by Guto Andrade

The search for (perfection) the full dominion - second part

Improvisation using arpeggios

How are you doing? I think you have read and absorbed some of the ideas I intend to show up de end of our study. Today I do want to talk about improvisation using arpeggios, as the way for the development of much of what we know nowadays is from arpeggios usage.

It is concerned about the using of the "disjointed" chord, which means, an arpeggio is a melodic construction of Tonic(ROOT) (T), 3rd, 5th and 7th of a given chord. It is not necessarily the utilization of a disjointed chord because, as we will see in the next article, it is possible to play an arpeggio "X" upon a chord "Y".

Before starting, remember it is necessary to have all the material (or as much as possible) about the subject "under the fingers", so that you do not feel uncomfortable in fingering an arpeggio. Remember that the main goal of our study is "the search for the (PERFECTION)full dominion". So, every fingering mechanical material that you have got must be as perfect as possible in your hand, with mechanics and sonority inserted in mind and body.

In this way, now we are going to see some harmonic suggestions for improvisations. The first example is a II - V - I (SEQUENCE) cadenza, but you can replace this material by a theme harmonic sequence, as I will propose in example number 3. By doing it, you enter into another part of our study, the repertory, besides you find a practical use for everything you will study.

As I have said, we have in the first instance a II - V - I ( SEQUENCE) cadenza, in C major. At the second (SCORE)stave each (SEQUENCE) cadenza chord arpeggios are written. Be sure of each chord arpeggio, starting from 4th, 5th and 6th strings and starting from T, 3rd, 5th and 7th of each arpeggio.

Without using the free strings, firstly study the arpeggios that are before 5th fret, having the 6th and 7th frets as limit, once you will have fingered different arpeggios and because certain tunes, sometimes you will not be able to set a number of frets or a pre-established region of the guitar (NECK)arm. We are going to call this first studied region of first region. Once an arpeggio is formed by (R) T, 3rd, 5th and 7th and it is necessary to study the arpeggio starting from its inversions, we will have, beside this first region, three regions more to be studied. In the given example, the Dm7 arpeggio from 6th string is the one from the arpeggio 3rd. The G7 arpeggio starts from the arpeggio (ROOT) Tonic, in the region on the guitar (NECK) arm up to the 7th fret and, finally, the C7+ arpeggio starts from the arpeggio 5th. This way, we have defined the first region arpeggios. The second region arpeggios are those that start from the next step, which means, if in the first region the Dm7 started from the 3rd, the next step is the 5th, so, in the second region, the Dm7 arpeggio will start from the arpeggio 5th, and so on with the other arpeggios.

The second example is an A minor II - V - I (SEQUENCE) cadenza. Study in the same way.

The third example is a whole harmonic idea, with beginning, middle and end, in order you use arpeggios in a theme improvisation.

Tips to organize these studies

a) When you study the examples, make use of any software you can write and reproduce the chords, or record many times (loops). Think about a number of improvisation chorus (one improvisation chorus means a whole harmonic sequence) and, as this number is done, change something in the study, for instance, the note you start to play de arpeggios.

b) Practice each chorus always: one note for a tempo (in 4/4, quarters), two for a tempo (eighths). Three (triplet eighth) and four (semi quaver), consecutively, without worrying about (STOPPING ?)breathing or phrase size. The objective in this kind of study is force you to make changes in the arpeggios at any moment, independent of the region where you are doing the arpeggio. At the beginning it is difficult, but be persistent and soon you will see that certain changes are easier because you will found "ways" you can use in changing an arpeggio by other, or in the future, when you need to see the instrument better. Remember: "the search for (PERFECTION) the full dominion".

c) Improvise using the arpeggios freely. When you improvise, remember to think about whole phrases (with beginning, middle and end).

d) Sing EVERYTHING! Try to synchronize the thought with every material you are studying, more each time.

e) Always practice using the metronome, using different speeds. Try to vary a lot.f) Change the region only when you feel comfortable. If you have troubles in fingering some arpeggio in the first region, or are not be able to synchronize some idea, persist in the same region until you feel good about the major (or all) mechanic information. So change the region.

I want to recommend a CD that I like very much. It is called Bright Size Life, of the guitar player Pat Metheny, also with Bob Moses (drums) and the great Jaco Pastorius (bass). I am not sure about this CD was released, but I think that it is from the early 70's.

See you next travel to the full dominion planet! Good studies and a lot of sound!

Guto Andrade