat the innovative Jazzschoolin Berkeley, California' and has
appeared:rs guestclinician at the University of SouthernCalifornia, Musician's Institute of Technology,CalArts, University
of Connecticut,Universiryof Oregon,the Britt Music Festival,and others.
Mimi Fox, fleet-fingeredon both steelstring acousticand hollow body jazz guitars,is a compelling musician,prolific
composer,talentedalranger,inspired teacher,and dynamic leaderof her own band.
34
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Photographer: David Belove
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Parameterized Domination in Circle Graphs