JAZZ GUITAR

ARPEGGIO 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: kimieblues@yahoo.com

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
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 stud-
ied 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: kimieblues@yahoo.com
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) V7(b9) Imi7; Key of Ami
Key of Dmi
Key of Gmi
Key of Emi
Key of Bmi
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 6 7
Example: G major Scale - G A B C D E F#

Root
Other Notes

Fingering Pattern 4 Fingering Pattern 2

Fingering Pattern 1 Fingering Pattern 3

Fingering Pattern 5

E F G A B C D
B C D E F G A
G A B C D E F
D E F G A B C
A B C D E F G
E F G A B C D
3 5 7 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 arpeg-
gios. You can change substitute chords between family groups of re-
lated chords for reharmonization.
For Improvisation, you can use this as melodic substitution. For ex-
ample, for Cmaj7 chord, play an Emi7 arpeggio. You will still get the
Cmaj9 sound.

Diatonic 7th Chords in Key of C

Cmaj7 Dmi7 Emi7


Fmaj7

G7
 
Ami7

Bmi7(b5)

       
 
I II III IV V VI VII

Tonic Family: Imaj7, IIImi7, and VImi7

Subdominant Family: IVmaj7 and IImi7
Dominant Family: V7 and VIImi7(b5)

Melodic substitution playing in I VI II V chord progression (Key

of C)

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 (Subdominant Family)

1. Play Dmi7 arpeggio for Dmi7 sound. (D, F, A, and C), (Intervals
from D: R, b3, 5, and b7)
2. Play Fmaj7 (IVmaj7) arpeggio for Dmi9 sound. (F, A, C, and E),
(b3, 5, 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 Bmi7(b5) Cmaj7 Dmi7 Emi7 Fmaj7 G7

    

     
  
I bII bIII IV V bVI 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 substi-
tution.

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 har-
mony.

 
      
 
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 5
R

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
Arpeggio Fingerings: Major 7th

Pattern 1 [TRACK 2]

Cmaj7
       

 
       
    

12 15 12


12 12 13 13 12
12 12 12
14 14 14
15 15 15 14 14 15
15 12 15

Pattern 2 [TRACK 3]

Cmaj7
    
   
  
 
  
     

3 7 3


5 5 5
4 4 5 5 4
5 2 5 5 2
3 3 3 2 2 3
3

Pattern 3 [TRACK 4]
 Cmaj7
    
    
 
   
      

7 7 8 7


5 5 8 8 5
5 4 5 5 4
5 5 5
7 7
8 8 7 8

Pattern 4 [TRACK 5]
 Cmaj7
    
     
    

     

7 8 7


8 8 8
9 9 9
9 9 10 10 9
7 10 10 7
8 8 8 7 8
Pattern 4 (alt. fingering) [TRACK 6]
    
 
Cmaj7
    
    

     


8 8 12 12 8
9 9 9
9 9 10 10 9
7 10 10 7
8 8 8 7 8

Pattern 5 [TRACK 7]


Cmaj7
    
   
         
  

12 8 12 8


12 12 12
12 9 12 12 9
10 10 10 9 9 10
10 10
12 8 12

Pattern 5 (alt. fingering) [TRACK 8]



Cmaj7
    
   
         
  

12 12


12 12 13 13 12
12 9 12 12 9
10 10 10 9 9 10
10 10
12 8 12
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

b7
R 3
b7 R
3 5
R

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
Arpeggio Fingerings: Dominant 7th

Pattern 1 [TRACK 9]
       

G7 
 
      
    

7 10 7


8 8 8
10 7 10 10 7
9 9 9
10 10 10 8 8 10
10 7 10

Pattern 2 [TRACK 10]

     
   

G7
 
 
      
  

10 13 10


12 12 12
10 10 12 12 10
12 9 12 12 9
10 10 10 8 8 10
10
Pattern 3 [TRACK 11]

G7
    

     
  
    
  

13 13 15 13


12 12 15 15 12
12 12 12
12 12 15 15 12
14 14
15 15 13 15

Pattern 4 [TRACK 12]

 G7
    
 
      
        


3 3 6 6 3
4 4 4
3 3 5 5 3
2 5 5 2
3 3 3 1 3
Pattern 5 [TRACK 13]
 G7
   


     
        
  

7 3 7 3


6 6 6
7 4 7 7 4
5 5 5 3 3 5
5 5
7 3 7

Pattern 5 (alt. fingering) [TRACK 14]


G7
   
  

    
      
  

7 7


6 6 8 8 6
7 4 7 7 4
5 5 5 3 3 5
5 5
7 3 7
Minor 7th Chords
Notes: R(Root) b3 5 b7
Example: Cmi7 - C Eb G Bb

Root
Other Notes

5 b3
b3 b7
b7 5
R
R
Fingering Pattern 4 Fingering Pattern 2

b7
R b3
b7 R
b3 5
R

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
Arpeggio Fingerings: Minor 7th

Pattern 1 [TRACK 15]


Dmi7
      
 

   

  
    

1 5 1


3 3 3
5 2 5 5 2
3 3 3
5 5 5 3 3 5
5 1 5

Pattern 1 (alt. fingering) [TRACK 16]

 
     
Dmi7
 

       
    


3 3 6 6 3
5 2 5 5 2
3 3 3
5 5 5 3 3 5
5 1 5

Pattern 2 [TRACK 17]


 Dmi7
     
 

  
    
    

5 8 5


6 6 6
5 5 7 7 5
7 7 7
5 5 8 8 5 5
8 5 8


Pattern 2 (alt. fingering) [TRACK 18]
 Dmi7
     
 

  
    
    

5 8 5


6 6 6
5 5 7 7 5
7 3 7 7 3
5 5 5 3 3 5
5
Pattern 3 [TRACK 19]
 Dmi7
    
    
 
   
      

8 8 10 8


6 10 10
7 7 10 10 7
7 7 10 10 7
8 8
10 10 8 10

Pattern 4 [TRACK 20]

    
     
Dmi7

 
   
     

10


10 10 13 13 10
10 10 10
10 10 12 12 10
12 12
10 10 13 13 10 8 10

Pattern 4 (alt. fingering) [TRACK 21]

  

      
Dmi7

   
        

10


10 10 13 13 10
10 10 10
10 10 12 12 10
8 12 12 8
10 10 10 8 10

Pattern 5 [TRACK 22]



Dmi7
    
      
   
 
 

13 13


13 13 15 15 13
14 14 14
12 12 15 15 12 12
15 12 12 15
13
Pattern 5 (alt. fingering) [TRACK 23]
    

Dmi7

    
         
  

13 10 13 10


13 13 13
14 10 14 14 10
12 12 12 10 10 12
12 12
13 10 13
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 b7
R 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
Arpeggio Fingerings: Minor 7th(b5)

Pattern 1 [TRACK 24]

 Bmi7(b5)
  
    

 
      
    

13 10 13 10


12 12 12
14 10 14 14 10
12 12 12
14 14 12 12 14
13 10 13

Pattern 2 [TRACK 25]


    
Bmi7(b5)

 

      
       
1 5 1


3 3 3
2 2 4 4 2
3 3 3
2 2 5 5 2 2
5 1 5

Pattern 3 [TRACK 26]

   
  
Bmi7(b5)

 
     
        

5 5 7 5


3 6 6
4 4 7 7 4
3 3 7 7 3
5 5
7 7 5 7

Pattern 4 [TRACK 27]

     
    
Bmi7(b5)

   
        


6 10 10
7 7 10 10 7
7 7 9 9 7
8 8
7 7 10 10 7 5 7
Pattern 4 (alt. fingering) [TRACK 28]
     
     
Bmi7(b5)
     
     


6 6 10 10 6
7 7 7
7 7 9 9 7
5 8 8 5
7 7 7 5 7

Pattern 5 [TRACK 29]

       
  
 
Bmi7(b5)
      
   

10 10 13 10


10 10 12 12 10
10 10 10
9 9 12 12 9 9
12 8 8 12
10
Diminished 7th Chords and Arpeggios
Notes: R(Root) b3 b5 bb7(6)
Example: Cdim7 - C Eb 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.)

