Chapter Four - Smooth Transitions between Arpeggios

We will continue t.o develop your melodic tluency and aural skills by focusing on moving smoothly
between the arpeggios ofBb7 and Eb7 in very small areas of the fretboard.

In this section. instead of jumping from one specific interval in each arpeggio lO another, we are going to
move to the cim;est note in the new arpeggio wben the chord changes. By learning to highJight these
harmonic· movements, we develop our ability to articulate chord changes as they happen. Io this way, we
can choose lo Let our melodies and solos mirror the harmony provided by the rhythm section. This
articulation is one of the most defi nins charact.c ristics of jazz.

Let' s begin by looking at the lrdllSitiom; that are possible when moving from the Bb7 arpeggio to the Eb7
arpeggio, but we will focus onjus/ the top two strings.

Study the following diagrams:

Bb7 Eb7
xxxx XX XX
5 • 5
" ~,
7 • 7 0
m
9
• 9 • 4~

In both diagrams. the note Bb stays the same (it is the root of the Db7 arpeggio and the 5th of the Eb7
arpeggio).

However, it is easy to see that on the second string, the b7 of Bb7 (Ab) falls by a semitone to become the
3rd ofEb7 (G).

While you have been playing the Bb7 arpeggio previously, you may have not yet played the 3rd that lies
on the first string, tenth fret. however. now is a good time to take notice of it.

As you can see. the 3rd of 13b7 (D), fal ls by a semitone to become the b7 ofthe Eb7 arpeggio (Db).

Both of lbc previously described movement" arc extremely strong melodic elements, and essential 10
master in order to articulate the chord changes in the blues. or indeed any jazz standard.

Using backing track two (one bar per chord) you are going to play four notes per bar, and as the chord
changes, you are going to target the closest note in the following arpeggio.

The fo llowing examples will get you startoo. Remember, you are o nly allowed to play on the to p two-
strings of the gwtar {for now!)

20
1-.xample .:/a:

. .. -
I
u •
.. .. -. - .. 'e ,~ .. ~-
~
~7
.fl-
-
~

.-
. ,~ ... .

.··-
• '

ETC

.
I
6- 9
I l
V
I
-
~
I
8
!-!- !-..-10- ! 1 I
ft
~
I
6-
I
'-8
1
V !-! .
. .
'
311) Of El>i 310 Of 91,7, 3ea 0, £~'1

Example 4b:

£TC

~? OF A'? SfN OF E,7

The previous two examples only demonstrate tlµs exercise for a period of four bars, however you should
keep playing the arpeggios and linking the shapes smoothly for as long as you can. It is my guess that you
will quickly begin ·10 find these exercises repetitive; this is a good thing. You are starting to memorise the
point-; where you can articulately change between these two c hord<;.

lllCSC exercises are essential. because they provide the foundation for everythin~ you will learn about
m elodic jau soloing. They are also training your ears. your fretboard fluency and your muscle memory.
so I.bat when we are dealing \\'1th more complex conceptS like chromatic approach notes and altered,
scales you can always resolve any melodic idea to a strong tone in any chord.

When you feel you have exhausted all the possibilities with this two-string group, move on and repeat the
exercise with the arpeggios on the second and third strings.

Begin by observing change that happen on paper, and then try to target those changes in your playing.
There are many opportunities lo Iink the arpeggios together on the third string.

I Eere are lhe arpeggio diagrams lo get you started.

21
 Bb7 Eb7
,c )C )C )C )C )C )C )C
5 • 5

:ii •
C· J
7 7 ... I
I·JI!)
9 •
'
C 9

Gradually move the two-string groupings aero~ the fretboard until you have worked on the fifth aod sixth
strings. The notes of tho Eb7 arpeggio were not included in the earlieT diagram, so here is a diagram of the
full arpeggios for both chords.

Bb7 Arpeggio Eb7 Arpeggio

5 ...l!:-~r--1~~ 5

When you have practiced this exercise with two-string groups, you can move on to working with three-
string groups. Continue to play four notes per bar, but this lime allow yourself to work with arpeggios on
lhree strings. If you hove practiced lhc ideas in lhe previous examples thoroughly, working with three
strings shouldn' t be too diffjcull. At any time, feel free to go back to working with two-string groups if
you have any gaps in your knowledge.

Here are the arpeggio shapes isolated on Lhe top three-strings, foUowed by some possible ' routes' to help
you get started.

Bb7 Arpeggio Eb7 Arpeggio

,c ,c )C )C )C )C
5 • 5

22
Example 4c:

[ 1>'7 81>'7
I
.
,~- -- - - - - ' ~;. - I -
. - . '

. u
-.
-

: If
·- .·-
.-
.. '

, 1 I I I I I I ! I I I I I I I ~ I
-
I . - -- 6
7- - 6- 8
8 9- 6
7
6- '-8
8- 6- 1 ____,:
• . .
-1111

• • '

F.xamp/e 4d:

- ~~ - -- -----~~----~~~,!-L-
.......- - - -6-
H-- -..- 7- -- - - ---- - - - -8
- - -- - -11- a- ---'- -s- - - --'--- -a- - - --
7- - - - -7
-'II

The next stage is to start working with fouM1tring and fi ve-string groups. before moving on to joining the
arpeggios over all six slrings.
.
Be observant when you practice: if you notice any area of the neck that you're avoiding. go back to
focusing on j ust two or three-string g.roups w1til the area is confidenL r>on't forget to isolate lhe ba.~
strings of the guitar too.

23