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SCALE, CHORD & ARPEGGIO SUBSTITUTION
by Larry Pinkerton
Lesson #1: CHORD AND ARPEGGIO
SUBSTITUTION
(Lesson #2: SCALE SUBSTITUTION coming
soon)
Substitution is an essential part of jazz. Virtually all jazz artists use
substitution and a few artists, like the great chord melody player Lenny Breau
and pianist Bill Evans, breathed new life into jazz standards with their
remarkable and clever use of substitution.
Substitution is not limited to chords and arpeggios. Scales can be substituted
also and this is discussed in another lesson.
WHAT IS SUBSTITUTION?
It is the art of replacing a chord, scale or arpeggio with another.
WHAT IS THE ADVANTAGE OF SUBSTITUTION?
Substitution allows you to melodically and harmonically enhance your music
by applying familiar scales. chords and arpeggios in new and different ways .
WHAT DOES A SUBSTITUTION LOOK AND SOUND LIKE?
Virtually all jazz musicians --chord players (guitar, piano etc) and single note
players (sax, violin, trumpet etc.)-- use substitution. Substitutions vary widely
in the degree they relate to the original scale, chord or arpeggio. Generally
you can use this a a guide:

EXPLICIT substitutions have an apparent connection to

the original scale, chord or arpeggio. Therefore the more
subtle and less threatening it will sound. Go here and
here for more
IMPLIED substitutions do not have an apparent
connection to the original scale, chord or arpeggio it is
replacing. Therefore the more blatant and threatening it
will sound. Go here and here for more

CAN YOU GIVE A FEW EXAMPLES OF SUBSTITUTION?

A substitution may be as relatively simple and explicit as adding an
embellishment to the local chord. For example:

Cmaj7 (C-E-G-B) substituted for C (C-E-G) Numerically this is 1maj7

subbing for 1.

A substitution may replace the local chord entirely --I often refer to this as a
wholesale substitution. For example:

Am9 (A-C-E-G-B) is often substituted for Cmaj7 (C-E-G-B) Numerically

this is 6m9 subbing for 1maj7.

Finally an implied substitution may not seem to have an apparent connection

to the original scale, chord or arpeggio it is replacing. However with enough
theory knowledge and study a relationship can be discerned. For example:

Eb7b5 (Eb-G-A-Db) is often substituted for A7b5 (A-C#-Eb-G)

Numerically this is referred to as the b5 substitution. Go here for more.

CAN SCALES BE SUBSTITUTED?

Substitution can be applied to local scales by simply raising, lowering adding
or omitting intervals. For example the fifth interval in the C major scale (C1-D2--E3--F4--G5--A6--B7--C8) is often lowered thus altering the scale like this

C1--D2--E3--F4--Gb (b5)--A6--B7--C8

(MORE ON SCALE SUBSTITUTION IN A FUTURE LESSON)

IS THERE A METHOD TO THE MADNESS?
With any jazz improvisation, or chord melody arrangement, you are confronted
with the task of figuring out what chord, arpeggio or scale can be substituted
for another. Of course you could simply substitute a chord, arpeggio or scale
at random but there is a proven substitution method --and it is based on
fundamental theory.
HOW DOES THIS SUBSTITUTION METHOD WORK?
This method starts by harmonizing the major scale and then relating the
chords by dividing them (and their arpeggios) into these two harmonic
categories:

RESOLUTION (Chords/arpeggios that can be substituted for the 1

chord)
TENSION (Chords/arpeggios that can be substituted for the 5 chord)

WHERE DOES TENSION AND RESOLUTION COME FROM?

Tension and Resolution is the living dynamic that adds interest to all art forms.
It may be referred to as "dark to light" or simply "movement and rest".
Tension and Resolution has been a part of music forever and a component of
music theory for centuries. The terms simply reflect the dynamics found in all
of music --indeed in all art forms. Without tension and resolution there would
not be any contrast to appreciate.
The Resolution and Tension categories in this sub method come from
understanding the most important chord progression in music, the
omnipresent: 5 to 1 cadence. In essence we are converting the abstract
(tension and resolution) into the tangible (5 to 1). For example in the
key of C, C is 1 and G is 5. (see chart) The Tension of the 5 chord pulls to the
Resolution of the 1 chord.

WHAT'S THE BIG DEAL ABOUT 5 TO 1?