Arpeggio Fingerings: Diminished 7th
Note: Cdim7, Ebdim7, F#dim7, and Adim7 have the same notes. (C, Eb,
F#, and A)

Pattern 4 [TRACK 30]

     
   
Cdim7
   
      
    

8 11 8


7 7 10 10 7
8 8 8
7 7 10 10 7
9 9
8 8 11 11 8

Pattern 2 [TRACK 31]

      
Cdim7

   
    
     
 
2 5 2


4 4 4
2 2 5 5 2
4 4 4
3 3 6 6 3 3
5 2 5
Pattern 5[TRACK 32]

       
Cdim7

 
       
     

11 11 14 11


10 10 13 13 10
11 11 11
10 10 13 13 10 10
12 9 9 12
11
Chapter 3
Arpeggios in Diatonic Harmony

Key of C
Key of G
Key of D
Key of A
Arpeggios in Diatonic Harmony: Key of C

Pattern 2 [TRACK 33]

Cmaj7
    Dmi7
   
        
   
     

3 7 3 5 8 5


5 5 6 6
4 5 5 4 5 7 7 5
5 5 7 7
3 7 7 3 5 8 8 5
7 8

         
   
Emi7 Fmaj7

           
      

7 10 7 8 12 8


8 8 10 10
7 9 9 7 9 10 10 9
9 9 10 10
7 10 10 7 8 12 12 8
10 12

         
  
G7
   Ami7
     
          

10 13 10 12 15 12


12 12 13 13
10 12 12 10 12 14 14 12
12 12 14 14
10 14 14 10 12 15 15 12
13 15

               
   
        
Bmi7(b5) Cmaj7

   

13 17 13 15 19 15


15 15 17 17
14 16 16 14 16 17 17 16
15 15 17 17
14 17 17 14 15 19 19 15
17 19
Pattern 2 [TRACK 34]

 
Dmi7
     
Fmaj7
Cmaj7
    
Emi7
   
             
 

3 7 8 5 7 10 12 8


5 6 8 10
4 5 7 5 7 9 10 9
2 5 7 9 10 7
3 8 5 7 10 8

     
Cmaj7
     
Ami7

        
 
G7 Bmi7(b5)

       
 

10 13 15 12 13 17 19 15


12 13 15 17
10 12 14 12 14 16 17 16
9 12 14 15 17 14
10 15 12 14 17 15
Arpeggios in Diatonic Harmony: Key of G

Pattern 5 & 4 [TRACK 35]


Gmaj7
    
Ami7
    
            
       
 

3 5


7 7 5 8 8 5
4 7 7 4 5 5
4 5 5 4 5 7 7 5
5 5 7 7
3 7 7 5 8 8


Bmi7
      
Cmaj7
      
             

   

7 8


7 10 10 7 12 12
7 7 9 12 12 9
7 9 9 7 9 10 10 9
9 9 10 10
7 10 10 8 12 12


D7
       Emi7
      
        
         

10 12


10 13 13 10 12 15 15 12
11 11 12 12
10 12 12 10 12 14 14 12
12 12 14 14
10 14 14 12 15 15

   
   
    
F#mi7(b5) Gmaj7

      

14 15


17 17 19 19
14 17 17 14 16 19 19 16
14 16 16 14 16 17 17 16
15 15 17 17
14 17 17 15 19 19
Pattern 4 [TRACK 36]


Gmaj7
 
Ami7

Bmi7
    
Cmaj7
     
       
        
 


3 7 8 5 7 10 12 8
4 5 7 9
4 5 7 5 7 9 10 9
2 5 7 9 10 7
3 8 5 7 10 8

         
Emi7 Gmaj7


D7
     
F#mi7(b5)
    
           


10 13 15 12 13 17 19 15
11 12 14 16
10 12 14 12 14 16 17 16
9 12 14 15 17 14
10 15 12 14 17 15
Arpeggios in Diatonic Harmony: Key of D

Pattern 1 [TRACK 37]


Dmaj7
    
Emi7
    
 
   
  
 
 
 

2 5 2 3 7 3


2 3 3 2 5 5
2 2 4 7 7 4
4 4 5 5
5 5 4 7 7 5
5 2 7 3


F#mi7
     Gmaj7
     
   
   



5 9 5 7 10 7


7 7 7 8 8 7
6 9 9 6 7 7
7 7 9 9
9 9 7 10 10 9
9 5 10 7

A7 
          
Bmi7
     
     



9 12 9 10 14 10


10 10 12 12
9 12 12 9 11 14 14 11
11 11 12 12
12 12 10 14 14 12
12 9 14 10

       
      
C#mi7(b5) Dmaj7

    


12 15 12 14 17 14


14 14 14 15 15 14
12 16 16 12 14 14
14 14 16 16
16 16 14 17 17 16
15 12 17 14
Pattern 1 [TRACK 38]

  
Gmaj7


Dmaj7
    F#mi7
   Emi7

 
       

2 5 7 3 5 9 10 7


2 3 5 7 8 7
2 7 4 6 9 7
4 5 7 9
4 5 7 5 7 9 10 9

    Dmaj7

  C#mi7(b5)  
Bmi7


A7
      
        

9 12 14 10 12 15 17 14


10 12 14 15 14
9 12 14 11 12 16 14
11 12 14 16
10 12 14 12 14 16 17 16
Arpeggios in Diatonic Harmony: Key of A

Pattern 3 [TRACK 39]


Amaj7
   Bmi7
   
   
   
   


4 5 4 5 7 5


2 5 5 2 7 7
1 2 2 1 4 7 7 4
2 2 4 7 7 4
4 4 5 5
5 7


C#mi7
   Dmaj7
   
    
   
 

7 9 7 9 10 9


9 9 7 10 10 7
6 9 9 6 6 7 7 6
6 9 9 6 7 7
7 7 9 9
9 10


E7
   F#mi7
   
   
   

10 12 10 12 14 12


9 12 12 9 14 14
9 9 11 14 14 11
9 12 12 9 11 14 14 11
11 11 12 12
12 14

      
    
G#mi7(b5) Amaj7

       

14 16 14 16 17 16


15 15 14 17 17 14
13 16 16 13 13 14 14 13
12 16 16 12 14 14
14 14 16 16
16 17
Pattern 3 [TRACK 40]

     
Dmaj7
  
Amaj7 Bmi7 C#mi7
    
        
    

4 5 7 9


2 5 7 9 10 7
1 2 7 4 6 9 7 6
2 7 4 6 9 7
4 5 7 9
5 7 9 10

 
F#mi7
   
Amaj7

    

 
E7 G#mi7(b5)

        

10 12 14 16


9 12 14 15 17 14
9 14 11 13 16 14 13
9 12 14 11 12 16 14
11 12 14 16
12 14 16 17
“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) V7(b9) Imi7
Key of Ami
Key of Dmi
Key of Gmi
Key of Emi
Key of Bmi
Arpeggios in 4 Bar Patterns: Key of C

Ex.1 Pattern 2 & 4 [TRACK 41]


Ami7
  
Dmi7
 
G7
   
Cmaj7

            
    
  

5 3


5 8 6 3 6 5
5 7 5 4 5 4
5 7 7 3 5 5 2
7 8 5 3 2 5 3 2
5 8 3

Ex.2 Pattern 2 & 4 [TRACK 42]

   Dmi7
      Cmaj7
  

Ami7     
G7
     
       

12 15 10 10 13 8


13 13 10 12 12 8
12 14 10 10 12 9
14 12 10 9 12 10 9
12 15 12 10 10 7
13

Ex.3 Pattern Mixed [TRACK 43]

    
Dmi7
Ami7
   
G7
    
Cmaj7

         
 
     


3 5 1 3


5 3 3 6 5
2 5 5 2 4 5 4
2 5 3 3 5 5 2
3 5 3 2 5 3 2
5 3

Ex.4 Pattern Mixed [TRACK 44]

    
Dmi7
  
 Cmaj7
Ami7
   
G7
     
      
      

8 10 8 7 8 7


8 10 10 8 8
9 10 7 7 10 9
7 10 10 7 9 10 9
7 10 8 8 10 10 7
10
Ex.5 Pattern Mixed [TRACK 45]

