Improvising with Mini-Arpeggios
by Paul Musso

One of the most confusing tasks for beginning jazz guitarists is the use of arpeggios in improvisation. I believe this confusion with how to use arpeggios stems from two sources: two-octave arpeggios and arpeggio/scale correlations.

Let's address the two-octave arpeggio first. Most young guitarists learn arpeggios in a two-octave form. These two-octave arpeggios use the sixth and fifth strings as the root notes. The problem with learning arpeggios on the lower strings is that there is an inclination to start the arpeggio in the lower octave. I can recall hearing students improvise in the mid to upper register using scales and then abruptly jumping down to the sixth string to play an arpeggio. This approach can sound like a bass line that breaks up the flow of the higher, melodic line.

The most effective way to fix this problem is to utilize the mini-arpeggio. This is just a catchy name for arpeggios that have fourth and third-string root notes. Mini-arpeggios can be thought of as the upper octave of two-octave arpeggios. Here are the fingerings for root-4 mini-arpeggios. I have included the five basic arpeggio types.

Here are some root-3 mini-arpeggio fingerings including the five basic arpeggio types.

The big question when learning to improvise with arpeggios is: how do I use the arpeggio in a creative way? Here are three possible approaches in how to use arpeggios to create interesting melodic lines:

1. Change the note order
2. Use approach tones
3. Combine arpeggios with scales

Note Order

The first approach is an obvious one: change the note order of the arpeggio. Most musicians practice arpeggios in the order from lowest to highest: Root, 3rd, 5th, and 7th. By simply starting on a chord tone other than the root, the arpeggio becomes a bit more interesting. The example below uses a G7 arpeggio, starting on the 3rd.

I will use only the dominant seventh arpeggio, in order to simplify my examples.

Here are a few more ideas utilizing a rearranged note order with a G7 arpeggio.

What I have noticed about practicing arpeggios this way is that these combinations lend themselves to more interesting melodic lines, even if using only the first two or three notes. I strongly advise you to stop and explore the creative muse while practicing exercises.

Here is an interesting little lick based on the 7 3 5 R sequence. Notice how simple this melody is. It is made up entirely of notes within the arpeggio - nothing more. I've added only a basic rhythmic figure.

This motif could serve as a springboard for another melodic idea. If this were a blues progression, I could refer to the melodic contour (7 3 5 R) on the next chord - C7.

Approach Tones

A second technique for making arpeggios sound more interesting is based on the use of approach tones. Approach tones are notes that are either a whole step or a half step above or below the chord tone.

Here is an example of the G7 mini-arpeggio with half-step-below approach tones on every chord tone. Notice the suggested fingering for the left hand.

If I simply use one half-step-below approach tone, I can create an effective melodic idea. The following G7 lick uses a Bb - the approach tone below the major third - B.

This is a great Django-style lick that could be used over a dominant chord or a major chord. The idea is to execute a descending major arpeggio without a seventh. The line utilizes a half-step-below approach concept. Holding true to Django, I used only the first two fingers of the left hand.

I can now take my 7 3 5 R idea and add a single approach tone to each arpeggio. At this point, this line begins to sound more sophisticated and more stylistically like a jazz idea. The approach tones create an effective and logical use of chromaticism within the context of playing chord tones from the arpeggio.

I have barely scratched the surface of applications of the mini arpeggio. There are so many ways to make the arpeggio interesting and useful in improvisation. Playing the pure arpeggio (R 3 5 7) is just the beginning. These little arpeggios contain a vast amount of music!

Next month we'll look at more approach tone applications as well as combining mini-arpeggios with scales.

See you there!
Paul Musso

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