The 5-1 progression is important because it symbolizes tension and resolution.
5 to 1 is an integral part of all music --it is everywhere and thus we are
imprinted with it. For centuries it has been the most utilized cadence in all
styles of western culture music and we hear it everyday even if we are not
aware of it.
It is in all genres including: rock, country, bluegrass and jazz. It is in the
music in TV and radio commercials as well as in the background music we
hear at WalMart and the BP store! And it is --implicitly or explicitly-- in virtually
all of the Jazz standards.
WHAT DOES TENSION AND RESOLUTION HAVE TO DO WITH 5 TO 1?
As stated the 5-1 cadence is pervasive. So we exploit this by understanding
that the 5 chord is synonymous with tension and the 1 chord is synonymous
with resolution. In other words we can reduce virtually all the popular chords
in jazz to just two abstract categories: tension and resolution. By doing this
we can simplify our thinking and our approach to improvising. And as with all
things jazz this method will require study, practice and application.
WHAT KIND OF CHORDS ARE USED IN 5 TO 1 PROGRESSIONS?
In the key of C the 5 chord is G. G is a basic triad (G-B-D). Jazz players usually
replace triads with the cooler, and harmonically richer, four note seventh
chord. This being the case the 5 chord would be G7 and thus the number
would reflect that and be 57. Such is the case with the 1 chord. Instead of the
"vanilla" C triad, jazzers prefer Cmaj7 and the number would be 1maj7. So in
our discussion keep this in mind:

5 actually refers to the 57 (i.e. G7 seventh chord)

1 actually refers to the 1maj7 (i.e. Cmaj7 seventh chord)

The seventh chords and arpeggios chart illustrates the mathematical

harmonization process We have to look closer at the chords and arpeggios to
understand what gives the 1 chord its resolution and what gives the 5 chord
tension.
NOTE: Jazzers otter embellish and/or alter the 1maj7 and the 57.
HOW ARE CHORDS SEPARATED INTO TENSION AND RESOLUTION
CATEGORIES?
We must take a closer look at how chords --especially the 1 and 5-- are
constructed to understand this. Each chord/arpeggio in a scale --here the
major scale-- is realized (or constructed) by adding (harmonizing) every other
note of the scale together. This is the same as adding every third note
together. (see chart) All harmonized seventh chords/arpeggios have these
intervals:

root (1) ...this is the first note in any *uninverted seventh

chord. *An uninverted chord is sounded in chronological sequence
from root up --1-3-5-7 etc.
third (3rd)...this is the second note in any uninverted seventh
chord, It may be a major 3rd or a minor 3rd (minor 3rd = flatted
3rd).

fifth (5th)....this is the third note in any uninverted seventh

chord.

seventh (7th)....this is the fourth note in any uninverted

seventh chord. It may be a major 7 or minor 7 (minor 7 = flatted
7).

In chords and arpeggios the root and the 5th interval align the same*. In
other words the root and fifth is the same distance apart. Because of this
similarity we can say that the root and fifth of a chord is not unique
--they do not have any distinguishing characteristics. (*all except the seven
minor seven flat five chord/arpeggio 7m7b5--see chart-- explained later)
WELL THEN WHAT MAKES THE CHORDS/ARPEGGIOS DIFFERENT?
As discussed the first and fifth intervals in seventh chords are not different.*
However if we study the 3rd and 7th interval of each chord/arpeggio (see
chart)--and compare or measure each from the root-- we will see that they are
not the same.
For example in the key of C, the the root and the fifth of the 2m7 chord (Dm7)
Dm7 = D(1) F(b3) A(5) C(b7)
are the same interval distance from the root as they are in the 4maj7 chord
(Fmaj7)
Fmaj7 = F(1) A(3) C(5) E(7)
Yet overall these chords sound very different because the 3rd and the 7trh
interval spacing in each is not the same. The 3rd and 7th interval distance is
less (or minor) in the Dm7 than they are in the Fmaj7.
SUMMARY: The 3rd and 7th intervals separate or define each
chord/arpeggio --in other words the 3rd and seventh intervals give
the chord it's character.
SO HOW ARE THE CHORDS CATEGORIZED?
Now that we have determined that the third and seventh intervals define a
chord's sound or it's character. we will need to look closer at the third and
seventh intervals in the 1 chord and the 5 chord.
Study these 1 and 5 chords examples in the key of C. (Remember: The rules
and principles apply to all keys)
Cmaj7 is the 1maj7 and it's defining, resolved interval is the third (E).
Cmaj7 (1maj7) = C(1) E(3) G(5) B(7)
G7 is the 57 chord it's defining tension interval is the seventh (F).
G7 (57) = G(1) B(3) D(5) F(7)
So the other chords (and their arpeggios) of the major scale are categorized as
either tension or resolution, according to whether they contain the 3rd (of the
1maj7 chord) or the 7 (of the 57 chord).
If a chord has the 3rd (i.e. E in the Cmaj7) of the 1maj7 chord it is in the
resolution category, and they are:
1maj7 (Cmaj7 -- C-E-G-B)
3m7 (Em7 -- E-G-B-D)
6m7 (Am7 -- A-C-E-G)
If a chord has the 7th (i.e. F in the G7) of the 57 chord it is in the tension
category, and they are:
2m7 (Dm7 -- D-F-A-C)
*4maj7 (Fmaj7 -- F-A-C-E)
57 (G7 -- G-B-D-F)
Bm7b5 (Bm7b5 --B-D-F-A)