  Dmi7
    Cmaj7
  
          
 
Ami7 G7

          

12 10 10 13 8


10 13 13 10 12 12
9 12 10 10 12 12 9
10 12 10 9 12 10 9
10 12 12 10 10
13 12
Ex.6 Pattern Mixed [TRACK 46]
        
 Cmaj7
Dmi7

      
    
G7
   
Ami7
    
 

12 15 13 13 15 12


13 15 13 12 15 13 12
12 14 14 12 12
14 15 12 12 15 14
12 15 15 12 14 15 14
15
Arpeggios in 4 Bar Patterns: Key of G

Ex.1 Pattern 2 & 4 [TRACK 47]

      Gmaj7

 
Emi7 Ami7 D7
     
      


7 10 5 5 8 3


8 8 5 7 7 3
7 9 5 5 7 4
9 7 5 4 7 5 4
7 10 7 5 5 2
8

Ex.2 Pattern 2 & 4 [TRACK 48]


 
 Gmaj7
Ami7
 
Emi7
   D7
    
     


12 10


12 15 13 10 13 12
12 14 12 11 12 11
12 14 14 10 10 12 12 9
14 12 10 9 12 10 9
12 15 10

Ex.3 Pattern Mixed [TRACK 49]

     
Ami7
 Emi7 
Gmaj7
   
D7

           
        


3 5 3 2 3 2


3 5 5 3 3
4 5 2 2 5 4
2 5 5 2 4 5 4
2 5 3 3 5 5 2
5

Ex.4 Pattern Mixed [TRACK 50]


Emi7
  Ami7
 
D7
   Gmaj7
  
  
              
    

3 7 5 5 8 3


5 8 5 7 7
4 7 5 5 7 7 4
5 7 5 4 7 5 4
5 7 7 5 5
8 7
Ex.5 Pattern Mixed [TRACK 51]

    
Ami7
      
Gmaj7
    
Emi7 D7
      
         

7 10 8 8 10 7


8 10 8 7 10 8 7
7 9 9 7 7
9 10 7 7 10 9
7 10 10 7 9 10 9
10

Ex.6 Pattern Mixed [TRACK 52]

   
Ami7
   
Gmaj7
 
Emi7
     
D7
        
        

10 12 8 10


12 10 10 13 12
9 12 12 9 11 12 11
9 12 10 10 12 12 9
10 12 10 9 12 10 9
12 10
Arpeggios in 4 Bar Patterns: Key of D

Ex.1 Pattern 2 & 4 [TRACK 53]


Bmi7
  
Emi7 A7
  
Dmaj7
 
          

 

7 5


7 10 8 5 8 7
7 9 7 6 7 6
7 9 9 5 7 7 4
9 10 7 5 4 7 5 4
7 10 5

Ex.2 Pattern 2 & 4 [TRACK 54]

    Dmaj7
    Emi7    
   
Bmi7 A7

       
 

14 17 12 12 15 10


15 15 12 14 14 10
14 16 12 12 14 11
16 14 12 11 14 12 11
14 17 14 12 12 9
15

Ex.3 Pattern Mixed [TRACK 55]

 Bmi7   
Emi7
 
Dmaj7
   
A7

       
      

5 7 3 5


7 5 5 8 7
4 7 7 4 6 7 6
4 7 5 5 7 7 4
5 7 5 4 7 5 4
7 5

Ex.4 Pattern Mixed [TRACK 56]

 
 Emi7  
Dmaj7
 
Bmi7
  
A7
   
    

10 12 10 9 10 9


10 12 12 10 10
11 12 9 9 12 11
9 12 12 9 11 12 11
9 12 10 10 12 12 9
12
Ex.5 Pattern Mixed [TRACK 57]

   Emi7
    Dmaj7

   
Bmi7   A7
   
    

10 14 12 12 15 10


12 15 12 14 14
11 14 12 12 14 14 11
12 14 12 11 14 12 11
12 14 14 12 12
15 14

Ex.6 Pattern Mixed [TRACK 58]


Bmi7
  
Emi7

A7
   
Dmaj7

   
      
   

2 5 3 3 5 2


3 5 3 2 5 3 2
2 4 4 2 2
4 5 2 2 5 4
2 5 5 2 4 5 4
5
Arpeggios in 4 Bar Patterns: Key of F

Ex.1 Pattern 2 & 4 [TRACK 59]

 
 Gmi7   
Fmaj7
  
Dmi7 C7
   
      
   

10 8


10 13 11 8 11 10
10 12 10 9 10 9
10 12 12 8 10 10 7
12 13 10 8 7 10 8 7
10 13 8

Ex.2 Pattern 2 & 4 [TRACK 60]

Dmi7
    Gmi7
   C7
   Fmaj7
  

              
    

5 8 3 3 6 1


6 6 3 5 5
5 7 3 3 5 5 2
7 5 3 2 5 3 2
5 8 5 3 3
6 5

Ex.3 Pattern Mixed [TRACK 61]

   
Gmi7
   
 
Fmaj7
  
Dmi7 C7
      
          
 

8 10 6 8


10 8 8 11 10
7 10 10 7 9 10 9
7 10 8 8 10 10 7
8 10 8 7 10 8 7
10 8

Ex.4 Pattern Mixed [TRACK 62]

   
 Gmi7    
 
Fmaj7
        
 
Dmi7
 

C7
     
  

13 15 13 12 13 12


13 15 15 13 13
14 15 12 12 15 14
12 15 15 12 14 15 14
12 15 13 13 15 15 12
15
Arpeggios in 4 Bar Patterns: Key of Bb

Ex.1 Pattern 2 & 4 [TRACK 63]

    Cmi7
    Bbmaj7

 
Gmi7 F7
      
     

10 13 8 8 11 6


11 11 8 10 10 6
10 12 8 8 10 7
12 10 8 7 10 8 7
10 13 10 8 8 5
11

Ex.2 Pattern 2 & 4 [TRACK 64]

Gmi7    
Cmi7 F7 Bbmaj7

         
     
 
3 1


3 6 4 4 3
3 5 3 2 5 3 2
3 5 5 1 3 3
5 6 3 3 5 1
3 6 6 1 5 5

Ex.3 Pattern Mixed [TRACK 65]

  Cmi7
    Bbmaj7


Gmi7
    
F7
   
        

6 10 8 8 11 6


8 11 8 10 10
7 10 8 8 10 10 7
8 10 8 7 10 8 7
8 10 10 8 8
11 10

Ex.4 Pattern Mixed [TRACK 66]

Gmi7
   
Cmi7 F7
  
Bbmaj7
      
       

6 8 6 5 6 5


6 8 8 6 6
7 8 5 5 8 7
5 8 8 5 7 8 7
5 8 6 6 8 8 5
8
Arpeggios in 4 Bar Patterns: Key of Eb

Ex.1 Pattern 2 & 4 [TRACK 67]

  
Fmi7
 
 
Cmi7 Bb7 Ebmaj7
      
         


8 6


8 11 9 6 9 8
8 10 8 7 8 7
8 10 10 6 8 8 5
10 11 8 6 5 8 6 5
8 11 6

Ex.2 Pattern 2 & 4 [TRACK 68]

    Fmi7
    Ebmaj7


Cmi7   
Bb7
   
   
   

15 18 13 13 16 11


16 16 13 15 15 11
15 17 13 13 15 12
17 15 13 12 15 13 12
15 18 15 13 13 10
16

Ex.3 Pattern Mixed [TRACK 69]

   
Fmi7 Ebmaj7
 
Bb7
   
Cmi7
  
        
 

6 8 4 6


8 6 6 9 8
5 8 8 5 7 8 7
5 8 6 6 8 8 5
6 8 6 5 8 6 5
8 6
Ex.4 Pattern Mixed [TRACK 70]

   
Fmi7
  
Ebmaj7


Cmi7
   Bb7
  

         

11 13 11 10 11 10


11 13 13 11 11
12 13 10 10 13 12
10 13 13 10 12 13 12
10 13 11 11 13 13 10
13
Arpeggios in 4 Bar Patterns: Key of Ami

