Improvising with Mini-Arpeggios Part III
Combining Arpeggios and Scales
by Paul Musso

My last three articles demonstrated how to utilize mini-arpeggios in jazz improvisation. These articles focused on the following devices: changing note order, utilizing approach tones and combining the arpeggios with scales. Last month's article looked at how to combine arpeggios with Mixolydian, Blues, Dorian, Aeolian and Phrygian scales. This article will explore three remaining modes (Ionian, Lydian and Locrian).

As an improvisation consists of a seamless combination of scales and chords, it is imperative to see the symbiotic relationship between the scale and the arpeggio. Scales and arpeggios must be played and conceptualized in the same area of the fretboard in order for this relationship to exist. Good improvisers have a solid grasp of both arpeggios and scales and see both as one entity.

The following example illustrates a G major scale, in the third position, followed by a GMaj7 mini-arpeggio in the third position. Notice how the GMaj7 arpeggio is a part of the G major scale.

Once again, I need to emphasize that the notes in the arpeggio are "magnetized" - that is, your fingers and ears should become drawn to chord tones in the arpeggio while improvising.

The following idea consists of a G major melody that incorporates the GMaj7 mini-arpeggio and the G major scale. It also uses a bit of chromaticism (E -F- F#). Notice how the chord tones (G B D F#) are played on strong beats.

Let's look at the other scale that is used in conjunction with the major seventh chord: the Lydian mode. The Lydian mode features the sharp-fourth scale degree (C#). This mode is considered to be the "brightest" sounding scale, due to the raised fourth scale degree.

The fingering of this scale may seem a bit strange due to the four notes on the B string (C# D E F#). This is due to the F# on the second string. This is the way to play the Lydian mode when playing the standard root-four mini-arpeggio.

Here is a fingering for the G Maj7th chord and G Lydian scale that may seem a bit more logical and easier to play.

As I stated in the last article, modal licks and melodies must contain the notes that make the mode unique. In this case, the sharp four (C#) needs to be incorporated into the lick. If the sharp four is placed on a strong beat like one or three, it has even more of an impact. The following short melody uses the C# on beat one which defines a Lydian sound.

Here are two different ways to play this lick. The first GMaj7 fingering uses the original mini-arpeggio, root-four fingering with the F# on the second string. The second fingering uses the GMaj7 mini-arpeggio fingering with the F# on the first string. Both arpeggio fingerings are valid; each fingering accommodates different licks.

The next mode/mini-arpeggio relationship I will examine is the Locrian mode and the minor seventh flat-five chord. The Locrian mode is used to improvise, almost exclusively, over minor seventh flat-five chords. Here is the arpeggio/scale pattern for Gm7(b5). Notice how easy the fingering is for the G Locrian mode. This is due to the parent key -Ab major. This major scale finger pattern is very common to all guitarists. The Locrian mode pattern ends up feeling very natural.

The harmonic context for a minor seventh flat-five chord is usually a ii chord in the minor key. Most of the time, the m7(b5) is followed by a V chord in minor. This means that the Gm7(b5) is a ii chord in F minor and the V chord is C7. The following lick demonstrates a ii V lick in F minor. Notice how the lick starts on the third of Gm7(b5) - Bb and lands on the third of C7 - E. Targeting chord tones on downbeats is an excellent way to define the harmonic progression. This is what is commonly called "making the changes" because the melodic material can stand on its own without being dependent on the presence of the chord changes.

The last chord mini-arpeggio/mode relationship that I will explore is the Phrygian mode as an altered scale. Teachers often overlook this concept while explaining mode applications. The Phrygian mode is usually played over minor chords, but it can also be played over altered dominant chords like G7(#5b9). Using the Phrygian mode as an altered dominant scale is an easy way to add altered tones to basic arpeggios. When the Phrygian mode is played over a dominant seventh chord, the following altered notes are present: b9, #9 and #5.

The following graphic illustrates the combination of the G7 mini-arpeggio and the G Phrygian scale. The only note from the G7 arpeggio that is not in the G Phrygian scale is the B-natural. This scale is excellent for dominant seventh chords that resolve - G7 to Cmaj7 or G7 to Cm7.

The following lick incorporates elements of this unique arpeggio/scale combination. Notice how I used all of the altered notes in the Phrygian scale - b9, #9, and #5. I also target the major 3rd (E) of the CMaj7 chord. The Phrygian scale creates a "darker" color for the G7 chord. When the CMaj7 is played, the contrast of "dark" to "bright" becomes very clear.

I hope the last four articles on mini-arpeggios have been helpful in your pursuit to master jazz guitar improvisation. I covered a large amount of information over these four short articles and I encourage you to practice and process this information slowly. I have used these principles over the last twenty years and I assure that your improvisation skills will improve if you incorporate these techniques.

Have fun playing,

Paul Musso

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