THE

PROGRESSIVE
GUITARIST

ARPIOO
FOR

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

by DON LATARSKI

THE
PROGRESSIVE
GUITARIST

ARPIOO
FCR

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

by DON LATARSKI

.l990
o
Don Lotorski
Internotionol RightsSecured
All RightsReserved
Cover Design:Joonn Correro
WARNING:Any duplicotion, odoptotion
or orrongement of the compositions
contoined in this collection, without the
wriiien consent of the owner, is on
infringement of U.S.copyright low ond

INTRODUCTION
An arpeggiois a seriesof chordtonesplayedone note at a time. Everyserious
guitaristmust at some pointmastermanyof the primaryarpeggioformssuch as
majTth,minTth,augTth,etc.
Arpeggios
are frequently
usedin constructing
melodies.
A quickanalysisof melodies
frommusicof nearlyall agesandstyleswilldemonstrate
thisfact.Theyare alsoused
as accompaniment
devices.
In contemporary
music,such as rock, blues and jazz, arpeggiosare used as
improvisational
toolsalongwith scales.lt is for musicians
who play in thesestyles
thatthisbookis intended.
In any givenimprovisational
situation,the "safest"soundingpitchwill alwaysbe a
chordtone.However,
if yoursolois madeup onlyof chordtones,you runthe riskof
boringyourlistenels.Goodsolosare madeup of a varietyof rhythmic,
melodicand
harmonicdevices.lt's up to eachpersonto findthe properbalancebetweenplaying
it safeandtakingchances.
Arpeggiosare very usefulin particularto the jazz musicianbecausethis style of
musicoftenrequiresthe improvisor
to makequickkey shiftswhensoloing.Many
guitaristsuse arpeggiosto facilitatethesekind of changes.The arpeggiohas the
benefitof outlining
the harmony
that'shappening
at the moment,lettingthe listener
knowthat the improvisor
has a firm graspof the harmonicmovementin the piece.
Also,the useof arpeggios
hasthe effectof breaking
up the flowof the musicallineby
interspersing
intervallic
leapsintothe solo.Solosmadeup of just scalepassages
tendto soundsmoothandvocal-like.
Wideintervalleapsprovidecontrastin the line.
Learningarpeggios
on the guitaris morethanjust learningchordforms.Chordsare
usuallyplayedone noteper string.In somecases,it's possibleto playone,two or
threenotesper stringin an arpeggio.This will becomevery obviousonceyou get
intothe book.
The formatof this book is simple.Eachpagecontainsa particulartype of chord,
whichis shownin fivedifferent
forms.The rootof eachchordformis shownas a solid
blackdot.The dot is yourreference
note.By usingthisnote,youcan movethe chord
formup anddownthe fingerboard
to playthischordon anyfretand in any key.
The middlecolumnshowsthe arpeggioof the chordto its left.The rightcolumn
showsthe largerscalepatternwhichgoeswiththisarpeggioand chord.You get the