Ex.1 [TRACK 71]

Bmi7(b5)
    
E7(b9) Ami7
 

        
    
  

7 5


10 9 5 8 8 5
7 10 9 7 5 5
7 9 9 6 5 7 7 5
8 8 5 7 7
7 10 5 8 8

Ex.2 [TRACK 72]

   E7(b9)
       
 
Bmi7(b5)
    Ami7
     
         

10 13 12 12 15 12


12 15 12 13 13
10 14 13 12 14 14 12
12 15 12 14 14
12 14 14 11 12 15 15 12
15

Ex.3 [TRACK 73]

  
      
E7(b9)

Bmi7(b5) Ami7

       
         
   

5 7 4 5


6 5 5 8 8 5
4 7 7 4 5 5
3 7 6 5 7 7 5
5 8 5 7 7
7 5 8 8

Ex.4 [TRACK 74]

    E7(b9)
  
     
   
Bmi7(b5) Ami7

          
    

10 13 12 10 8 12 8


10 12 12 9 10 10
10 10 9 12 12 9
9 12 12 9 10 10
12 11 10 12 12 10
12
Arpeggios in 4 Bar Patterns: Key of Dmi

Ex.1 [TRACK 75]

   A7(b9)
   

Emi7(b5) Dmi7
         
          

6 10 5 5 8 5


8 8 5 6 6
7 9 6 5 7 7 5
8 8 5 7 7
7 10 7 4 5 8 8 5
8

Ex.2 [TRACK 76]

  
  
A7(b9)
Emi7(b5)
    Dmi7
 
        


12 10


15 14 10 13 13 10
12 15 14 12 10 10
12 14 14 11 10 12 12 10
13 13 10 12 12
12 15 10 13 13

Ex.3 [TRACK 77]

  
 A7(b9)  
Emi7(b5)
     
Dmi7
 
      
   



10 12 9 10


11 10 10 13 13 10
9 12 12 9 10 10
8 12 11 10 12 12 10
10 13 10 12 12
12 10 13 13

Ex.4 [TRACK 78]

  A7(b9)
   

Emi7(b5) Dmi7

            
     

3 6 5 3 1 5 1


3 5 5 2 3 3
3 3 2 5 5 2
2 5 5 2 3 3
5 4 3 5 5 3
5
Arpeggios in 4 Bar Patterns: Key of Gmi

Ex.1 [TRACK 79]


Ami7(b5)
   
D7(b9)

Gmi7
  
   
    
  
 

5 3


8 7 3 6 6 3
5 8 7 5 3 3
5 7 7 4 3 5 5 3
6 6 3 5 5
5 8 3 6 6

Ex.2 [TRACK 80]

   D7(b9)
 
 

  
Ami7(b5)
 
Gmi7
   
     

11 15 10 10 13 10


13 13 10 11 11
12 14 11 10 12 12 10
13 13 10 12 12
12 15 12 9 10 13 13 10
13

Ex.3 [TRACK 81]

    D7(b9)

    
  
Ami7(b5) Gmi7
 
    
     

8 11 10 8 6 10 6


10 10 7 8 8
8 12 8 7 10 10 7
10 10 7 8 8
10 12 9 8 10 10 8
10

Ex.4 [TRACK 82]

  
 
D7(b9)
 
Ami7(b5) Gmi7

       
    
 

3 5 2 3


4 3 3 6 6 3
2 5 5 2 3 3
1 5 4 3 5 5 3
3 6 3 5 5
5 3 6 6
Arpeggios in 4 Bar Patterns: Key of Emi

Ex.1 [TRACK 83]


F#mi7(b5)   B7(b9)
  Emi7
    
           
           

8 12 7 7 10 7


10 10 7 8 8
9 11 8 7 9 9 7
10 10 7 9 9
9 12 9 6 7 10 10 7
10

Ex.2 [TRACK 84]

 
 B7(b9)
             
     
F#mi7(b5) Emi7
  
       

14 12


17 16 12 15 15 12
14 17 16 14 12 12
14 16 16 13 12 14 14 12
15 15 12 14 14
14 17 12 15 15

Ex.3 [TRACK 85]

 
F#mi7(b5)
    
B7(b9)
Emi7
    
         
     
     

5 8 7 5 3 7 3


7 7 4 5 5
5 9 5 4 7 7 4
7 7 4 5 5
7 9 6 5 7 7 5
7

Ex.4 [TRACK 86]

   
 B7(b9)      
  
F#mi7(b5)
  
Emi7

            
  

12 14 11 12


13 12 12 15 15 12
11 14 14 11 12 12
10 14 13 12 14 14 12
12 15 12 14 14
14 12 15 15
Arpeggios in 4 Bar Patterns: Key of Bmi

Ex.1 [TRACK 87]

   
F#7(b9)
 
  
C#mi7(b5) Bmi7
  
 
   
 
 


9 7


12 11 7 10 10 7
9 12 11 9 7 7
9 11 11 8 7 9 9 7
10 10 7 9 9
9 12 7 10 10

Ex.2 [TRACK 88]


C#mi7(b5)
   F#7(b9)
 
Bmi7
  
           
      

3 7 2 2 5 2


5 5 2 3 3
4 6 3 2 4 4 2
5 5 2 4 4
4 7 4 1 2 5 5 2
5

Ex.3 [TRACK 89]


C#mi7(b5)
    
F#7(b9) Bmi7
 
    
       
   

7 9 6 7


8 7 7 10 10 7
6 9 9 6 7 7
5 9 8 7 9 9 7
7 10 7 9 9
9 7 10 10

  F#7(b9)
Ex.4 [TRACK 90]
     
 
C#mi7(b5)
  
Bmi7
  
      

12 15 14 12 10 14 10


12 14 14 11 12 12
12 12 11 14 14 11
11 14 14 11 12 12
14 13 12 14 14 12
14
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
Arpeggios in 2 Bar Patterns: Key of C

Ex.1 [TRACK 91] Ex.2 [TRACK 92]

Dmi7
  
Cmaj7 G7
   G7
Dmi7 Cmaj7
  

         
  

3 7 3 5 1 3 7


3 6 5 3 5
2 5 4 5 4 5 4 4 5
3 5 2 5 3 2 5
5 3 5 3

Ex.3 [TRACK 93] Ex.4 [TRACK 94]

      G7
Dmi7

 
Cmaj7

Cmaj7
  
Dmi7
   
G7

               

3 7 3 8 5 3 7


6 5 6 5
5 4 7 5 4 7 4 4 5
7 5 2 5 3 2 5
5 8 3 5 3

Ex.5 [TRACK 95] Ex.6 [TRACK 96]

      G7
 
Cmaj7 Dmi7

Cmaj7
Dmi7
    
G7
   
       


8 10


12 12 8 13 10 8 12
10 12 9 10 9
10 12 10 9 12 9 9 10
12 10 7 10 8 7 10
10 13 8

Ex.7 [TRACK 97] Ex.8 [TRACK 98]

  
Cmaj7
   G7
Dmi7

 
Cmaj7
Dmi7
   
G7
  
        


7 8 7 10 8


8 8 10 8 12
7 10 9 10 7 9
7 10 10 9 9 9 10
8 10 7 10 8 7 10
10 8
Arpeggios in 2 Bar Patterns: Key of G

Ex.1 [TRACK 99] Ex.2 [TRACK 100]

 
 Ami7  D7   Gmaj7
 
Ami7 D7

Gmaj7
 
     


5 8 3


7 7 3 8 5 3 7
5 7 4 5 4
5 7 5 4 7 4 4 5
7 5 2 5 3 2 5
5 3

Ex.3 [TRACK 101] Ex.4 [TRACK 102]

  
 Gmaj7 
Ami7

 Ami7   D7      D7   

Gmaj7

    

10 12 10 14


10 13 12 13 12
12 11 12 11 14 12 11 11 12
14 12 12 9 12 10 9 12
12 15 10 9 12 10

Ex.5 [TRACK 103] Ex.6 [TRACK 104]

 Ami7 D7
 
 Gmaj7    D7
Ami7 Gmaj7

        
   