*Note: The 4maj7 chord (Fmaj7) contains the E of the 1 chord but due
to the overpowering presence of the F note it is in the tension
category.

OUTROS

(Continued)
Go to the 4m Outro
the b7 Outro

Go to the b9 Outro

Go to the #5 Outro

Go to

Go to the 6m CHROMATIC Outro

Original Chords, Substitutions and Hybrids

Substitutionsreplacing one chord with anotherwork best
when they have a connection with the original chord or, just as
importantly, the substitution should harmonize with the
melody. If a chord contains the melody note as part of the
voicing then the chord is a possible substitution. You (and your
ear) make the final approval of any substitution chord.
Most jazz players are familiar with the rule of: Substituting
the 4m7 for the 57. In the Key of C this would be substituting
Fm7 (4m7) for G7 (57). To understand substitutions I
recommend the player compare the substitution with the
original chord. One (mind and ear opening) way to do this is to
play the root of the original chord along with a voicing of the
substitution in a higher register creating a hybrid chord, like
this:

Hybrid Chords
Hybrid generally means a mixture of two or more different
partsin this case we are talking about mixing or blending
chords. The Hybrid chord is named: Fm/G (Fm triad with a G
bass). But it is often easier to understand the theory of a chord
if we rename it from the root up. Since most chords are
described and built from the root, this is a type of G chord and
not a type of Fm chord. So if we consider G as the root the
intervals are: (G-1) (F-b7) (Bb-b9) (C-11) so the chord is
actually G11b9. In this way I think it is easier to understand
this and all other substitutions.
The 4m Ending
The 4m ending, in a basic way, has been used in all styles of
music including pop, rock and country. In jazz the 4m is

enhanced and usually played as 4m7 or an embellishment such

as 4m9. In this example the 4m chord is inverted, and played
on strings 2-3-4. The lowest note is on the 4th string and
moves chromatically, eventually resolving to the 16 chord.
Again I'll use Misty as an example. Analysis and Rule follows.
Remember: Our example is in Eb, but the principles and relationships can and
should be transposed to all keys.

ANALYSIS
To further understand the (substitution) ending (and apply the
principles to other keys) we will need to crunch a few numbers
ordiscern the interval relationships.
>The 4m7 (Abm9 and the others) sustains the melody note
throughout and as
discussed in Hybrid chords (above) the 4m is actually a
substitute for the 57.
Therefore giving the 4m a strong pull to the one.
THE RULE
Once we realize the numerical relationships we can apply a
generic "rule" to the concept (this rule is my wording, you can
change it to fit your sensibilities):
RULE: Endings can start with a minor seventh (Abm, Abm7, Abm9 etc.) chord
that is a 4th interval from the 1 chordultimately resolving to the 1 chord.
Note: Some players may refer to this simply as: The 4m Ending

OUTROS
(continued)
Go to the 4m Outro

Go to the b9 Outro

the 6m CHROMATIC Outro

Go to the #5 Outro

Go to

The b7 Ending*
This popular and surprising ending starts with a chord one
whole step below the 1 chord. And from there the chord
progression moves in a logical and expected cycle of fourths,
eventually working it's way back to the 1. Again I'll use Misty
as an example. Analysis follows.
Remember: Our example is in Eb, but the principles and relationships can and
should be transposed to all keys.

* Note: Karl Bolz, a visitor, correctly pointed out that a b7 interval below Eb is F.
In this case I am referring to a chord based on the b7 interval above Eb (Db).
And this is the same as a chord one whole step below the 1 chord.
Thanks Karl.

