THE

PROGRESSIVE
GUITARIST

ARPIOO
FOR
GUITAR
,..4 NEWAPPROACH
ARPEGGIOS
TO
AND THEIR
RELATIONSHIP
TO
CHORDS AND SCALES.
FORTHEROCK,BLUES,
AND JAZZGUITARIST.

by DON LATARSKI
 THE
PROGRESSIVE
GUITARIST

ARPIOO
FCR
GUITAR
...ANEWAPPROACH
ARPEGGIOS
TO
ANDTHEIR
RELATIONSHIP
TO
CHORDS AND SCALES.
FORTHEROCK,BLUES,
AND JATZGUITARIST.

by DON LATARSKI

.l990
o Don Lotorski
Internotionol RightsSecured
All RightsReserved

Cover Design:Joonn Correro

WARNING:Any duplicotion, odoptotion

or orrongement of the compositions
contoined in this collection, without the
wriiien consent of the owner, is on
infringement of U.S.copyright low ond
 INTRODUCTION

An arpeggiois a seriesof chordtonesplayedone note at a time. Everyserious

guitaristmust at some pointmastermanyof the primaryarpeggioformssuch as
majTth,minTth,augTth,etc.

Arpeggios
are frequently usedin constructing A quickanalysisof melodies
melodies.
frommusicof nearlyall agesandstyleswilldemonstrate
thisfact.Theyare alsoused
as accompanimentdevices.

In contemporary music,such as rock, blues and jazz, arpeggiosare used as

improvisational
toolsalongwith scales.lt is for musicians
who play in thesestyles
thatthisbookis intended.

In any givenimprovisational situation,the "safest"soundingpitchwill alwaysbe a

chordtone.However, if yoursolois madeup onlyof chordtones,you runthe riskof
boringyourlistenels.Goodsolosare madeup of a varietyof rhythmic, melodicand
harmonicdevices.lt's up to eachpersonto findthe properbalancebetweenplaying
it safeandtakingchances.

Arpeggiosare very usefulin particularto the jazz musicianbecausethis style of

musicoftenrequiresthe improvisor to makequickkey shiftswhensoloing.Many
guitaristsuse arpeggiosto facilitatethesekind of changes.The arpeggiohas the
benefitof outlining
the harmony that'shappening at the moment,lettingthe listener
knowthat the improvisor has a firm graspof the harmonicmovementin the piece.
Also,the useof arpeggios hasthe effectof breakingup the flowof the musicallineby
interspersingintervallic
leapsintothe solo.Solosmadeup of just scalepassages
tendto soundsmoothandvocal-like. Wideintervalleapsprovidecontrastin the line.

Learningarpeggioson the guitaris morethanjust learningchordforms.Chordsare

usuallyplayedone noteper string.In somecases,it's possibleto playone,two or
threenotesper stringin an arpeggio.This will becomevery obviousonceyou get
intothe book.

The formatof this book is simple.Eachpagecontainsa particulartype of chord,

whichis shownin fivedifferent
forms.The rootof eachchordformis shownas a solid
blackdot.The dot is yourreferencenote.By usingthisnote,youcan movethe chord
formup anddownthe fingerboard to playthischordon anyfretand in any key.

The middlecolumnshowsthe arpeggioof the chordto its left.The rightcolumn

showsthe largerscalepatternwhichgoeswiththisarpeggioand chord.You get the
wholepicture,fromthe chordto its arpeggio to the complete scale.An X abovea
stringmeansyoumusteithermutethestringor stringsor simplynotpluckit if youare
usingyourfingers.(Many of thesechordswillbe easierto playif youpluckthe strings
with your fingersinsteadof tryingto strumthemwitha pick.)

On someof the morecomplicated chordssuchas Dom9b5,I'veshadedin someof

the notesin anattemptto makethingsa littlecleareras to whatare importantnotes
and what are not. In somecases,the root will be shaded,becausethe root is not
reallya necessary notein an arpeggio.For the mostpart,the chordsare in root
position,withthe bassnotebeingthe lowestnoteof the chord.ln somecases,this
was not possible.At any rate,all chordvoicingsare shown.(Theseare the numbers
insidethe circlesin eachchordform.)Fivedifferent formsof eachchordtype are
given.Thisapproach coversthe entirelengthof the fingerboard.
effectively

The scalesI choseto showwith eachchordtype are what your "average"garden

varietyjazzmusicianmighthavechosen.However, don'tbe fooledintothinking
that
theseare the only possibilities, I you
becausethey aren't. encourage to seek out
otherbookson the subjectof improvisation or checkout my bookentitled, SCALE
PATTERNS FORGUITAR.Scalechoiceis dependant uponhowanygivenchordis
functioningin a song.A good jazz lheorytext and qualified can put this
instructor
subjectin perspective
for you.

