JAZZ GUITAR ARPEGGIO SOLOING SOLOING
by Kimie Kim
Jazz Guitar Arpeggio Soloing First edition: Aug 3, 2012 Author: Inkuk “Kimie” Kim Copy editor: David Nicoll Cover illustration: YoungShim Lee Contact information: Jazzistik Records, B1, 504-33 YeonNam-Dong, Mapo-Gu, Seoul 121-240 South Korea Tel. +82 10 9950 5930 http://infiniteloopjazz.com http://facebook.com/infiniteloopjazz Email:
[email protected] Recordings for this book can be downloaded from http://soundcloud.com/kimiekim/sets/book1 Copyright © 2012 Kimie Kim Music All Rights Reserved. Any unauthorized duplication of this book or its contents is in violation of copyright laws
JAZZ GUITAR ARPEGGIO SOLOING SOLOING
by Kimie Kim
Jazz Guitar Arpeggio Soloing First edition: Aug 3, 2012 Author: Inkuk “Kimie” Kim Copy editor: David Nicoll Cover illustration: YoungShim Lee Contact information: Jazzistik Records, B1, 504-33 YeonNam-Dong, Mapo-Gu, Seoul 121-240 South Korea Tel. +82 10 9950 5930 http://infiniteloopjazz.com http://facebook.com/infiniteloopjazz Email:
[email protected] Recordings for this book can be downloaded from http://soundcloud.com/kimiekim/sets/book1 Copyright © 2012 Kimie Kim Music All Rights Reserved. Any unauthorized duplication of this book or its contents is in violation of copyright laws
About the Author Author
Guitarist Kimie Kim was born in 1975 on Jeju Island, South Korea. He moved to Hollywood to attend the Musicians Institute at 19 where he studied with Scott Henderson and Brett Garsed. After experiencing jazz festivals in the United States and Canada, he went to Austria to attend the Vienna Conservatory where he studied with Christian Havel. Later he studied with Mimi Fox and Steve Erquiaga in the San Francisco Bay area. He worked as Editor-in-Chief of GuitarLab Magazine when he came back to Korea. His new recording “Free Play” with band Infinite Loop is out for 2012. Email:
[email protected] Official Website: http://infiniteloopjazz.com/ Facebook: http://www.facebook.com/infiniteloopjazz Facebook Page: http://www.facebook.com/bandinfiniteloop
Kimie Kim uses VOX amplifiers exclusively.
TABLE OF CONTENTS Chapter 1 Fingerboard Basic Major Scale Patterns Jazz Simple Voicings Major Pentatonic Scale Minor Pentatonic Scale Diatonic Chord Substitution
Chapter 2 Chords & Arpeggios Major 7th Dominant 7th Minor 7th Minor 7th (b5) Diminished 7th
Chapter 3 Arpeggios in Diatonic Harmony Arpeggios in Diatonic Harmony; Key of C Key of G Key of D Key of A
Chapter 4 4 Bar Pattern Arpeggios VImi7
IImi7
V7
Imaj7; Key of C
Key of G Key of D Key of F Key of Bb Key of Eb IImi7(b5) Key of Dmi Key of Gmi Key of Emi Key of Bmi
V7(b9)
Imi7; Key of Ami
Chapter 5 2 Bar Pattern Arpeggios IImi7
V7
Imaj7; Key of C
Key of G Key of E Key of Ab IImi7(b5)
V7(b9)
Imi7; Key of Ami
Key of Cmi Key of Fmi
Chapter 6 Jazz Phrases for Soloing Major Phrases Minor Phrases Dominant 7th Phrases Altered Phrases
Chapter 7 Applied Arpeggios in Chord Progressions Blues; Key of A Jazz Blues; Key of F Jazz Standard; Solar Blue Bossa Tune Up How High the Moon All the Things You Are Autumn Leaves There Will Never Be Another You
Chapter 1 Fingerboad Basic
Major Scale Patterns Jazz Simple Voicings Major Pentatonic Scale Minor Pentatonic Scale Diatonic Chord Substitution
Major Scale Patterns Notes: R(Root) 2 3 4 5 Example: G major Scale - G
6 A
7 B
C
D
E
F#
Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
E B
F C
G D A E
G D A E B
F
A E B
B F
F C
C G D
D A E
G 3
A 5
B 7
F
D A F C G
C
D
C G E B
9
Jazz Simple Voicings (No 5th) These voicings are commonly used in jazz guitar. With these voicings, a soloist can add many forms of tension to color the sound. Most examples in this book were played with these simple voicings. Root Other Notes
3
7
7
3 R
R maj7 (6th string root)
maj7 (5th string root)
3 b7
b7 3 R
R dominant7
dominant7
b3 b7
b7 b3 R
R min7 or min7(b5)
min7 or min7(b5)
b3
bb7
bb7
b3 R
R dim7
dim7
Major Pentatonic Scale Major pentatonic scales can be used for major or dominant chords Notes: R(Root) 2 3 5 6 Example: C Major Pentatonic - C D E G A Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Minor Pentatonic Scale
Minor Pentatonic scales can be used for minor chords Notes: R(Root) b3 4 5 b7 Example: C Minor Pentatonic - C Eb F G Bb Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Diatonic Chord Substitution Diatonic Chord Substitution is useful for playing chord tone arpeggios. You can change substitute chords between family groups of related chords for reharmonization. For Improvisation, you can use this as melodic substitution. For example, for Cmaj7 chord, play an Emi7 arpeggio. You will still get the Cmaj9 sound.