For chord melody it is important to use chords (as above) that contain the melody.
For accompaniment any voicing of the chord(s) will do.
ANALYSIS
To further understand the (substitution) ending (and apply the
principles to other keys) we will need to crunch a few numbers
ordiscern the interval relationships:
>The first chord (Db9) is a whole step below the Eb.
>The next three chords (Gb13, B7, Emaj7) move in intervals of a fourth
>Finally the Emaj7 chord resolves down a half step to Eb6.
THE RULE
Once we realize the numerical relationships we can apply a
generic "rule" to the concept (this rule is my wording, you can
change it to fit your sensibilities):
RULE: Surprise endings can start a flat seven (b7) interval
(one whole step) below the 1 chord and proceed by moving
in fourths, eventually resolving to the 1, or an embellished 1.
Note: Some players may refer to this simply as: The b7 Ending

OUTROS

(Continued)
Go to the 4m Outro

Go to the b9 Outro

Go to the b7 Outro

Go to

the 6m CHROMATIC Outro

The #5 (to b9) Ending

Many outros use a b9 (go to b9 ending) chord as the next-tolast chord in an ending (resolving to the 1). The #5 ending, and
many others build on the b9 ending.
Chromaticism (or simply Chromatic) is the term used to
describe an interval from outside the original key. When you
add a chromatic interval to a song it can gently or aggressively
jar the earcreating surprise. The #5 starts on a chord
(usually an embellished major chord or embellished dominant
seventh chord) one half step above the 57 chord. The
progression then takes a logical and expected movementup
a fourth. Ultimately resolving down a half step to the 1. Again
I'll use Misty as an example. Analysis and Rule follows. Note:
Any embellished major seventh chord will work:
Remember: Our example is in Eb, but the principles and relationships can and
should be transposed to all keys.

For chord melody it is important to use chords (as above) that

contain the melody.
For accompaniment any voicing of the chord(s) will do.
ANALYSIS
To further understand the (substitution) ending (and apply the
principles to other keys) we will need to crunch a few numbers
ordiscern the interval relationships.
>The #5 chord (Bmaj7 in the key of Eb) works because it
contains the melody note (Eb).
>The b9 chord (Emaj7 in the key of Eb) works because: Eb
(note) is the major seventh of theEmaj7 chord, and Eb is also
the final melody note and root note in the in the Eb6 chord.
>The movement of a fourth (Bmaj7 to Emaj7) is appreciated
by the listener as "natural".
THE RULE
Once we realize the numerical relationships we can apply a
generic "rule" to the concept (this rule is my wording, you can
change it to fit your sensibilities):

RULE: Surprise endings can start with a major seventh chord or dominant seventh chord that is a#5
interval from the 1 chordultimately resolving to the 1 chord.
Note: Some players may refer to this simply as: The #5 Ending

Main Page

QT (Quick Tips) Archive

OUTROS
(continued)
Go to the 4m Outro

Go to the b9 Outro

Go to the #5 Outro

Go to the b7 Outro

The 6m Chromatic Ending

This is a clever chromatic ending that heads for the 1 chord
like a bat out ofwell you know. The outro gets started by
going to the 6m instead of the 1. Starting with the minor
chord a 6th interval below the 1 chord is a common substitute
but from there the chord progression moves chromatically and
dramatically back to the 1. This outro also demonstrates just
how many chordsand these are just a fewcan be used to
harmonize the melody. Again I'll use Misty as an example.
Analysis follows.
Remember: Our example is in Eb, but the principles and relationships can and
should be transposed to all keys.

For chord melody it is important to use chords (as above) that

contain the melody.
For accompaniment any voicing of the chord(s) will do.
ANALYSIS
To further understand the (substitution) ending (and apply the
principles to other keys) we will need to crunch a few
numbers.
>The 6m (a common substitute for the 1) is a logical place to
start the
chromatic walk-down, that continues until the 1 chord is
eventually reached.
NOTE: The drive created by the chromatic movement is (in
my ear) more relevant than the actual chordsin fact, as long

as you maintain the chromatic movement, you could change

any of the chords in numerous ways.
THE RULE
Once we realize the numerical relationships we can apply a
generic "rule" to the concept (this rule is my wording, you can
change it to fit your sensibilities):
RULE: The 6m outro starts with a minor seventh chord that is a 6th interval below
the original chordthen descends chromatically, ultimately resolving to the 1 chord.
Note: Some players may refer to this simply as: The 6m Chromatic Ending

GUITAR MAIN home page ---Go to Major Arps ---Go to Minor Arps ---Go to Dominant Seventh
ArpsGo to Diminished Arps ---Go to Augmented Arps----More about soloing with arpeggios

Go Directly to Arp Sub List

Arpeggio Substitution
The most important cadence in all of music --and exploited extensively in
jazz-- is the 57 to 1 chord progression. In the key of C the cadence is G7
(57) to C (1) in the key of Eb the cadence is Bb7 (57) to Eb (1) and, as
with all music theory, the relationship is the same in all keys. This lesson
will explore some important and popular arpeggio substitution
possibilities for the 57 to 1 cadence.