It's up to you to choosewhatorderto playthe noteswhichmakeup any arpeggio.

You don'thaveto startfromthe lowestnoteandgo rightup fromthere.Youcan start
anywhereyou likeand playthe notesin any order.Also,you'llhaveto workout your
own fingerings and scales.The numberswhichare
for the chordforms,arpeggios
included in eachchord,scaleand arpeggio, are the scaledegreesyou are playing.
Eventually, you mustknowwhatyou'redoingwhenyou are playingthesethings,so
startnowto knowwhat'sgoingon withyourplaying.

Practice thesearpeggiosby firsthittinga chord,thenthe arpeggiowhichgoeswithit,

and thenthe largerscale.Thiswilltakeyou acrossthe pagefromleftto right.You
needto havethe arpeggio in yourfingersas fluentlyas the chordsandscales.Think
as the bridgebetweenchordsand scales.
of the arpeggios

Mostguitaristswho'vegrownup playingrockand bluesstylesare oftentrappedby a

mono-scalar approach to soloing.Thatis, theytry to useone scale,usuallythe minor
pentatonicor blues,as it'softencalled,to playovera seriesof changingchords.In
manycases,thisworkswell becausewhattheycall chordsare reallynot.Theyare
of a perfectSth,alsoknownas powerchords.Thistypeof approach
intervals doesn't
workto wellwhenthe harmonyconsistsof movingtriadsandfournotechords(7th's).
This type of harmonicmovementmakesyour scaleseem inadequate and out of
place.You needdifferenttonalresources,i.e.,newscales,to effectively
solooverthe
changes.All guitarists
run up againstthisproblemsoonerof later,especiallyif they
wantto moveintosongswhichhavea )azz leaning.

Two of the earliestiazz guitariststhat reliedheavilyon arpeggiosare Django

Reinhardtand CharlieChristian.Listento how they usedarpeggios to followthe
contourof the movingchordprogressions. You'llsoonsee the art involvedin this
typeof approach.Fora moremodernapproach, likepat Metheny,
listento guitarists
JohnScofieldand MikeStern.

Experimentation is the key to becomingan accomplished improvisor. There,sno

substitute. ThethinEsin thisbookare meantto get you starteddownthispath.And if
you findthesearpeggios helpful,pleasecheckout my otherbooks.ln additionto the
SCALEPATTERNS FORGUITAR,mentioned earlier,I'vealsowritten:MOVEABLE
G U I T A RC H O R D SI,N T R O D U C T I O N
T O C H O R DT H E O R YC, H O R DE M B E L L I S H -
MENTandCHORDORB|TS.

Don Latarski
About the author..,
DonLatarskihas beenplayingthe guitarsince1963.He'san adjunctfacultymember
at the University
of Oregon'sMusicSchool.ln additionto this book,he'swrittena
numberof otherson guitarinstruction lntroductionto ChordTheory,MoveableGuitar
Chords,Scale Patternsfor Guitar,Arpeggiosfor Guitar andChordEmbettishment.
Knownnationally as a a giftedguitaristand composer;Don performsfrequently with
his groupat Jazz Festivalsand Clubsin the PacificNorthwest.His musiccan be heard
on "HAVEN", lnnercity Records and'LIFELINE', PAUSARecords. originallya
Michigannative,Donhas madeEugene,Oregonhis homesince1973wherehe
buildsand ridesrecumbant bicycleswhenit'snot raining.
 TABLEOF CONTENTS