 

2 3 2 3 2


3 3 5 3
2 5 4 5 2 4
2 5 5 4 4 4 5
3 5 2 5 3 2 5
5 5 3

Ex.7 [TRACK 105] Ex.8 [TRACK 106]

 
 Ami7  D7       D7
Gmaj7
 
Ami7 Gmaj7
 
    

8 10 7 8 7 10


7 10 8 7 10 8 7 8
7 7 9 7
7 10 9 10 7 9
7 10 10 9 9 9 10
10
Arpeggios in 2 Bar Patterns: Key of E

Ex.1 [TRACK 107] Ex.2 [TRACK 108]

B7      
Emaj7

       B7
F#mi7 Emaj7


F#mi7

     
  

7 11 7 7 11


10 9 10 9
9 8 11 9 8 11 9 8 9
11 9 6 11 9 7 6 9
9 12 7 9 6 7

Ex.3 [TRACK 109] Ex.4 [TRACK 110]

B7      

Emaj7 F#mi7

      
Emaj7

F#mi7 B7

     


14 12


16 16 12 17 14 12 16
14 16 13 14 13
14 16 14 13 16 13 13 14
16 14 11 14 12 11 14
17 14 12

Ex.5 [TRACK 111] Ex.6 [TRACK 112]

 F#mi7   B7          B7 

Emaj7 F#mi7 Emaj7

    
  

5 7 4 4


5 4 7 5 4 7 5 4 5
6 4 6 4
4 7 6 7 4 6
7 6 6 6 7
7 7 5 7

Ex.7 [TRACK 113] Ex.8 [TRACK 114]

   
Emaj7 F#mi7
   
B7 Emaj7
F#mi7
  
B7
 
    

11 12 11 12 11


12 12 14 12
11 14 13 14 11 13
11 14 14 13 13 13 14
12 14 11 14 12 11 14
14 14 12
Arpeggios in 2 Bar Patterns: Key of Ab

Ex.1 [TRACK 115] Ex.2 [TRACK 116]


Bbmi7
   
Abmaj7 Eb7

Bbmi7 Eb7 Abmaj7


       
   


8 8 6 4 8
6 8 8 5 6 5
6 8 6 5 8 6 5 5 6
8 6 6 4 3 6
6 9 8 6 4

Ex.3 [TRACK 117] Ex.4 [TRACK 118]

Eb7  
 Abmaj7
   Eb7  
  
Bbmi7
     Bbmi7
 
Abmaj7

  

11 11 15


11 14 13 13
13 12 13 12 15 13 12 12 13
11 15 13 13 10 15 11 13 11 10 13
13 11 10 13 11

Ex.5 [TRACK 119] Ex.6 [TRACK 120]

  Abmaj7
    Eb7 
Bbmi7 Eb7 Bbmi7 Abmaj7

        

     

3 6 4 3 4 3


4 4 6 4
3 6 5 6 3 5
3 6 6 5 5 5 6
4 6 3 6 4 3 6
6 4

Ex.7 [TRACK 121] Ex.8 [TRACK 122]

Eb7  
 Abmaj7

           Eb7
Bbmi7 Abmaj7
 
 
Bbmi7

  

9 11 8 8 11


9 8 11 9 8 9 8 9
10 8 8 10 8
8 11 10 11 8 11 8 10
11 10 10 10 11
11
Arpeggios in 2 Bar Patterns: Key of Ami

Ex.1 [TRACK 123] Ex.2 [TRACK 124]


Bmi7(b5)
   
Ami7 E7(b9)
   E7(b9)
Bmi7(b5) Ami7

          
   


6 9 8 5 10 6 5 8
7 5 7 5
7 9 7 5 9 6 5 7
8 7 8 5 7
7 10 8 7 5 8
Ex.3 [TRACK 125] Ex.4 [TRACK 126]
E7(b9)    Ami7  
Bmi7(b5)
  
        E7(b9)
    
Bmi7(b5) Ami7

         

13 12 13 12 15


15 13 15 13
14 13 16 14 12 16 14 13 12 14
15 14 15 12 14
14 17 15 12 14 12 15
15

Ex.5 [TRACK 127] Ex.6 [TRACK 128]

Bmi7(b5)
     
Ami7 E7(b9)    E7(b9)
Bmi7(b5) Ami7
 
             
       

4 5 5


6 8 5 6 5 8
4 7 5 7 4 5
3 7 7 5 6 5 7
5 7 8 5 7
7 8 7 5 8
Ex.7 [TRACK 129] Ex.8 [TRACK 130]
E7(b9)      E7(b9) 
Ami7
    
Bmi7(b5)
  
  
Bmi7(b5) Ami7
     
         

10 13 12 8 10 8 12


10 9 12 10 12 10 10
10 12 9 10 9 12
9 12 10 12 9 10
12 10 11 8 10 12
Arpeggios in 2 Bar Patterns: Key of Cmi

Ex.1 [TRACK 131] Ex.2 [TRACK 132]


Dmi7(b5) G7(b9)
  
Cmi7    G7(b9) Cmi7
Dmi7(b5)

      
      
  

10 8


12 11 8 13 8 11
10 13 8 13 10 8
10 12 10 8 12 9 8 10
11 10 11 8 10
10 13 11 8 11

Ex.3 [TRACK 133] Ex.4 [TRACK 134]

 Cmi7
    G7(b9) 

Dmi7(b5) Cmi7

Dmi7(b5) G7(b9)
           
    

4 3 4 3 6


6 4 6 4
5 4 7 5 3 7 5 4 3 5
6 5 6 3 5
5 8 6 3 5 3 6
6

Ex.5 [TRACK 135] Ex.6 [TRACK 136]

    Cmi7
    G7(b9) Cmi7
Dmi7(b5)
 
  
Dmi7(b5) G7(b9)
   
        



7 6 8 6


9 8 9 8
7 10 8 5 10 7 5 8
6 10 8 5 9 6 5 8
8 6 8 5 6
10 8 8

Ex.7 [TRACK 137] Ex.8 [TRACK 138]

 Cmi7
  
 
Dmi7(b5)G7(b9) Cmi7

Dmi7(b5) G7(b9)
 
            
  

4 3 4 3 6


3 6 4 6 3 4
5 4 5 3 5 4 3 5
3 6 5 6 3 5
5 6 3 5 3 6
6
Arpeggios in 2 Bar Patterns: Key of Fmi

Ex.1 [TRACK 139] Ex.2 [TRACK 140]

 Fmi7
    C7(b9) 
Gmi7(b5)


Gmi7(b5)
    C7(b9)
      
Fmi7

 
      

9 8 9 8 11


11 9 11 9
10 9 12 10 8 12 10 9 8 10
11 10 11 8 10
10 13 11 8 10 8 11
11

Ex.3 [TRACK 141] Ex.4 [TRACK 142]

         C7(b9) 
Gmi7(b5) C7(b9) Fmi7 Gmi7(b5) Fmi7
  
       
 

 

3 4


2 5 6 4 6 4 6
3 5 6 3 5
3 5 6 3 5 2 3 6
4 6 3 4 1 3 6
3 6 4

Ex.5 [TRACK 143] Ex.6 [TRACK 144]

 Fmi7
 

Gmi7(b5)
    C7(b9)
  C7(b9) Fmi7
     
Gmi7(b5)
  
      

6 9 8 4 9 6 4 8


8 6 8 6 6
6 10 9 8 5 9 6 5 8
8 6 8 5 6
10 8 6 6 8

Ex.7 [TRACK 145] Ex.8 [TRACK 146]

    Fmi7
    C7(b9)
Gmi7(b5)

 
C7(b9)
     
Gmi7(b5)
   
Fmi7

      


12 11 13 11


14 13 14 13
12 15 13 10 15 12 10 13
11 15 13 10 14 11 10 13
13 11 13 10 11
15 13 13
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!
Major Phrases
You can count 8 beats with your foot like 1, and, 2, and, 3, and, 4,
and. Let’s call 1, 2, 3, and 4 as downbeat and emphasize ‘and’ on the
upbeat. Always try to play the chromatic notes or non-chord tones at
UPBEAT, then you will hear the smooth jazz sound.
Try different positions and keys. In major7 chords, I like to add #5,
b3, #11 as chromatic notes. Also, the major scale is always good
here.