Arpeggios can be substituted in the same

way chords can.
Arpeggios are chords played one note at a time. All
chords can be expressed (or played) as an arpeggio.
Thereby arpeggios function musically as a chord.
For example: It is common in jazz (and less frequently in
other styles) to substitute one chord for another. For
example Am7 chord is often substituted for C chord and
C is often substituted for Am7. This concept can be
applied wholesale to arpeggios. If you were improvising
over a C chord you could play an Am7 arpeggio or if you
were improvising over Am7 chord you could play C
arpeggio. Substitution can add interest and surprise to
any solo.
Try this Am7 arpeggio over C, C6, Cmaj7, D7, D9, D11,
D13
4th string root using speed picking (see Jazz Glossary
Plus for more on speed picking). D=downstroke
U=upstroke

Rule: Any chord or chord substitution can be played as

an
arpeggioand that fact is a very powerful tool to be
exploited.
Am7 (A-C-E-G) shares some of the same notes as C (CE-G), but you can see Am7 adds an A note to the
mixture. Adding an A note (6th interval) the C chord
changes the harmony, and the actual sound is (when
mixed) is C6. C6 is a very common embellishment and
substitute for a "vanilla" C. When you experiment with
arpeggio substitution it is important and fun to determine
how you have changed the chord.

Diatonic Arpeggio Substitution

For the 1 (major) Chord
Substitutions can be Diatonic (as illustrated above:
Am7 subbed for C). Diatonic means of the key which
means your substitution arpeggios are harmonized from
the same scale (or key). According to the rules of tension
and resolution described herein these arpeggios can be
substituted safely (with the least amount of tension).
In any chord progression the chords function as tension
or resolution. This adds interest to the melody. With
many jazz standards the tension and resolution may
occur many times. As described earlier the most
common tension to resolution cadence is 57 to 1. The
resolution chord in this 57 to 1 progression example is
major (or an embellished major). But no matter how the
1 chord is embellished (i.e. C, C6, C/6/9, Cmaj7, Cmaj9)
you can freely substitute any of the arpeggios listed
below. So keep in mind: the arpeggios here are diatonic
and "safe" and can be used when the written chord is
Major.
Remember: Improvisation is making decisions on the fly.
And ultimately, if you decide the substitution sounds
good, then it is good!
Here is a list of diatonic arpeggio possibilities for any
major chord. This example is in C but the principles and
relationships can and should be transposed to all keys.

Original
Chord

Arpeggio
Substitution

Sounds
Like

Substitution
Rule

C
(C-E-G)

Am
(A-C-E)

C6
(C-E-G-A)

6m for Major

C
(C-E-G)

Am7
(A-C-E-G)

C6
(C-E-G-A)

6m7 for Major

C
(C-E-G)

Am9
(A-C-E-G-B)

Cmaj6/9
(C-E-G-A-B)

6m9 for major

C
(C-E-G)

Em
(E-G-B)

Cmaj7
(C-E-G-B)

3m for Major

C
(C-E-G)

Em7
(E-B-G-D)

Cmaj9
(C-E-G-B-D)

3m7 for Major

C
(C-E-G)

G
(G-B-D)

Cmaj9
(C-E-G-B-D)

5 for major

Diatonic Arpeggio Substitution

For the 57 (dominant seventh) Chord
The 57 chord in the 57 to 1 progression is a dominant
seventh chord (i.e. G7). The 57 chord is a tension
(unresolved) chord and needs to resolve to a chord a
fourth interval away (the most resolved chord is a major
but it can be minor or dominant seventh, i.e. G7 resolves
to C, A7 resolves to D, Bb7 resolves to Eb etc.) And
since an arpeggio functions the same as a chord, you
should practice playing a dominant seventh arpeggio (or
substitution) resolving to a major arpeggio (or
substitution).
Here is a short list of diatonic arpeggio possibilities for a
dominant seventh chord. All these arpeggios are diatonic
and "safe" and can be used when the written chord is
dominant seventh.

Original
Chord

Arpeggio
Substitution

Sounds
Like

Substitution
Rule

G7
(G-B-D-F)

Dm
(D-F-A)

G9
(G-B-D-F-A)

5m for dom. 7th

G7

Dm6

G9

5m6 for dom. 7th

(G-B-D-F)

(D-F-A-B)

(G-B-D-F-A)

G7
(G-B-D-F)

Dm7
(D-F-A-B-C)

G9/11
(G-B-D-F-A-C)

5m7 for dom. 7th

G7
(G-B-D-F)

F
(F-A-C)

G9/11
(G-B-D-F-A-C)

b7 for dom. 7th

G7
(G-B-D-F)

Fmaj7
(F-A-C-E)

G9/11/13
(G-B-D-F-A-C- E)

bmaj7 for dom.