MajorTriad. ......10
Major6th.. ...... 11
Major7th 12
Major6/9.. . 13
Major7b5(akaM47#11). . . 14
MajorT#s.. 15
Major(edd9) 16
Majorg.... 17
MinorTriad. ......18
Minor6th.. ......19
Minor6/9.. ......20
Minor7lh.. ......21
Minor#7.. ......22
Minor7b5(akaHalf-Diminished) . . 23
Minor(addg) .....24
Minorg.... ......25
Minor11... ......26
Dominant
7lh . . 27
Dominant
7b5(akaDominant
7#11) 28
Dominant7b9.... 29
Dominant
7#9. . 30
Dominant
7b5b9.. 31
Dominant
7#5#9.. 32
Dominant
7#5bg. . 33
Dominant
7b5#9. . 34
gth. .
Dominant 35
Dominant
9b5(akaDominant
9#11). 36
Dominant gth).
9#5(akaAugmented 37
Dominant
13th.. . 38
Dominant
13b5(akaDominant
13#11) .
't
"' 39
Dominant
13b9.. . 40
Dominant
13#9.. . 41
Suspended
7th. 42
gth.
Suspended 43
Augmented
Triad. 44
Augmented
7th . 45
Diminished
7th 46
l0

ChordType: Majortriad
Scale/Mode:
Chord 'Form -+ Arpeggio# lonian

e 1
3I6I2
5 4 5
J 713
5) zIsf|fqYaYz

5 e
3

2Is z l3
A
I

J
sl6
4 215

3Io
I+ 215

5I3 5I3
-Ls2J-
2I5I3Y6
4

7
513 5I3 2I5I3I6
4
3 e dod z
A
b
 ll

Major6th
Scale/Mode
Chord Form -> Arpeggio --> lonian

316
rt7
3I6I2
L 7

3
5 i

Lgl
.grL1
e

sL zX sf + \ a \ z

? e

h
o 4 t6 t2

5 .t e 2l5l7l3

o J,+

x
5 e 2l517 I3
A

3I6 3I6 eI6

A
215

3I6 3I6
4 215
7
e
5I316 2I5r316
4

316
L-
I.3 I6
l-tt

2I5I3I6
7

3I6 3I6 3I6I2 7

4 t
t2

ChordType: Major7th
Scale/Mode:
Chord Form -> Arpeggio -> lOnian

3
41612

s{z{s 5I7I3 215l713

o +

5I713 51713 21517 13

sI6
4 215

5 6
s&
+) l(z{s
7

513
7

2I sIs
a) Io
A

7
l(')l
513 5I3 a sf s o

4
7 \ 3 I6I2l | (7
5 A
s)
 13

Scale/Mode:
Chord Form -> Arpeggio* lonian

oXg

oXg
o oX s 416 12

e I5 215I713

I A

9I5 .) 2 t5 17 | 3
A

3I6 316 3I6

eIs e Is 4 215

o 5 A
215
7
9I513I6 2I51316
t

6I9 3 I619 316

7
2I513I6

3I6I2 7
4) | | (s
t4

Major7b5 Scale/Mode
Chord Form * Arpeggio-_> Lydian

os{z 3 b5I7 3l6l2l#4 7

7 t3 usl7I3 #41713
215 6l2

'{ e

t o)
D5 b5 #4
zXs zXs z{s{z{s
o
x x
o5

7 zXs

3
o

316 F4

b5I7 osYz
o #417
2l5

3 2I5I3I6

b5I7 os{z
3

3 b5I 7
 l5

ChordType: Major7#5
Scale/Mode:
Chord Form -* Arpeggio-> Lydian-aug

7 3I6I2I#417

7 l3I#5 7 13 I#5 t4 17 13 l#5

z 6 r2
#5 #5

3 .t

OIGX,
#4
7 13 713 2) | (713
#5 15 r5
+4
x
7 Is 7 13 Z 7 13
#5 t5 t5
e
sI6 #4
2
#4 #5

316 #4

7 #5 #5
o t+\z 2
#5
Is z 3I6
#5 #5

t r 4 17 #5
e
Ie 2 3I6
#5 #5 #5
a
3I6I2I#4I7

F5
16

Majoradd9
scate/Mode:
Chord Form+ Arpeggio-+ lonian

s) e q
3I6I2 7
3 5 6

7t3
2I5 I4 16 | 2

(.) |
q

t q
41612

5 9I5 215l713

J,q

eI5 9I5 z {s {z {s

e
o 3I6
(+

9I5 J,q 2ls

o J,q 215

5I3 2IsfeIo
4
o 3I6

5 5I3

J I

s)
 t7

Scale/Mode:
Chord Form -> Arpeggio lonian

q
7 9 7
s7
3I6I2
L
Ll__
A

7 Iz 713
5 I 2I5-qIalz

I v

5I713

e I517 J3 5I713 2 15 17 l3
4

3I6
9I5 215

3I6
9I5 gXs A
215
7 7 7
5
2 I513 16
A

3 2I5I3I6
A

q
I 3I6I2
6 A

7 7
18

ChordType: Minortriad
Scale/Mode:
Chord Form --+ Arpeggio Dorian
6I2
b3I5 oe{s} 4 I b 7I b s I 5