scale.An X abovea
wholepicture,fromthe chordto its arpeggio
to the complete
stringmeansyoumusteithermutethestringor stringsor simplynotpluckit if youare
of thesechordswillbe easierto playif youpluckthe strings
usingyourfingers.(Many
with your fingersinsteadof tryingto strumthemwitha pick.)
On someof the morecomplicated
chordssuchas Dom9b5,I'veshadedin someof
notes
the notesin anattemptto makethingsa littlecleareras to whatare important
and what are not. In somecases,the root will be shaded,becausethe root is not
notein an arpeggio.For the mostpart,the chordsare in root
reallya necessary
position,withthe bassnotebeingthe lowestnoteof the chord.ln somecases,this
was not possible.
At any rate,all chordvoicingsare shown.(Theseare the numbers
insidethe circlesin eachchordform.)Fivedifferent
formsof eachchordtype are
given.Thisapproach
effectively
coversthe entirelengthof the fingerboard.
The scalesI choseto showwith eachchordtype are what your "average"garden
mighthavechosen.However,
don'tbe fooledintothinking
that
varietyjazzmusician
possibilities,
you
I
seek
out
theseare the only
becausethey aren't. encourage to
SCALE
otherbookson the subjectof improvisation
or checkout my bookentitled,
PATTERNS
FORGUITAR.Scalechoiceis dependant
uponhowanygivenchordis
jazz
instructor
can put this
in a song.A good
functioning
lheorytext and qualified
perspective
you.
for
subjectin
It's up to you to choosewhatorderto playthe noteswhichmakeup any arpeggio.
You don'thaveto startfromthe lowestnoteandgo rightup fromthere.Youcan start
anywhereyou likeand playthe notesin any order.Also,you'llhaveto workout your
for the chordforms,arpeggios
and scales.The numberswhichare
own fingerings
in eachchord,scaleand arpeggio,
included
are the scaledegreesyou are playing.
you mustknowwhatyou'redoingwhenyou are playingthesethings,so
Eventually,
startnowto knowwhat'sgoingon withyourplaying.
whichgoeswithit,
Practice
thesearpeggios
by firsthittinga chord,thenthe arpeggio
and thenthe largerscale.Thiswilltakeyou acrossthe pagefromleftto right.You
in yourfingersas fluently
needto havethe arpeggio
as the chordsandscales.Think
as the bridgebetweenchordsand scales.
of the arpeggios
who'vegrownup playingrockand bluesstylesare oftentrappedby a
Mostguitarists
mono-scalar
to soloing.Thatis, theytry to useone scale,usuallythe minor
approach
pentatonic
or blues,as it'softencalled,to playovera seriesof changingchords.In
manycases,thisworkswell becausewhattheycall chordsare reallynot.Theyare
doesn't
intervals
of a perfectSth,alsoknownas powerchords.Thistypeof approach
workto wellwhenthe harmonyconsistsof movingtriadsandfournotechords(7th's).
and out of
This type of harmonicmovementmakesyour scaleseem inadequate

place.You needdifferent
tonalresources,
i.e.,newscales,to effectively
solooverthe
changes.
All guitarists
run up againstthisproblemsoonerof later,especially
if they
wantto moveintosongswhichhavea )azz leaning.
Two of the earliestiazz guitariststhat reliedheavilyon arpeggiosare Django
Reinhardt
and CharlieChristian.
Listento how they usedarpeggios
to followthe
contourof the movingchordprogressions.
You'llsoonsee the art involvedin this
typeof approach.
Fora moremodernapproach,
listento guitarists
likepat Metheny,
JohnScofieldand MikeStern.
Experimentation
is the key to becomingan accomplished
improvisor.
There,sno
substitute.
ThethinEsin thisbookare meantto get you starteddownthispath.And if
you findthesearpeggios
helpful,pleasecheckout my otherbooks.ln additionto the
SCALEPATTERNS
FORGUITAR,mentioned
earlier,I'vealsowritten:MOVEABLE
G U I T A RC H O R D SI,N T R O D U C T I O
N
T O C H O R DT H E O R YC, H O R DE M B E L L I S H MENTandCHORDORB|TS.

Don Latarski

About the author..,

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

TABLEOF CONTENTS

MajorTriad.

......10

Major6th..

...... 11

Major7th

12

Major6/9.. .

13

Major7b5(akaM47#11). . .

14

MajorT#s..

15

Major(edd9)

16

Majorg....

17

MinorTriad.

......18

Minor6th..

......19

Minor6/9..

......20

Minor7lh..

......21

Minor#7..

......22

Minor7b5(akaHalf-Diminished)
Minor(addg)

. . 23
.....24

Minorg....

......25

Minor11...

......26

Dominant
7lh . .

27

Dominant
7b5(akaDominant
7#11)

28

Dominant7b9....

29

Dominant
7#9. .

30

Dominant
7b5b9..

31

Dominant
7#5#9..

32

Dominant
7#5bg. .

33

Dominant
7b5#9. .

34

gth. .
Dominant

35

Dominant
9b5(akaDominant
9#11).

36

gth).
Dominant
9#5(akaAugmented

37

Dominant
13th.. .

38

Dominant
13b5(akaDominant
13#11) .

39

Dominant
13b9.. .

40

Dominant
13#9.. .

41

Suspended
7th.

42

gth.
Suspended

43

Augmented
Triad.

44

Augmented
7th .