7th

G7
(G-B-D-F)

Bm7b5
(B-D-F-A)

G9
(G-B-D-F-A)

3m7b5
for dom. 7th

Chromatic Arpeggio Substitution

For the 57 (dominant seventh) Chord
Substitutions can be Chromatic which means outside
the key. Chromatic alterations are a mainstay in Jazz
many would say chromaticism is the basic language of
Jazz. Chromaticism can occur with any chord but the
unresolved or transitional 57 (i.e. G7) is the most likely
(and best) chord for chromatic alterationsand this
lesson deals with the 57 (i.e. G7).
The monster jazz guitarist Joe Pass, along with many
others, simplified their approach to chromaticism by
realizing you can only alter the 5th and 9th of a dominant
seventh chord (in any combination and order):
You can

sharp or flat the 5th and 9th interval (i.e. b5, #5, b9, #9)
These substitutions create tension and dissonance but
are very common in Jazz. As the great Pat Martino said
about dissonance (I'll paraphrase) "The more dissonance
you hear, the more you appreciate and enjoy it."
With this tension you will have to be a little more
judicious in your use of these arpeggios. And since they
are tension arpeggios they beg for resolution to the 1
chord (or a note inside the original chord)and it is
important to practice resolving these arps to any of the 1
chord substitution arpeggios (see above).
The best opportunity for adding tension in the 57 to 1
progression occurs with the (transitional) 57 chord (i.e.
G7). Here is a list of chromatic arpeggio possibilities for
the dominant seventh chord. This example uses G7 but
the principles and relationships can and should be

transposed to all keys. All these arpeggios are chromatic

and can be used (judiciously) when the written chord is
Dominant Seventh.

Original
Chord

Substitution
Arpeggio

Sounds
Like

Substitution
Rule

G7
(G-B-D-F)

Abmaj7
(Ab-C-Eb-G)

G11b9#5
(G-B-D#-F-Ab-C)

b9maj7 for dom. 7th

G7
(G-B-D-F)

Abm7
(Ab-B-Eb-Gb)

G7b9#5
(G-B-D#-F-Ab)

b9m7 for dom. 7th

G7b9
(G-B-D-F-Ab)

b9dim7 for dom. 7th

G7
Abdim7* (Ab-B-D(G-B-D-F)
F)
*same as
Bdim7/Ddim7/Fdim7

G7
(G-B-D-F)

Abm/maj7
(Ab-B-D-G)

G7b9#5
(G-B-D#-F-Ab)

b9m/maj7 dom. 7th

G7
(G-B-D-F)

Fm7
(F-Ab-C-Eb)

G11b9#5
(G-B-D#-F-Ab-C)

b7m7 for dom. 7th

G7
(G-B-D-F)

Dm/ma7
(D-F-A-Db)

G9b5
(G-B-D-F-A-Db)

5m/maj7
for dom. 7th

Go to Guitar Main home page

"Connect The Arpeggios"

(continued)

Go to first page of this lesson

PRACTICE: Set a metronome or drum

machine to a slow tempo (based on how
cleanly you can play the arpeggios). Play
"swing" 8th notes (with a bounce) throughout.
Practice 4 bars at a time then move on. After
you can play through any four bars cleanly, you
can then experiment with phrasing, rearranging
notes, articulation and so on. Have fun.
Here is an example of "Connecting The
Arpeggios" The chords reflect bars 1-4 of the
jazz standard All The Things You Are. The

original chord is above with possible, but not

exhaustive, arpeggio(s) below. The tab also
indicates suggested finger usage above fret
number. Go to measure by measure arpeggio
possibilities. Remember: The four different
arpeggios are: Maj7 (major seventh), m7
(minor seventh), dim7 (diminished seventh),
and aug (augmented)
Click the diagram to hear these arpeggio
ideas played in real time.

NOTE: Arpeggios with an asterisk (*) are

commonly referred to as either Altered,
Chromatic or Non-Diatonic (all three
references refer to chords with intervals from
outside the key, see Chords here). While these
arpeggios are more tense than diatonic
arpeggios they are the basic language of jazz
and grow on you as you apply them.
All other arpeggios are Diatonic, which means
"of the key" and very safe to use.
If you don't remember the Arpeggio fingerings
Go to Maj7, M7, Aug and Dim Arpeggios in Tab
"ALL THE THINGS YOU ARE"
Arpeggio Study
Click and hear some ideas using these arpeggios.