Ex.1 [TRACK 147] Ex.2 [TRACK 148]

     
Cmaj7 Cmaj7

             


6 5
10 9 4 5 5
9 10 10 5 5
10 10 8 7 8 7

Ex.3 [TRACK 149] Ex.4 [TRACK 150]

   
Cmaj7 Cmaj7
                


7 7


8 8
9 8 7 9 8 7 7
10 7 8 9 10 7 8 9

Ex.5 [TRACK 151] Ex.6 [TRACK 152]

 
Cmaj7
   
Cmaj7

          
3 3

7 5


12 10 6
10 5 4
10 9 5 7
10 12

Ex.7 [TRACK 153] Ex.8 [TRACK 154]

     
Cmaj7
  
Cmaj7

        


6 3 4 5 8
4 7 5 8 9 10 9
5 10
7 8
11 12
Ex.9 [TRACK 155] Ex.10 [TRACK 156]
  
Cmaj7
       
Cmaj7

       


6 5 9 8
5 7 8 10 7 8 9
6 5 5 5

Ex.11 [TRACK 157] Ex.12 [TRACK 158]

  
Cmaj7
       
Cmaj7

      
 
3


11 12 8 12 11 10 9 8
9 9
10 9 7 9 7
10

Ex.13 [TRACK 159] Ex.14 [TRACK 160]

 
Cmaj7
            
Cmaj7

  
3

10


8 12 10 10 9 8
9 7 10 9 8 9
9 10 9 10

Ex.15 [TRACK 161] Ex.16 [TRACK 162]

    
Cmaj7
      
Cmaj7

      

7 7


8 10 8 8
9 10 12 10 9
9 12 10 9
11 10
Ex.17 [TRACK 163] Ex.18 [TRACK 164]

              
Cmaj7 Cmaj7

        
3


10 9 8 5
7 9 10 9 7 5 4 7 5 4
9 10 5 7
7 10
8

Ex.19 [TRACK 165] Ex.20 [TRACK 166]

     
Cmaj7
     
  
Cmaj7

        
3

7 3 12 12 15


5 13 15 12 12 13
5 4 4 5 12 13 14 15
6 5 5

Ex.21 [TRACK 167] Ex.22 [TRACK 168]

                     
Cmaj7 Cmaj7

    


5 5 8 5 5 8
5 7 5 4 5 7 5 7 5 3 4 7
7 6 5 7 6 5

Ex.23 [TRACK 169] Ex.24 [TRACK 170]


        
Cmaj7
         
Cmaj7

       

7 10


10 9 8 8 8
7 8 9 10 9 9 8 7 9
9 10 9 7 10 9 10
10
Minor Phrases
Start with the minor 7th arpeggio. You can add notes from the natural
minor scale and the dorian scale. The major 3rd is the most popular
chromatic note, but just make sure you play the chromatic notes on
the upbeat. These phrases can also be played for V7 or IImi7 V7 pro-
gressions.

Ex.1 [TRACK 171] Ex.2 [TRACK 172]

          
Dmi7 Dmi7
      
         


5 6 5
8 7 5 4 7 5 7 5 4 4 7 5
5 7 8 5 7 3 5 5
7

Ex.3 [TRACK 173] Ex.4 [TRACK 174]

       
                 
Dmi7 Dmi7



10


10 13 13 12 10 10 9 10 12
10 12 11 10 9 9 10 12 10 9 12
12 12 12

Ex.5 [TRACK 175] Ex.6 [TRACK 176]

      
          
Dmi7
Dmi7
   
   

5 8 5 7 10 8


5 8 7 6 6 6 8 8
5 7 7 5 7 9
7 7

Ex.7 [TRACK 177] Ex.8 [TRACK 178]

Dmi7
            
  
Dmi7
          


5 5


9 8 7 8 6 5 6 8 7 6 5
5 7 7 7
7 10 7 8 9 7
7 8 7 7 8 10
9 10
Dominant 7th Phrases
You can add chromatic notes from the mixolydian scale. the chromatic
major 7th note is essential for playing bebop.

Ex.1 [TRACK 179] Ex.2 [TRACK 180]

G7
         G7
          
     

7 5


8 8 6 7 8 3 6 5 4 3 3
7 9 4 5 4 3 2
9 5

Ex.3 [TRACK 181] Ex.4 [TRACK 182]


       
           
G7 G7
   


5 3 3 10 13 10


6 6 3 4 5 12 12 12
4 7 10 12 12 11 10
12

Ex.5 [TRACK 183] Ex.6 [TRACK 184]

   
         
G7
            
G7

 
3

7 7


8 8 10 6 3 3 3
7 7 10 4 5 5 2 3 4
9 7 10 9 5 5 4 3

Ex.7 [TRACK 185] Ex.8 [TRACK 186]

       
G7 G7
        
       


5 10 10


6 5 6 9 8 7 6 12 13 10 11 12
7 7 10 12
7 5 12
8
Altered Phrases
If a 7th chord moves toward the 4th to a resolution, you can add al-
tered notes. This altered scale is Root, b9, #9, 3, b5, #5, b7. It
has the main notes of the 7th chord(R, 3, and b7) and altered
notes(b9, #9, b5, and #5). An altered phrase should resolve at the
next chord. The first example shows a basic altered scale fingering.

Ex.1 [TRACK 187] Ex.2 [TRACK 188]

       
G7(alt) Cmaj7 or Cmi7 G7 G7(alt) Cmaj7 or Cmi7

           


6 8 3 6 4
4 6 8 4 4 3
5 6 8 5 6 5

Ex.3 [TRACK 189] Ex.4 [TRACK 190]

   G7(alt)  Cmaj7
G7
    
G7(alt) Cmaj7

             


8 6 6 5 8 8
7 8 10 8
9 6 8 9 8
11 10 8 7

Ex.5 [TRACK 191] Ex.6 [TRACK 192]

   G7(alt)
          
   
G7 Cmaj7 or Cmi7 G7 G7(alt) Cmaj7 or Cmi7



7 6


8 9 6 7 8 8 6 9 8
7 10 10 7 6
9 8

Ex.7 [TRACK 193] Ex.8 [TRACK 194]

           
G7(alt) Cmaj7 G7(alt) Cmaj7 or Cmi7

      

3 4 1 2 3


6 4 3 4 3
4 3 5 4
6 3 4 5
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 6 6
5 4 5 5
5
5 5 5

 
D7 A7

  
 
 

   


5 5
4 4
5 5
6 6
5 5
5 5

 
E7 D7 A7 A7
 E7

   
     
 
    



7 5 6 5 6 7 7
6 4 5 4 5 6 6
7 5 5 6 7 7
5
Ex.2 [TRACK 196] Arpeggios over blues changes: A Blues
Pattern 2 & 4

  
     
A7 D7 A7

       
  
     


5 7 7 5 7
6 7 5 6
5 7 7 4 5 7
4 7 5 3 4 7
5 5


        
D7

       
       

5 5 8 5


7 5 7 7
6 5 7 7 5
7 5 4 7 7 4
7 4 5 5 3

      
  
A7 E7
     
    
    

5 7 10


5 7 7 5 9
6 6 7 9
5 7 7 5 6 9
4 7 7 4 7
5

       
   E7
D7 A7 A7

     
 
   


7 5 7 10
7 5 6 7 8 9 9
7 4 5 7
5 3 4 7
5
Ex.3 [TRACK 197] Arpeggios simplified: A Blues

  
       
A7 D7 A7

    


5 8 8


5 8 8 7 5 8 8
6 7 6
7 7

   
  
D7



5 8 8 8


8 7
7

  
     
A7 E7
 
 

7 10 10


5 8 8 8 9
6 9
7

         
D7 A7 A7 E7

       


5 8 8


7 5 8 8
7 6 7 8 9 9
7
Ex.4 [TRACK 198] Arpeggios with rhythmic variations: A Blues

               
   
A7 D7 A7

   