5) 215-41612
b3 b3 b3 b7Ib3

I 4l6 l2
b3 he
b7 Ib3
2t5
b3 4

5
b3 b3 o
5
b3 b3

he
F
I
he
## !_ 215
b3
s) s) zY5
b3 b3 4 tb7

s) 5 2l5 b

b3 b3 b3 4 lb7
612
us{s +dozfs{s
 l9

ChordType: Minor6th
Scale/Mode:
Chord Form -+ Arpeggio -> Dorian

he
b3I s

5 o 5 o

b3 b3

b3
o b3
4T6T2
b7 Ib3
c
215
b3
o b3 4

5 215
b3 b3 o he
Jo
5 4Ib7I2Is
he
b3

b3
a b3
4 I b 7I 2 l 5
b3
h
o 2Is 6
b3 b3 4 tb7

5 o 215
b3 b3 4 tb7
o b
6I2
b3I 5 b3I5
-4^b7it3I5
z0

Minor6i9 Scale/Mode:
Chord Form -* Arpeggio# Dorian
6Ie 6l2
he os{s 4 lb7 Ib3I 5

ttl
qilT
6I9
he
6I9 z

he
5 r4
ffi
6I9 4t6 t2
b7Ib3
5 2l5
b3

9Is 215
he b3 b3 A

o o

a 9 5 4 lb7 I 2 I 5
b3 h?

I
o
o

9I5

b3
l"# l-l-
215
b3
s) 6 915 n zY5 o

he
b3 4 lb7

9I5 9I5 zl5

o3 he 4 lb7
6 t9 612
b3I 5 b3I5 4 lb7lb3 I 5
 2l

ChordType: Minor7th
Scale/Mode:
Chord Form --> Arpeggio# Dorian

b7Ib3

b7Ib3
o oz{o
5

he
O

5 215
h?
o b3
o
+

b7 5 4 lb7 I 2 I 5
b3 b3 h {

b7
he
o b7 5
*#: !l_ a 5

5 215 b

Fte
b7 b3 4 Ib7

uL a 6 o
he
b7 he
4 Ib7
612
b7Ib3I 5 ozdoo{
s 4 t b 7I b 3I s
 22

Scale/Mode:
Chord Form --+ Arpeggio--> MelodicMin.
6l2
r(li' b3I5 b3I 5 4 b3I 5
7 7
5 5L 2Is14I6 z