45

Diminished
7th

46

't

"'

l0

ChordType: Majortriad
Chord 'Form -+

Scale/Mode:

Arpeggio#

lonian

3I6I2

713

zIsf|fqYaYz

5)

2Is

z l3
I

sl6

215

3Io

I+
5I3

215

-Ls2J-

2I5I3Y6

5I3

7
513

5I3

2I5I3I6
4

e dod z

3
b

ll

Major6th
Chord Form ->

Scale/Mode

Arpeggio -->

lonian

rt7

316

3I6I2

Lgl
.grL1
zX sf + \ a \ z

sL

4 t6 t2

.t

2l5l7l3

J,+

x
e

2l517

I3
A

3I6

3I6

eI6
215

3I6

3I6
215

4
7
e

2I5r316

5I316

LI.3 I6

l-tt

316

2I5I3I6
A

3I6

3I6

3I6I2
4

7
t

t2

ChordType: Major7th

Chord Form ->

Scale/Mode:

Arpeggio ->

lOnian

3
41612

s{z{s

5I7I3

215l713

5I713

51713

21517

13

sI6
215

s&
+) l(z{s

a)

2I sIs

513

Io

l(')l

513

5I3

sf s

\
5

3 I6I2l
A

| (7

s)

13

Scale/Mode:
Chord Form ->

Arpeggio*

lonian

oXg

oXg

oX s

416 12

e I5

215I713

x
9I5

.)

2 t5 17 | 3
A

3I6

316

eIs

3I6

e Is

215

215

9I513I6

2I51316
t

6I9

3 I619

316

2I513I6
3I6I2

4) |

| (s

t4

Major7b5
Chord Form *
os{z

Scale/Mode

Arpeggio-_>
3

b5I7

usl7I3

7 t3

Lydian
3l6l2l#4

#41713
215

6l2

'{

t
b5

D5

zXs

o)
#4

zXs

z{s{z{s

x
o5

zXs

b5I7

osYz
3

b5I7

os{z
3

b5I 7

316

F4

2l5
#417

2I5I3I6

l5

ChordType: Major7#5

Scale/Mode:

Chord Form -*

Lydian-aug

Arpeggio->
7

7 l3I#5

3I6I2I#417

7 13 I#5

t4 17 13 l#5

6 r2

#5

#5

.t

OIGX,
#4
7 13

2) | (713

713

#5

r5

15

+4

x
7 Is

7 13

#5

7 13

t5

t5

sI6

#4
2

#5

#5

Is

#4

#5

316

#4

o t+\z

#5
3I6

#5

#5

t r 4 17
e

#5

Ie

#5

#5
3I6

#5

3I6I2I#4I7
F5

16

Majoradd9
Chord Form+
s)

scate/Mode:

Arpeggio-+
e

lonian
3I6I2

7t3
2I5 I4

16 | 2

(.)

|
41612

215l713

9I5

J,q

x
eI5

9I5

z {s {z {s

o
9I5

(+
3I6

J,q

2ls

J,q

215

2IsfeIo

5I3

4
o

3I6

5I3

s)

t7

Scale/Mode:

Chord Form ->

Arpeggio

lonian

L
Ll__

s7

3I6I2
A

7 Iz

713

2I5-qIalz

5I713

e I517 J3

5I713

2 15 17 l3
4

3I6
9I5

215

3I6

gXs

9I5
7

215

2 I513

16
A

2I5I3I6
A

3I6I2

I
6

18

ChordType: Minortriad

Scale/Mode:

Chord Form --+ Arpeggio

Dorian
6I2

oe{s}

b3I5

4 I b 7I b s I 5

5)

215-41612

b3

b3

b3

b7Ib3

4l6

b3

he

l2

b7 Ib3
2t5
b3

5
b3

b3

o
5

b3

b3

215

he

he

s)

s)

b3

b3

zY5

b3

s)

## !_
b3

4 tb7

2l5

b3

b3

4 lb7
612

us{s

+dozfs{s

l9

ChordType: Minor6th
Chord Form -+

Scale/Mode:

Arpeggio ->

he

Dorian

b3I s

b3

b3

b3

4T6T2
b3

b7 Ib3

b3

5
b3

215

b3

b3

215

he

b3

4 I b 7I 2 l 5
b3

b3
o

b3

b3

4 tb7

215
b3

b3I 5

2Is
b3

5
o

Jo

4Ib7I2Is

he

b3

4 tb7
6I2

b3I5

-4^b7it3I5

z0

Minor6i9
Chord Form -*

Scale/Mode:

Arpeggio#

Dorian

6Ie

6l2

os{s

he

ttl
qilT

6I9

4 lb7 Ib3I 5

6I9

he

ffi

5 r4

he

4t6

6I9

t2

b7Ib3
2l5

b3

9Is

215

b3

he

b3

4 lb7 I 2 I 5

b3

s)

9I5

b3

915

215

b3
o

4 lb7

zl5

9I5

he

o3

6 t9
b3I 5

l-l-

zY5
b3

he

9I5

l"#

h?

b3I5

4 lb7
612

4 lb7lb3 I 5

2l

ChordType: Minor7th
Chord Form -->

Scale/Mode:

Arpeggio#

Dorian

b7Ib3

b7Ib3

oz{o
5

he

5
h?

215

b3

+
o

b7
b3

b7
he

4 lb7 I 2 I 5

b3

b7

h {

uL
he

215
b7

Fte

*#: !l_
b3

b7

4 Ib7

he

4 Ib7
612

b7Ib3I 5

ozdoo{
s

4 t b 7I b 3I s

22

Scale/Mode:
Chord Form --+

Arpeggio-->

MelodicMin.
6l2

b3I5

r(li'

b3I 5

b3I 5

5L

5
b3

2Is14I6

b3

b3

b3
517

b3

b3

4l6

l2

b3

b3

5t7

21517

b3

517

J.q

215l7

b3

b3

b3

4
o

215

z Ib3

b3

7Ib3

sl

7Ib3

lI.u-L
b3

5
b3

b3I5

b3I s
1

23

ChordType: Minor7b5
Chord Form --+

Scale/Mode:

Arpeggio-->

b7Ib3

Locrian

b7Ib3

b5

ob

b7

os{oz{os

b3

b5 I b7Ib3

os{oz{os

b2IbsIb7 Jb3

b3

b3lb6z
b5

b3

b3
o5

b7

ob

b2Ib5

b5

b2Ib5

b3

b2Ib5

b7
b5

b3

4 tb7
b3

b3

D/

b3Ib6

b7

b5

o
b7

b3Jb6Ib2I 4 Ib7

b5

b7 Ib3
b5

b3Ib6

b3 I b6 lbzl 4 Yb7

b5

b3

b 3I b 6 -

b7
b5

b5
4 I b7Jb3
b2 Ib5

b6Ib2

1A

Minoraddg

Chord Form ->

Arpeggio

t_t_

liz

915
he

t.gtr)-t.,

I
h2

Dorian
-

os{s}

b3I 5

s)

Scale/Mode:

rTi'

2X 5f , + f o{ z
b3

b7Ib3

416 12

-I

bTIos

9I5

h?

215

o5

he

e 15

215

ha

o Yq
he

b3
5

915
ha

e I5
b3

915
b3

b3
9

b 3I 5

b3

4 [b7l 2l 5
b3

25

ChordType: Minor9th
Chord Form -->

Scale/Mode:

Arpeggio -->

Dorian

b 7 I b 3l s
o

4 T6 T2
b7Ib3
215
b3

9I5
h?

b3

215

ha

b7I9

b7I9

b7Je I5

4IOzIzIs

o z { s{ s

4 I b 71 2 I 5

he

he

eIs

215

h?

he

b3

e 15
b3

b7
q

b7

b 7 I b 3I s

4 lb7

26

ChordType: Minor11th
Chord Form ->

Scale/Mode:

Arpeggio -->

Dorian

11

tl

b7Ib3

416 l2
b7Ib3

b7Ib3

2Is
b3

1l

b3

215
11

b7
b3

b3

11

b3

11lb7

4Ib7I2I5

b3

b3

11Ib7
b3

rr{oz

b3

b3

11Ib7

1,1,*
l+
he

4 Ib7

612
b7Ib3

1 1 I O ZI b 3 I 5

4tb7lb3I5

27

ChordType: Dominant
7th

Scale/Mode:

Chord Form --> Arpeggio--*

?