5 8 5 5


5 8 5 5 7 5 8 5 5
6 7 6
7 7

       
D7
         
 
  
 


5 8 5 5 5 8 5 5


5 8 5 5 7 7
6 7 7
7

               
   
A7 E7

 
 

7 10 7 7


5 8 5 5 5 8 5 5 9
6 6 9
7 7

  
      
D7 A7 A7 E7

  
         

5 8 5 5


7 5 8 5 5
7 6 7 8 9 9
7
Ex.1 [TRACK 199] Arpeggios over blues changes: F Jazz Blues
Rhythm Guitar (backing track for arpeggio playing)

F7 Bb7 F7 Cmi7 F7
   
   
 
 
 
 


8 7 8 8 8
7 6 7 8 7
8 8 8
6 8

Bb7 Bdim7 F7/C D7

  
  




 




7 7 8 5
6 6 7 4
5
6 7 8

Gmi7 C7 F7 D7 Gmi7 C7

 
 

    

  


3 3 2 5 3 3
3 2 1 4 3 2
3 5 3
3 1 3
Ex.2 [TRACK 200] Arpeggios over blues changes: F Jazz Blues
Pattern 2 & 4

F7
     
Bb7 F7
  
       
       

8 11 6 8 11


10 9 6 10
8 10 7 8 10
7 10 8 6 7 10
8 8 5 8

  
Cmi7 F7 Bb7
    
Bdim7
      
         


8 7


11 8 6 9 9 6
8 7 7
10 7 6 8 9 6
8 6 5 8 8
6 10

 
   
D7
   
    
F7/C Gmi7
 
        

8 11 10 10 13


10 13 10 11
8 10 11 10 12
7 10 12 10 12
8 12 9 10 13

     
  
C7 Gmi7
  
F7 D7 C7
      
      

8 8 10


11 8 7 10 11
9 8 7 12 10 9
10 8 7 10 10 8
10 7 8 10
Ex.3 [TRACK 201] Arpeggios simplified: F Jazz Blues

Figure.1 Fmi7 Arpeggio for D7alt(#9 b5 b7 b9)

Figure.2 F#7 Arpeggio for C7alt as flat five substitution(3 b5 b7 b9)

F7
 
Bb7
    F7
 
       


6 9 9
8 8 7 8 8
7 10 8 7 10
8 8

 F7   
       
Cmi7 Bb7 Bdim7
    
 

8 11


8 11 10 6 9 9 6 9 9
8 10 7 7
10 8 9

 
     
F7/C D7 Gmi7
 
     


10 13 13
8 8 11 10 10
7 10 12 12
8 10 13

  
    
Gmi7
  
F7
    
C7 F7 D7 C7
    
  
Fig.1> Fig.2>
8 11 10 9 8


8 11 11 9 11 11
9 8 10 12 10 9 11
10 7 10
8
[TRACK 202] Arpeggio Over Standard Chord Changes: Solar

         
 
Cmi7 Gmi7
      
         

8 10 13


8 11 11 8 11
8 8 10 12
8 10 10 8 12
10 10 10 13
8 11 11

  
C7
    
   
Fmaj7
   
        

8 8 12 8


11 8 10 10
9 9 10 10 9
10 8 7 10 10 7
10 7 8 8 7

Fmi7
     Bb7
   Ebmaj7
  
      
         

8 11 6 6 10


9 9 6 8
8 10 7 7 8
10 8 6 5 8
8 11 8 5 6

  
Ebmi7
Ab7 Dbmaj7
   
Dmi7(b5)
  
G7(b9)
  
          



6 4 8 4


7 6 6
8 6 5 5 6 7 5 4
6 4 3 6 6 3
6 4 5
[TRACK 203] Arpeggio Over Standard Chord Changes: Blue Bossa

     
 
Cmi7 Fmi7

      

     

8 8 11 8


8 11 11 8 9 9
8 8 8 10 10 8
8 10 10 8 10 10
10 10 8 11 11 8
8 11 11 11


Dmi7(b5)
    G7
 Cmi7
  
         
    

4 8 3 3 6 3


6 6 3 4 4
5 7 4 3 5 5 3
6 5 3 5 5
5 8 5 2 3 6 6 3
6

Ebmi7
    Ab7
 
Dbmaj7
     
         
              

6 9 4 4 8 4


7 7 4 6 6
6 8 5 5 6 6 5
8 6 4 3 6 6 3
6 9 6 3 4 4 3


Dmi7(b5)
   G7
 
Cmi7
   Dmi7(b5)
 G7

         
      
    


4 8 3 3 6 4


6 6 3 4 6
5 7 4 3 5 7 5 4
6 5 3 5 5 3
5 8 5 2 3 6 5
[TRACK 204] Arpeggio Over Standard Chord Changes: Tune Up

Emi7
     A7
   Dmaj7
      
  
       
         

7 10 5 5 9 5


8 8 5 7 7
7 9 6 6 7 7 6
9 7 5 4 7 7 4
7 10 7 4 5 5 4

  G7
    
 
Dmi7 Cmaj7
  
       
    
    
  

5 8 3 3 7 3


6 6 3 5 5
5 7 4 4 5 5 4
7 5 3 2 5 5 2
5 8 5 2 3 3 2

  
  F7       
Ebmaj7
Cmi7
      
Bbmaj7

      
      

 

8 6


8 11 10 6 10 8
8 10 8 7 8 7
8 10 10 7 7 8 8 5
10 8 6 5 8 6 5
8 11 6

Emi7
   A7
   Bbmaj7
  
 Emi7 A7
 
       
      
     


7 10 5 7


8 8 5 6 10 8
7 9 6 7 9 7 6
9 7 5 7 8 7 5
7 10 7 4 5 8 7
6
[TRACK 205] Arpeggio Over Standard Chord Changes: How High The Moon

      C7
  
    
Gmaj7      Gmi7
      
     
   

10 14 10 10 13 8


12 12 11 11 8
11 12 12 11 10 12 9
9 12 12 9 12 10 8
10 10 9 10 13 10 7

Fmaj7
     Fmi7
    Bb7
  
        
         
   

8 12 8 8 11 6


10 10 9 9 6
9 10 10 9 8 10 7
7 10 10 7 10 8 6
8 8 7 8 11 8 5


Ebmaj7
    Ami7
   D7 Gmi7
  
Ami7(b5) D7(b9)

       
        
   
  


6 10 5 5


8 8 5 3 6 8
7 8 5 3 8 5
5 8 7 4 3 5 7 4
6 5 3 5 6 3
3 6


Gmaj7
    D7
Ami7 Bmi7 Bb7
     D7
Ami7

      
      
  
     


5 5


3 7 8 5 6 9 8 5
4 5 7 5
4 5 7 4 7 8 7 4
2 5 5 3 9 5 3
3 7 10
       C7
  
    
Gmaj7      Gmi7
      
     
   

10 14 10 10 13 8


12 12 11 11 8
11 12 12 11 10 12 9
9 12 12 9 12 10 8
10 10 9 10 13 10 7

     Fmi7
    Bb7
  
   
Fmaj7
    
         
   

8 12 8 8 11 6


10 10 9 9 6
9 10 10 9 8 10 7
7 10 10 7 10 8 6
8 8 7 8 11 8 5

 Ami7
     D7   
Ebmaj7 Gmaj7 Ami7(b5) D7(b9)
        
            
 

6 10 5 5


8 8 5 3 7 8
7 8 5 4 8 5
5 8 7 4 4 5 7 4
6 5 3 2 5 6 3
3


Bmi7
     D7
Ami7 Bb7 Gmaj7
 
           
         


5 3


6 9 8 5 3 7 7 3
7 5 4 4
7 8 7 4 4 5 5 4
9 5 3 2 5 5 2
7 10 3
[TRACK 206] Arpeggio Over Standard Chord Changes:
All The Things You Are

     
Bbmi7
 
  
Fmi7 Eb7
 
         
   
 

8 11 6 6 9


9 9 6 8
8 10 6 6 8
10 8 6 5 8
8 11 8 6
9

 
         
Abmaj7 Dbmaj7 G7

     
          