b3 b3 b3 b3 b3

b3
a b3
4l6 l2
b3
517 5t7 21517

o b3 J.q

517 215l7
b3 b3 t b3 4

5 4 215
z Ib3 b3

7Ib3
4

7Ib3
sl
5
lI.u-L
b3 4

5
b3

b3I5 b3I s
1
 23

ChordType: Minor7b5
Scale/Mode:
Chord Form --+ Arpeggio--> Locrian

b7Ib3 b7Ib3
b5 ob

b7 b3 os{oz{os

O 4
b5 I b7Ib3 os{oz{os b2IbsIb7 Jb3

b3 o b5
b3lb6z t
b2Ib5

b3
o5
b3
o b5
b 3I b 6 - 4
b2Ib5
b7 b7 4 tb7
b5 b3 b2Ib5 b3Ib6

o
#
b7 b7
ob b3 b5 b3 b3Ib6

b3
o D/ b3 I b6 lbzl 4 Yb7
b5 b5

b3
o
b7 b3Jb6Ib2I 4 Ib7
b5 b5
b7 Ib3 4 I b7Jb3
b5 b2 Ib5 b6Ib2
1A

Minoraddg
Scale/Mode:
Chord Form -> Arpeggio Dorian

- t.gtr)-t.,
os{s}
rTi'
b3I 5 4

s) o 915
liz t_t_ I 2X 5f , + f o{ z
he h2
b3 b7Ib3

9
o 416 12

q
-I
bTIos
9I5 215
o5 he
4

e 15 215
h? ha
o b3 A

I o Yq 4 [b7l 2l 5
he
b3

b3
5
o 915
ha

5 e I5
b3

915
b3 b3
9 9

b 3I 5
 25

ChordType: Minor9th
Scale/Mode:
Chord Form --> Arpeggio --> Dorian

b 7 I b 3l s

v
4 T6 T2
b7Ib3
215
b3 4

9I5 215
h?
b3
o ha -A

o
b7I9 b7Je I5 4IOzIzIs

b7I9
o o z { s{ s
he
4 I b 71 2 I 5
he
5 eIs 215
h? he
4 lb7

b3

e 15
b3 b7
q

b7 b 7 I b 3I s
26

ChordType: Minor11th
Scale/Mode:
Chord Form -> Arpeggio --> Dorian

tl 11 416 l2
b7Ib3 b7Ib3 b7Ib3
2Is
b3 1l
b3 4

215
11 b3 11 b3 +

b7 11lb7 5 4Ib7I2I5
b3 b3 b3

11Ib7
b3

b3 rr{oz b3 11Ib7 he
l+
1,1,* 4 Ib7
612
b7Ib3 1 1 I O ZI b 3 I 5 4tb7lb3I5
 27

ChordType: Dominant
7th Scale/Mode:
Chord Form --> Arpeggio--* Mixolydian
?
316I2
b7 o/ s) 4 Ib7 5
?
e

5
215 -4 a I2
b7 b7

e
3
41612
b7 b7 b7
215 J

b7 b7

316
b7 5 ol 4 I b 71 2 l 5

5 5I3 2I5I316
b7 4 lb7

Ia 5I3 2I5I3 J6
b7 4 tb7
3I6I2
b7 b7 5 4 Ib7
28

ChordType: Dominant
7#11 Scale/Mode:
Chord Form --* ArPeggio* SuperLocrian

b7 b7
+A
t-
#4

b7
o
!4N7

#4 lb7
a #4 lb7 b2 I b5Ib7 Ib3

o b3 I#5
:2 Ib5

t4 lb7
_Ll
+
t-
A

osd+s
3 ) | (b2Ibs

b7
#4
o b7
b 2 I O S ) | ( b 3I # s

b7
#4

#4

#4 b7 b3I#5Ib2) | (b7
LtA
hq

D/ b7Ib3
b2Ib5 #5 Ib2
 29

ChordType: Dominant
7b9 Scale/Mode:
Chord Form --) Arpeggio-+ Diminished
h/w

b7 b7
? b9 b9

hq

3 ho nq

0l b7

5 ) | (3
b3
b9 3 ) | (be 6 lbzI#4
67
b7 5 b7) | ( 5
b2l*q ) | (os

o ( r7) l(5
b2I#4) | (Os
5 5I3I6
D9 b9 b3) | (bzl | (b7
g,\6J I +.

b2 I#4
sfs{o
b9 ov b3) | (b2 b7
3I6 +A

5 b7Ib3I5
b9
30

ChordTvpe: Dominant
7#9
Scafe/Mode:
Chord Form --> Arpeggio --+ Blues

b7
+ I o z J o s sI
3 #A

5 -,4
b7 l#9
b3 M lb7Ib3

o -l- L
I4
b7I*e b7)#9
5+fozfos
a
5
#9
a 9to
b7I#s

o b3 4
#4
b7 l^7
(+\oz
#9 #4 b3

b7
#9
o b7
#9
q
4 lb7
#4 he

sIs 5
#9 b7 b3 ^L'7

#4

5 r3
o/
e-D
b3 4 tb7
3 3 #4
b7l#eI 5 b7l#eI 5 4 Ib7Ib3I5
 31

ChordType: Dominant
7b5b9
Scale/Mode:
Chord Form -D Arpeggio---) SuperLocrian
b5
b7 b7 Ib3
b5 3 b9 b2Ib5 3 I#5 Ib2