Diatonic 7th Chords in Key of C Cmaj7
I
Dmi7
Emi7
II
III
Fmaj7
IV
G7
Ami7
V
VI
Bmi7(b5)
VII
Tonic Family: Imaj7, IIImi7, and VImi7 Subdominant Family: IVmaj7 and IImi7 Dominant Family: V7 and VIImi7(b5)
Melodic substitution playing in I of C)
VI
II
V
chord progression (Key
Cmaj7 I (Tonic Family) 1. Play Cmaj7 arpeggio for Cmaj7 sound. (C, E, G, and B), (Intervals from C: R, 3, 5 and 7) 2. Play Emi7 (IIImi7) arpeggio for Cmaj9 sound. (E, G, B, and D), (3, 5, 7 and 9) 3. Play Ami7 (VImi7) arpeggio for C6 sound. (A, C, E, and G), (6, R, 3, and 5) Ami7 VI (Tonic Family) 1. Play Ami7 arpeggio for Ami7 sound. (A, C, E, and G), (Intervals from A: R, b3, 5, and b7) 2. Play Cmaj7 (Imaj7) arpeggio for Ami9 sound. (C, E, G, and B), (b3, 5, b7, and 9) 3. Play Emi7 (IIImi7) arpeggio for Ami11 sound. (E, G, B, and D), (5, b7, 9, and 11) Dmi7 II 1. Play from D: 2. Play (b3, 5,
(Subdominant Family) Dmi7 arpeggio for Dmi7 sound. (D, F, A, and C), (Intervals R, b3, 5, and b7) Fmaj7 (IVmaj7) arpeggio for Dmi9 sound. (F, A, C, and E), b7, and 9)
G7 V (Dominant Family) 1. Play G7 arpeggio for G7 sound. (G, B, D, and F), (Intervals from G: R, 3, 5, and b7) 2. Play Bmi7(b5) (VIImi7(b5)) arpeggio for G9 sound. (B, D, F, and A), (3, 5, b7, and 9)
Minor Key Diatonic Chord Substitution Related groups of chords are slightly different in the minor key. Diatonic 7th Chords in Key of Ami Ami7
I
Bmi7(b5)
bII
Cmaj7
Dmi7
bIII
IV
Emi7
V
Fmaj7
bVI
G7
bVII
Tonic Family: Imi7 and bIIImaj7 Subdominant Family: IVmi7, IImi7(b5), and bVImaj7 Dominant Family: Vmi7 and bVII7 (or V7 and VIIdim7) As we did with major diatonic substitution, explore the relationship of each diatonic substitution to its parent chord for melodic substitution. The replacement of Vmi7 to V7 and bVII7 to VIIdim7 is common in minor keys because the raised 7th leading tone is widely used to lead the melody to resolution.
leading tone Due to the leading tone, these chords can be created using minor harmony.
Ami7 >
Ami(maj7)
Emi7 >
E7
G7 >
G#dim7
Imi7 >
Imi(maj7)
Vmi7 >
V7
bVII7 > VIIdim7
“If you practice for ten years, you may begin to please yourself, after 20 years you may become a performer and please the audience, after 30 years you may please even your guru, but you must practice for many more years before you finally become a true artist.
— then you may please even God.”