Bar 1. Fm7 (Possible Arps: Fm7, Abmaj7, Cm7)

Bar 2. Bbm7 (Possible Arps: Bbm7, Dbmaj7, Fm7)
Bar 3. Eb7 (Possible Arps: Dbmaj7, *Dbm7, Bbm7, *Ebaug,
*Gdim7)
Bar 4. Abmaj7 (Possible Arps: Abmaj7, Fm7, Cm7)

Bar 5. Dbmaj7 (Possible Arps: Dbmaj7, Bbm7, Fm7)

Bar 6. G7 (Possible Arps: Fmaj7, *Fm7, Dm7, *Gaug, *Ddim7)
Bar 7. Cmaj7 (Possible Arps: Cmaj7, Am7, Em7)
Bar 8. Cmaj7
Bar 9. Cm7 (Possible Arps: Cm7, Ebmaj7, Gm7)
Bar 10. Fm7 (Possible Arps: Fm7, Abmaj7, Cm7)
Bar 11. Bb7 (Possible Arps: Abmaj7, *Abm7, Fm7, *Bbaug,
*Abdim7)
Bar 12. Ebmaj7 (Possible Arps: Ebmaj7, Cm7, Gm7)
Bar 13. Abmaj7 (Possible Arps: Abmaj7, Fm7, Cm7)
Bar 14. D7 (Possible Arps: Cmaj7, *Cm7, Gm7, *Daug, *F#dim7)
Bar 15. Gmaj7 (Possible Arps: Gmaj7, Em7, Bm7)
Bar 16. Gmaj7
Bar 17. Am7 (Possible Arps: Am7, Cmaj7, Em)
Bar 18. D7 (Possible Arps: Cmaj7, *Cm7, Gm7, *Daug, *F#dim7)
Bar 19. Gmaj7 (Possible Arps: Gmaj7, Em7, Bm7)
Bar 20. Gmaj7
Bar 21. F#m7 (Possible Arps: F#m7, Amaj7, C#m7)
Bar 22. B7 (Possible Arps: Amaj7, *Am7, F#m7, *Baug,
*Eb#dim7)
Bar 23. Emaj7 (Possible Arps: Emaj7, C#m7, G#m7)
Bar 24. C7#5 (Possible Arps: Caug, Eaug, Abaug)
Bar 25. Fm7 (Possible Arps: Fm7, Abmaj7, Cm7)
Bar 26. Bbm7 (Possible Arps: Bbm7, Dbmaj7, Fm7)
Bar 27. Eb7 (Possible Arps: Dbmaj7, *Dbm7, Bbm7, *Ebaug,
*Gdim7)
Bar 28. Abmaj7 (Possible Arps: Abmaj7, Fm7, Cm7)
Bar 29. Dbmaj7 (Possible Arps: Dbmaj7, Bbm7, Fm7)
Bar 30. Dbm7 (Possible Arps: Dbm7, Emaj7, G#m7)
Bar 31. Cm7 (Possible Arps: Cm7, Ebmaj7, Gm7)
Bar 32. Bdim7 (Possible Arps: Bdim7, Ddim7, Fdim7, Abdim7)
Bar 33. Bbm7 (Possible Arps: Bbm7, Dbmaj7, Fm7)
Bar 34. Eb7 (Possible Arps: Dbmaj7, *Dbm7, Bbm7, *Ebaug,
*Gdim7)
Bar 35. Abmaj7 (Possible Arps: Abmaj7, Fm7, Cm7)
Bar 36. C7#5 (Possible Arps: Caug, Eaug, Abaug

"Connect The Arpeggios"

GUITAR MAIN home page

How to solo over a Jazz Standard with just four arpeggios!

An exciting approach to jazz improvisation.

Now with MIDI examples!

IMPROVISATION
APPROACHES AND YOU
Learning Jazz guitar is an
ongoing process and any veteran
guitarist will tell you there are no
real shortcutsyou must do your
share of woodshedding. However
we are individuals with different
sensibilities and it may be
comforting to know that some
Jazz methods (approaches) are
more succinct than others. I have
found my method, which I call,
"Connect the Arpeggios" works
for many guitarists.
THE BIG GUYS DO IT
"How to solo over a Jazz
Standard with just four
arpeggios"! may sound like a
cheap line from a TV commercial,
but after transcribing many solos
by the greatsWes, Joe Pass,
Django, Charlie Christian and all
othersI became keenly aware
of the extensive use of arpeggios
and substitute arpeggios over the
written, original chord
(Substitution example: playing
Cmaj7 arpeggio over an Am7
chord and vice-versa). See Related
topics: Substitution here