b9 I b5 Ib7 b9 b7 b3I#5Ib2Jb5lozlos
e ?
3

b9

b5Ib7
o
b5Ib7

b9

b3I#s
2 b9Ibs beIb5 3 b2Ibs
b7 o/ b7
b5 b2Ib5 b3 I#5

t o/ b7
b5 b2los b3I*s
e
3
ho b7
.osY*sYbe
o9 b7 b7
3 b5 e hE

Is
b5 b9 b7 osf*sYoe)| (oz
o5 3 hE
e b9
b7 Ib3
h( 3 b9 b2Ib5 #5 lb2
JZ

Scale/Mode:
Chord Form --> Arpeggio ---D SuperLocrian

b7 b7 I#9
3 I#5 3 I#5

O
#9 #5 b7 Tffi
e

b7 I#9
ob2 I b5Ib7

#5 b3 I#5

92,[bs

b7 I#9 b7 I#9

#5 b3 I#5
.#5-L
b2Ibs
b7
#5 b2Ib5 b3 I#5
28

b7
*s{+s l.l-(?' (*r
b2Ib5
-9,g
-I(.
osd+s b7
doz

#5 b7

ltltr.
#5 b7 l#9
F3
 JJ

ChordType: Dominant
7#5b9
Scale/Mode:
Chord Form --> Arpeggio---> SuperLocrian

o/ b7
e {+sfos 3 I#5 Ibe

#5 Ibg b7
3

o ol

#5 #5
b9 b9

#5 b3 I#5
b9 3 b2Ib5
b7 b7

b2Ib5 b3 I#5

b7
b2Ib5
QrFu
osd+s
{oz b7
htr

#sIb9 b7
3 lsYog o/

#5 b7
34

ChordType: Dominant
7b5#9 Scale/Mode:
Chord Form -* Arpeggio* SuperLocrian

b7 b7 l#9
b5 b5 3 ho

b 5I b 7
o b5Ib7
#9 a

bs I b7I#e
o os{oz{os
.t

J
o

3 b5
o b3 I#5
b5 a b2Ib5
b7 b7 b7
fo o5 #9 b2Ib5 b3 I#5

b7
t b7
b5 f9 o5 #9 b2Ib5 b3 I#5

o
usY#sYbz o/
3 b5 3

e b5
b7I#9
 35

ChordType: Dominant
9th
Scale/Mode:
Chord Form --# Arpeggio-+ Mixolydian
3 o

b7 F

3 3
c q

b7

3 3
q
o

0l

ffi

J
J

e
ffi
b7I9 b7Ie 15

e
.t

ozls{s b7Ie I5

5 ffiI 3
b7

5 ffi{3 2I5I3 16
b7 4 Ib7
e 9 3I6I2
AA
WI ,a'7
5 4 lb7
36

ChordTvpe: Dominant
9b5
Scale/Mode.
Chord Form -> Arpeggio--> Lydianb7
e Ios
h'7
b7
b5
J

9 9
b7

.t

6sYoi b 5I b 7
I
o 612
#4 lb7
215 a

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3
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 37

ChordType: Dominant
9#5 Scale/Mode:
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b6
q

DI

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38

ChordType: Dominant
13th
Scale/Mode:
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J

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3
5 t.t c 11 IJ

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316
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13 IJ 2J5I3Y6
ll

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11
o e I
b7 b7
 39

ChordType: Dominant
13b5 Scale/Mode:
Chord Form -* Arpeggio-> Lydianb7
3 b5
h7
b7
b5 b5 3

o 1 3I 9

13
o rs{s o TIT
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e o
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b5
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13
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l^tr
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40

13b9
ChordType: Dominant Scale/Mode:
Chord Form => ArPeggio* h/w
Dimlnished
#4

ol )-l.QlI'tr:
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6

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b9
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ChordType: Dominant
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h/w

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316I2
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3
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q

q
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4 o 5I4 u

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Triad
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 45

ChordType: Augmented
7th Scale/Mode:
Chord Form ---> Arpeggio _+ WholeTone
3) l(2
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,) lo z

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b7 b7

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3
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e
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46

7th
Diminished Scale/Mode:
Chord Form-D Arpeggio -+ wih
Diminished
x
b5
b3 b3
b5 b5
o

b3
o o

b
o o
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b5

x
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I
o o

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o h6 o

b5 he
a b3
A

b5I 7 b3I b6
z

o h z

b3Ib6 4
o

b3

b3
o o 2
b3I b6 4

o r5 b5 o 2lb5 7

b3 he 4 he

b5I 7 b6
 THE TheBEST se/ies

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Eochbook useso
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ARPEGGIOS AN INTRODUCTION TO CHORDTHEORY
(:3093GTX) (F3096GTX)
S^cr.rseoch orpeggio in five positionsin o simple A procticol,stepby stepopproochto the fundo-
c cgrom formot, Forevery orpeggio the corre- mentolsof chordconsfruction,
onolvsisond func-
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Thisbook illustrotes, ollthe
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