Mixolydian
316I2

b7

s)

o/

4 Ib7

5
e

215 -4

a I2

b7

b7

3
41612

b7

b7

b7
215

b7

b7

316
b7

4 I b 71 2 l 5

ol

5I3

2I5I316
b7

Ia

5I3

4 lb7

2I5I3
b7

4 tb7
3I6I2

b7

b7

J6

4 Ib7

28

ChordType: Dominant
7#11
Chord Form --* ArPeggio*
b7

Scale/Mode:
SuperLocrian

b7

+A
t-

#4

b7

#4 lb7

o
!4N7

#4 lb7

b2 I b5Ib7 Ib3

b3 I#5
:2 Ib5

t4 lb7

_Ll

+
A
t-

osd+s
#4

3 ) | (b2Ibs
b7

b 2 I O S ) | ( b 3I # s

b7

b7
#4

#4
#4

b7

b3I#5Ib2) | (b7

LtA

hq

b7Ib3

D/

b2Ib5

#5 Ib2

29

ChordType: Dominant
7b9
Chord Form --)

Scale/Mode:

Arpeggio-+

b7

Diminished
h/w

b7
?

b9

b9

hq

ho

nq

0l

b7

5 ) | (3
b3
3 ) | (be

b9
67

b7

6 lbzI#4
5

b7) | ( 5

b2l*q ) | (os

r7) l(5

b2I#4) | (Os
5

D9

5I3I6
b3) | (bzl | (b7

b9

g,\6J I +.
b2 I#4

sfs{o
b9

b3) | (b2

ov

3I6
5

b7
+A

b7Ib3I5
b9

30

ChordTvpe: Dominant
7#9

Scafe/Mode:

Chord Form --> Arpeggio --+

Blues

b7

+ I o z J o s sI

#A

5 -,4
b7 l#9

b3

M lb7Ib3

-l- L

b7I*e

I4
b7)#9

5+fozfos

#9

9to

b7I#s
5

b3

4
#4

b7

(+\oz

l^7

#9

#4

b3

b7
#9

b7

4 lb7

#9

#4

sIs
#9

he

b7

b3

^L'7

#4

5 r3
o/

b7l#eI 5

b3

e-D
4 tb7
#4

b7l#eI 5

4 Ib7Ib3I5

31

ChordType: Dominant
7b5b9
Chord Form -D

Scale/Mode:

Arpeggio---) SuperLocrian
b5
b7

b7 Ib3

b5
b9 I b5 Ib7

b9

b7

b9
e

b2Ib5

3 I#5 Ib2

b3I#5Ib2Jb5lozlos
?

b9

b5Ib7

b5Ib7

b9

b3I#s
2

b9Ibs

beIb5

b7

b2Ibs

o/

b7

b5

b2Ib5

o/

b3 I#5

b7

b5

b2los

b3I*s

e
ho

b7

b7

o9

b5

b7

hE

Is

b5

b7

b9
o5

.osY*sYbe

osf*sYoe)| (oz
3

b9

hE

b7 Ib3
h(

b9

b2Ib5

#5 lb2

JZ

Scale/Mode:
Chord Form --> Arpeggio ---D SuperLocrian
b7

b7 I#9
3 I#5

3 I#5

#9

#5

b7 Tffi

b7 I#9

b2 I b5Ib7

#5

b3 I#5

92,[bs
b7 I#9

b7 I#9

#5

b3 I#5

.#5-L

b2Ibs
b7
#5

b2Ib5

b3 I#5

28
b7

l.l-(?'
b2Ib5
-9,g

*s{+s

(*r

-I(.

osd+s
doz

#5

b7

ltltr.
#5

b7 l#9
F3

b7

JJ

ChordType: Dominant
7#5b9
Chord Form -->

Scale/Mode:

Arpeggio---> SuperLocrian

o/

b7

e {+sfos

3 I#5 Ibe
#5 Ibg

b7

o
ol

#5

#5
b9

b9

#5

b3 I#5

b9

b2Ib5

b7

b7

b2Ib5

b3 I#5

b7

b2Ib5

QrFu

osd+s
{oz

b7
htr

#sIb9

b7

lsYog
#5

b7

o/

34

ChordType: Dominant
7b5#9

Scale/Mode:

Chord Form -*

SuperLocrian

Arpeggio*

b7

b7 l#9

b5

b5
b 5I b 7
#9

ho

b5Ib7

o os{oz{os

bs I b7I#e

.t

b5

b5

b7

b7
f9

o5

b5
b7I#9

b2Ib5
b7

#9

b2Ib5

b3 I#5

#9

b2Ib5

b3 I#5

b7
o5

b7
fo

b5

b3 I#5

usY#sYbz
b5

o/

35

ChordType: Dominant
9th
Chord Form --#

Scale/Mode:

Arpeggio-+
3

Mixolydian

b7

b7

3
q

0l
e

ffi

ffi
e

b7I9

b7Ie 15

.t

ozls{s

b7Ie I5
5 ffiI

3
b7

5 ffi{3

2I5I3
b7

e
AA
WI

9
,a'7

4 Ib7
3I6I2

16

4 lb7

36

ChordTvpe: Dominant
9b5
Chord Form ->

Scale/Mode.

Arpeggio-->

Lydianb7

e Ios
h'7

b7

b5

b7

.t

6sYoi

b 5I b 7

612
#4 lb7

215

ffi
o5

ffi

b7I 9

b7I9

bTIe

b7I I

b7

.t

b7

9Ibs
b7

9 Ibs

37

ChordType: Dominant
9#5
Chord Form ->

Scale/Mode:

Arpeggio ---> Mixolydian

b6
q

DI

3 I#5

3 I#5

ffi

#5

o/

b7
2l5

#5

#5

b6r4

:t_

2t5

uof,+

#5

u-

3
b7I 9
#5

'<7

4 \ b 7 x 2x 5

b7I9
#5

b7I I

b6

b7I I

4Ib712I5
#5

ffis

b6

2I5I3

#5

4 Ib7

b6

2I5 r3
#5

D/

#5

b7
a

b7

#5

4 lb7

b6

q Ib7

z
E

b6

38

ChordType: Dominant
13th
Chord Form _>

Arpeggio-->

Scale/Mode:
Mixolydian

b7

b7

3
5

t.t

11

IJ

+1._

1 1I 1 3

13I

+\a \z

b7

b7

.t

2I5 ) | (s

b7

b7
5
3 I13

3 I13

o
915

316
b7I g

b7I I
13

4 I b 71 2 t 5

IJ
ll

s {rs

b7

I
b7

! Jp7,

JE

11
o

2J5I3Y6

39

ChordType: Dominant
13b5
Chord Form -*

Arpeggio->
3

h7

Scale/Mode:
Lydianb7

b5
b7

b5

b5

o
o

13
b5
e

b7

3
1 3I 9

o TIT
.gX'rI

rs{s
b5

2I5 ) | (3

b7

b7

b5

#4
2

13

b5

3 I13

b5

b7
b5

D5

s X1s

3I6

#4

b7I2 I s

3 I13

b5

3I6

#4

z I 5I

1,*
s Yo

XA

13

l^tr

DI

frXrs

2I5I3I6

tl

3I13IeIbs

b7
3l6l2l#4
ol

40

13b9
ChordType: Dominant

Scale/Mode:

Chord Form =>

h/w
Dimlnished

ArPeggio*
#4

)-l.QlI'tr:

ol
#r',

b9

13

b2l#4)l(3)l(b2
6

b3) | (b2l#4lb7Ib3
6

b9

)ttl

t{+{o{oo

b9

b9

5 ) | (3

b3

67

b7

b2 l#4

s ) | (3
b3

b2l#4 ) I (b3

#9

#A

bz) | ( s

b7

b9

3I6Ib2I#4

13I b9

3 I13lbg

3
b7) | (5

b7

b7

b2l#4) l(b3

#4

s f,r:
b9

b7

5I3I6
b3) | (b2) | (b7

3I6)l(#4

prt-l | | |
sf e{ o

sf s
b9

b9

b7

b2) | (b7
6) lH4

3 I13
b7

>

b7lb3l 5

b7
b9

A1
tl

ChordType: Dominant
13#9
Chord Form -*

Arpeggio ->

b7

Scale/Mode:
Diminished
h/w

b7Tffi

ozft+

#4

13
#9

3 ) | (b2

1a

#4

#9

b3

b2I#4Ib7Ib3

316

IJ

b7 l#9

13
#4

lltoXo'F.