4 4 8 3


8 4 6 6 3
5 5 6 4
6 5 3 6 5 3
6 3 4 5 2

  
   
Cmaj7 Cmi7
        
           


3 7 3


5 5 8 11
4 5 5 4 8
2 5 5 2 8 10
3 3 2 10
8 11

  Ebmaj7
 
Fmi7
   
Bb7
    
         
  

8 6


9 6 9 8
10 8 7 8 7
10 6 8 8 5
11 8 6 5 8 6 5
6
Figure.1 Fmi7 arpeggio for D7 altered sound(#9, b5, b7, and b9)
Figure.2 F#9 arpeggio for C7 altered sound as flat five substitution
(b5, #5, b7, b9, and 3)

  
 
Abmaj7 D7 Gmaj7

   
        
  
Figure.1>
8 4


4 8 6
5 8 5
5 6 6 7 7
3 6 8 6 5
4

    
Ami7 D7
 
          
 
 


5 8 7
5 7 5
5 7 7 4
7 5 3
5 8

   
      
Gmaj7 F#mi7
 
            
      


3 9 12


3 7 7 3 10
4 4 9 11
4 5 5 4 11
2 5 5 2 9 12
3

    
B7
   C7(#5)
  
  
Emaj7
     

            

Figure.2>
7 7 11 12 9


10 7 9 11 9
8 8 9 9
9 7 6 9 11
9 6 7 11 9
        

Bbmi7
 
Fmi7 Eb7
 
        
   
 

8 11 6 6 9


9 9 6 8
8 10 6 6 8
10 8 6 5 8
8 11 8 6
9

  
Dbmi7

      
Abmaj7 Dbmaj7

     
    
      

4 4 8 7 4


8 4 6 5
5 5 6 6 4
6 5 3 6 6
6 3 4 7 4

      
Bdim7
 
Cmi7 Bbmi7
       
       
   

3 6 7


4 9 6 6 9
3 5 7 6
5 9 6 6 8
3 6 8 8
10 6 9

   
Eb7 Abmaj7
    
      
         
 

6 4


8 4 8 8 4
8 6 5 5
8 5 5 6 6 5
6 4 3 6 6 3
4
[TRACK 207] Arpeggio Over Standard Chord Changes: Autumn Leaves

   
F7
 
 
Cmi7 Bbmaj7

        
     
   


8 11 10 6 10
8 10 8 7
8 10 10 7 7 8
10 8 6 5 8
8 11 6

 Ebmaj7
  
Ami7(b5)
   
D7

         
    
  

6 5


8 8 7
8 7 5 8 7 5
8 5 5 7 7 4
6 5 6 5 3
5 8
Figure.1 Adim7 arpeggio for D7b9 sound(5, b7, b9, and 3) in G Har-
monic minor progression

     
Gmi7 Cmi7
    
       
 
    


3 6 6 3 8 11
3 3 8
3 5 5 3 8 10
5 5 10
3 6 6 8 11

 
F7 Bbmaj7
 Ebmaj7
 
       
         
 

8 6


10 6 10 8
10 8 7 8 7
10 7 7 8 8 5
8 6 5 8 6 5
6


Ami7(b5) D7 Gmi7
         
         
 
Figure.1>


8 4
5 8 5 5 7 7
5 7 7 4 7 4 7 8
6 6 5
5 8


Ami7(b5)
    
D7

     
    
 
Figure.1>
5


8 7 4
5 8 5
5 7 7 4
6 6
5 8 8
Figure.2 Gmi7 arpeggio for Gmi7 C7. simplified IImi7 for IImi7 V7
Figure.3 Fmi7 arpeggio for Fmi7 Bb7
Figure.4 Ebmaj7 arpeggio for Ami7(b5) D7(#5) in G Harmonic minor pro-
gression

    
Cmi7
    
Gmi7

       
     
 


3 6 6 3 8 11
3 3 8
3 5 5 3 8 10
5 5 10
3 6 6 8 11

 
F7 Bbmaj7
 Ebmaj7
 
       
         
 

8 6


10 6 10 8
10 8 7 8 7
10 7 7 8 8 5
8 6 5 8 6 5
6

     
  
D7 Gmi7 C9
 
Ami7(b5)

    
       
 
Figure.2>
5 10 13


8 7 11
5 8 7 5 10 12
5 7 7 4 12
6 5 3 10 13
5 8

 
Fmi7 Bb7 Ebmaj7
 
Ami7(b5) D7(#5)

Gmi
       
          
    

Figure.3> Figure.4>
11 8 6 10 6


9 8 8
10 8 7 8 8 7
10 5 8 8 5 7 7
11 8 6 6 5
[TRACK 208] Arpeggio Over Standard Chord Changes:
There Will Never Be Another You

Ebmaj7
     Dmi7(b5)
  
    
             
 

6 10 6 8


8 8 9
7 8 8 7 7 10
5 8 8 5 6 10
6 6 5 8
10

    
 
G7(b9) Cmi7
       

         
 

10 7 6 8 6


8 8 8
10 7 5 8 8 5
9 5 8 8 5
10 8 6 6
8


Bbmi7
    
Eb7 Abmaj7
 
    
         
    


6 9 8 8
6 8 6 5 8
6 8 8 5 5 6
8 6 4 6
6 9 4 8
Figure.1 C#mi7 arpeggio for Bb7 altered sound(#9, b5, b7, and b9)
Figure.2 C#7 arpeggio as flat five substitution for G7 altered
sound(b5, b7, b9, and 3)

     Bb7     
Fmi7(b5) Cmi7
   
Ebmaj7
    
   
    
Figure.1>
7 6 10 8


9 8 11 8
10 8 6 7 8 8
9 6 5 8 10 8
7 6 10
11


F7
      
  
Fmi7
  
        
  
 

8 11 8


10 10 6 9
8 10 10 8 5 8
7 10 10 7 6
8 8 6 6 8
8

  
Bb7 Ebmaj7
     
        
        

6 6 10 6


9 6 8 8
7 7 8 8 7
8 6 5 8 8 5
8 5 6 6 5

   
G7(b9)
  
Dmi7(b5) Cmi7
     
        
  
 

Figure.2>
8 9


9 12 9 8 11
7 10 10 8
6 10 11 9 8 10
8 11 8 10
10 8 11
Figure.3 Ebmaj7 arpeggio for D7 altered sound (b9, 11, #5, and R)
Figure.4 C#dim7 arpeggio for C7b9 sound (b9, 3, 5, and b7)
Figure.5 E7 arpeggio as flat five substituion for Bb7 altered sound
(b5, b7, b9, and 3)

  
Bbmi7
  Eb7
  
          
        

8 9


11 8 9 11 11 8
8 10 8
10 8 8 11 11 8
10 8 11 10
11 9 11

  Fmi7(b5) Bb7
   
Abmaj7 Ebmaj7
         
    
     

8 11 7 6 10


8 9 9 8
8 10 8 7 7 8
10 8 6 5 8
10 11 8 6

  
Gmi7 C7 Ebmaj7
  G7

D7 C7

           
  
     
Figure.3> Figure.4>
6 6 10 7


8 8 8
10 7 5 7 8 10 7 6
8 5 5 8 8 5
7 6 7

   Ebmaj7
 
Fmi7 Bb7 Ebmaj7
      
       
Figure.5>
4 7 6


5 8
5 8 7 8 7
6 8 5
8 6 5 6
“Music comes from life.
Many times you’ll find that you learn more about music from life than
from music.”

Mick Goodrick
 Across The Ocean
From "Infinite Loop - Across The Ocean"
(Jazzistik, 2009) By Kimie Kim
   
  
             
Bbmi7
              


   

                         

 


Bbmi7

      

Ebmi7 Bbmi7

      

Bbmi7
    
            

       

Ebmi7 Bbmi7
  
                       

Bbmi7
    
            

       

Ebmi7 Bbmi7
              
            


Cmi7/F Bbmi7/Eb Cmi7/F Bbmi7/Eb
             
 
            
         
Cmi7/F Bbmi7/Eb Cmi7/F Bbmi7/Eb
             

                      
 
Copyright © 2009 Kimie Kim All Rights Reserved