IF IT LOOKS, SMELLS AND

BEHAVES LIKE A CHORD...
Most (if not all) guitarists learned
to play chords first and virtually
everything we learned
(inversions, positions,

substitution, theory, etc.) about

chords can be applied to
arpeggios. Arpeggios have an
inherent melodic content and
since they are chords, they
function as chords. And for many
players arpeggios (like chords)
are easier to visualize, hear (most
important) and learn than scales.
MAKING THE CHANGES
One of the most intimidating
aspects of soloing over a Jazz
Standard is the barrage of chord
and key changes. Here I will offer
an exciting and relatively simple
approach: How to play a solo
over one of the most challenging
of standards, the classic (and
many would say the best of
standards) "All The Things You
Are". You can apply "Connect the
Arpeggios" to any of the Jazz
standards (i.e. Misty, Autumn
Leaves, Body and Soul, etc.).
Step one: You'll need to learn
four arpeggios (this is not hardif
you know them move on to How
To Use the Arpeggios). Once you
familiarize yourself with the
strings, frets and fingers, play the
arpeggios as 8th notes, at a
tempo you handle CLEANLY. The
suggested pick strokes and
fingers work well for me, change
them only after you have
practiced them a few days.
TIP: Make sure you transpose
these arps to other keys
Click any diagram and learn some straight-ahead arpeggio ideas!
Download the midi files and learn them at you own tempo.
Learn them by ear as opposed to sight.

Major Seventh Arpeggio

(1,2,3,4 = Finger D = Downstroke U = Upstroke)
Example: Abmaj7 (4th string root) ascending and descending

Minor Seventh Arpeggio

(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
Example: Fm7 (4th string root)
ascending and descending

Diminished Seventh Arpeggio

(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
Example: Gdim7 (4th string root)
ascending and descending

Augmented Triad Arpeggio

(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
Example: Ebaug (5th string root)
ascending and descending

GUITAR MAIN home page

Go to Minor Arps

Go to Dominant Seventh Arps

Go to Arpeggio Connection

Go to Diminished Arps

Go to Augmented Arps

MAJOR ARPEGGIO DIAGRAMS

TIP:

All arpeggios start with the major triad

so visualize the triad with each fingering.
Click each diagram to hear
some real-time arpeggio ideas.
Note about Phrasing: The first
three arpeggios use a common
and important jazz tool:
Imitation of Phrasing. Simply
by adding the 6th, 7th and 9th
intervals (extensions) to the
triad and repeating the phrase
lends intention and continuity
to your ideas.
Major Arpeggio
(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
This example: C (4th string root)
ascending and descending

Major Six Arpeggio

(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
This example: C6 (4th string root)
ascending and descending

Major Seventh Arpeggio

(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
This example: Cmaj7 (4th string root)
ascending and descending

Major Ninth Arpeggio

(1,2,3,4 = Finger D = Downstroke U =
Upstroke)
This example: Cmaj9 (4th string root)
ascending and descending

GUITAR MAIN home page

Go to Major Arps

Go to Diminished Arps

Go to Arpeggio Connection

Go to Minor Arps

Go to Augmented Arps

DOMINANT 7th ARPEGGIO

DIAGRAMS
TIP: All arpeggios start with the major triad so visualize the triad with each
fingering.
Dominant 7th Arpeggio (1,2,3,4 =
Finger D = Downstroke U = Upstroke)
This example: C7 (4th string root)
ascending and descending

Dominant Ninth Arpeggio (1,2,3,4 =

Finger D = Downstroke U = Upstroke)
This example: C9 (4th string root)
ascending and descending

GUITAR MAIN home page

Go to Major Arps

Go to Dominant Seventh Arps

Go to Arpeggio Connection

Go to Diminished Arps

Go to Augmented Arps

MINOR ARPEGGIO DIAGRAMS

TIP:

All arpeggios start with the minor triad

so visualize the triad with each fingering.
Click each diagram to hear
some real-time arpeggio ideas.
Minor Arpeggio
1,2,3,4 = Finger D = Downstroke U =
Upstroke

This example: Cm (4th string

root) ascending and descending

Minor Six Arpeggio

1,2,3,4 = Finger D = Downstroke U =
Upstroke

This example: Cm6 (4th string

root) ascending and descending

Minor Seventh Arpeggio

1,2,3,4 = Finger D = Downstroke U =
Upstroke

This example: Cm7 (4th string

root) ascending and descending

Minor Ninth Arpeggio

1,2,3,4 = Finger D = Downstroke U =
Upstroke

This example: Cm9 (4th string

root) ascending and descending