ffi

b7 I#9

b3
3 I 6 Ib2I#4

oz{+s

#9
3 I13

IJ

5 ) I (3
b3

s | 6 foef++

#4

b7) I ( 5
#4

ol
1l

ffi

ozY*q)| 6s

#9

b7

r7) l(5
#9

4i

13

b2t#4 ) | (b3
13

#9

5Is
b3) I (oz

b7

316 ) | (*+
#4

sf s

3 I13
b7Tffi

b2 I#4
b3) I (b2
#4

#9

s I3Io

13

3I6

b7
L '

b7Ib3I5

42

7th
ChordType: Suspended
Chord Form -+

Scale/Mode:

Arpeggio*

Mixolydian
316I2

afi6tTr5l

4 lb7

b7

3
5

zYsf + { o} z

5I4

b7

l\-7

b7

b7
5

2t5

[+
3I6

4 loz

4 lb7

4lb7l2ls

3Io
b7

4 lb7

+{uzdzf,s
2I5I3I6

4 lb7

4 lb7

z{sfs{o

s)

4 lb7

4 lb7

3I6I2
b7

4 lb7

4 lb7

43

Scale/Mode:
Chord Form ->

Arpeggio->

Mixolydian

q
q

b7

4 lb7
o

5I4

b7

b7

9Is
A

b7I9

4 Ib7I9

316

4 I b TI e I 5

4lOt Ie I5
915

4 I b 7t 2 1 5

2I5I316
4 lb7

9Is

2I5I3I6

+)

4 Ib7

b7

4 tb7

4 tb7

4 lb7
3I6I2

4 lb7

AI
L+.+

UhordType: Augmented
Triad

chord Form ->

Arpeggio---> whoreTone
3) t(2
b7

s Y+s

3 I#5

#4) I ( 3 I#5
2

# 5) | ( * q l o z

F5

f5)

f5)

fs)

F5

#5

#4

ol@\z
#5

#4
z

#5

#5

#5

n/

#5

b7

2 t#4

#5

#4

#5

45

ChordType: Augmented
7th

Scale/Mode:

Chord Form ---> Arpeggio _+

WholeTone
3) l(2

b7

b7

3 I#5

#4) | (3I#5

,) lo

#5 | | (#41b7

b7

b7

#5

F5

b7
z

#5

#5
4^

otY z
#4

#4

Ol6,k
#5

f,.

3
#5

#5

b7

9T

#5

Ie
#5

#5

#4

!)

b7

2 I#4
b7
#4

#5

46

7th
Diminished
Arpeggio -+

Chord Form-D

Scale/Mode:
wih
Diminished

x
b5
b3

b3
b5

b5
o

b3

b
h2

-J=J4T 6L 2

b5) | (b3

b3

2ll(7

b3

b 3 I b 6- ,

4
b5

he
o

b3

hq

b3

b5

he

h6

o
A

b5I 7 b3I b6

b3

b3Ib6

b3

b3

r5

b3

2
b3I b6

2lb5

b5
he

4
b5I 7

he

b6

THE
PROGRESSIVE
GUIIARIST
SERIESli
TheBEST
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Eochbook useso
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byDonLotqrski
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ARPEGGIOS

(:3093GTX)
S^cr.rseoch orpeggio in five positionsin o simple
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AN INTRODUCTION
TO CHORDTHEORY
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A procticol,stepby stepopproochto the fundomentolsof chordconsfruction,
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MOVEABLECHORDS
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CHORDEMBELLISHMENTS
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CHORDORBITS
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SCALEPATTERNS
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type ispresentedin eightfingeringsusingo cyclic
diogrom which showsthot ofterthe eighthfingering you willhove orrivedbock otthe storfingpoint
- one octove higher,

Thisbook illustrotes,
infivedifferentpositions
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modes of the mojor, hormonic minor,melodic
minor,pentotonic,blues,diminishedond whole
tone scoles, Don olsoshowsthe primoryusesfor
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