Ali Akbar Khan
(Indian classical music maestro, Sarod player)
Chapter 2 Chords & Arpeggios Major 7th Dominant 7th Minor 7th Minor 7th (b5) Diminished 7th
Major 7th Chords Notes: R(Root) 3 5 7 Example: Cmaj7 - C E G
B
Root Other Notes
5
3
3
7
7
5 R
R Fingering Pattern 4
Fingering Pattern 2
7
7 3
5
R
3 R
5
Fingering Pattern 1
Fingering Pattern 3
3 7 5 R
Fingering Pattern 5
Major 7th Arpeggios Notes: R(Root) 3 5 7 Example: Cmaj7 - C E G
B
Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Dominant 7th Chords
Notes: R(Root) 3 5 b7 Example: C7 - C E G Bb Root Other Notes
5
3
3
b7
b7
5 R
R Fingering Pattern 4
Fingering Pattern 2
R
b7 3
b7
R
3 R
5
Fingering Pattern 1
Fingering Pattern 3
3 b7 5 R
Fingering Pattern 5
Dominant 7th Arpeggios Notes: R(Root) 3 5 b7 Example: G7 - G B D F Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Minor 7th Chords
Notes: R(Root) b3 5 Example: Cmi7 - C Eb
b7 G Bb
Root Other Notes
5
b3
b3
b7
b7
5 R
R Fingering Pattern 4
Fingering Pattern 2
R
b7 b3
b7
R
b3 R
5
Fingering Pattern 1
Fingering Pattern 3
b3 b7 5 R
Fingering Pattern 5
Minor 7th Arpeggios Notes: R(Root) b3 5 b7 Example: Dmi7 - D F A C Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Pattern 5 (alt. fingering) [TRACK 23] Dmi7
13 13 14 12
10 13 10 12
14
13
10 13 14
10 12
10
10 12
12 13
10
13
12
Minor 7th(b5) Chords Notes: R(Root) b3 b5 b7 Example: Cmi7(b5) - C Eb Gb
Bb
Root Other Notes
b5
b3
b3
b7
b7
b5 R
R Fingering Pattern 4
Fingering Pattern 2
b5 R
b7 b3
b7
R
b3
b5
Fingering Pattern 1
Fingering Pattern 3
b3 b7 b5 R
Fingering Pattern 5
Minor 7th(b5) Arpeggios Notes: R(Root) b3 b5 b7 Example: Dmi7(b5) - D F Ab
C
Root Other Notes
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 1
Fingering Pattern 3
Fingering Pattern 5
Diminished 7th Chords and Arpeggios Notes: R(Root) b3 Example: Cdim7 - C
b5 Eb
bb7(6) Gb Bbb(A)
Root Other Notes
Diminished 7th Chords b5
b3
b3
bb7
bb7
b5 R
R Fingering Pattern 4
Fingering Pattern 2
Diminished 7th Arpeggios
Fingering Pattern 4
Fingering Pattern 2
Fingering Pattern 4 (alt.)
Fingering Pattern 2 (alt.)
Chapter 3 Arpeggios in Diatonic Harmony Key Key Key Key
of of of of
C G D A
“I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured. when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed.”
John Coltrane
Chapter 4 4 Bar Pattern Arpeggios VImi7
IImi7
V7
Imaj7
Key of C Key of G Key of D Key of F Key of Bb Key of Eb IImi7(b5) Key of Ami Key of Dmi Key of Gmi Key of Emi Key of Bmi
V7(b9)
Imi7
Chapter 5 2 Bar Pattern Arpeggios IImi7
V7
Imaj7
Key of C Key of G Key of E Key of Ab
IImi7(b5) Key of Ami Key of Cmi Key of Fmi
V7(b9)
Imi7
Chapter 6 Jazz Phrases for Soloing Major Phrases Minor Phrases Dominant 7th Phrases Altered Phrases
In this chapter, we going to try common phrases that I took from jazz masters such as Charlie Parker, Miles Davis, Wes Montgomery, and Joe Pass. I highly recommend you learn these. The first step in learning is always to follow the ideas and techniques of the master players. You will find your own sound and phrases gradually, by putting in years of practice. Just Be Patient!
Chapter 7 Applied Arpeggios in Chord Progressions Blues; Key of A Jazz Blues; Key of F Jazz Standard; Solar Blue Bossa Tune Up How High the Moon All the Things You Are Autumn Leaves There Will Never Be Another You
Arpeggios over blues changes: A Blues [TRACK 195] Rhythm Guitar (backing track for arpeggio playing)
A7
D7
A7
A7
6 5
5 4 5
6 5
6 5
5
5
5
D7
A7
5 4 5
5 4 5
E7
D7
A7
7 6 7
5 4 5
6 5 5
6 5
6 5
5
5
E7
A7
5 4 5
6 5 6
7 6 7
7 6 7
Ex.1 [TRACK 199] Arpeggios over blues changes: F Jazz Blues Rhythm Guitar (backing track for arpeggio playing)
F7
Bb7
8 7 8
F7
7 6
Cmi7
8 7 8
8 8
6
Bb7
Bdim7
F7/C
7 6
8 7
6
7
8
3 3 3
C7
3 2 3
8 7 8
8
7 6
Gmi7
F7
F7
2 1 1
D7
5 4 5
D7
5 4 5
Gmi7
3 3 3
C7
3 2 3
“Music comes from life. Many times you’ll find that you learn more about music from life than from music.”
Mick Goodrick Goodrick
