Improvising with Mini-Arpeggios Part III
Arpeggio/Scale Combination
by Paul Musso

My last two articles have dealt with utilizing mini-arpeggios in jazz improvisation. The articles focused on using note order and approach tones to create interesting melodies with arpeggios. The next step is to examine how to use mini-arpeggios in tandem with scales for creative improvisation.

Improvising should be a seamless combination of scales and chords. Most young guitarists don't see the relationship of the scale to the arpeggio; these two devices seem to exist in different parts of their fretboards, hands and minds. Good improvisers have a solid grasp of both arpeggios and scales and see both as one entity.

The scale must be in the same physical space as its corresponding arpeggio in order for this arpeggio/scale relationship to be useful. The following example illustrates a G Mixolydian scale, in the third position, followed by a G7 mini-arpeggio in the third position. Notice how the G7 arpeggio lies within the G Mixolydian scale.

When these two concepts are combined, the scale and arpeggio become one entity. Here, the arpeggio notes are highlighted in black. The reason the arpeggio is highlighted is because the chord tones exert more influence; they are "magnetized" in a sense. This graphic is exactly how I picture arpeggios combined with scales on my guitar fretboard. I simply emphasize the chord tones when playing a line.

Here is a bebop lick, using G Mixolydian scale, emphasizing the G7 chord tones. Notice how many chord tones are used. This is what I mean by "magnetizing" the arpeggio.

This next lick utilizes a device commonly used by swing musicians like Lester Young and Charlie Christian. Oftentimes, a soloist would play the arpeggio on the ascent, and then descend with the scale.

Now it's time to look at combining the G7 arpeggio with a blues scale in the same position. The blues scale contains the chord tones Bb (b3) and Db (b5). These notes are not in the G7 arpeggio, so the combined scale becomes an entirely new sound with a string of four chromatic notes: Bb B C Db D.

Here is a melodic idea that incorporates the combination of a G blues scale and a G7 mini-arpeggio.

This next idea again uses the ascending G7 arpeggio with a descending G blues scale line.

Notice how all of the previous licks all revolve around the basic arpeggio, yet still sound interesting. Don't think that emphasizing the arpeggio is in any way a "beginner" technique. The arpeggio is one of the most important and useful tools when improvising - never abandon this concept.

Now it's time to look at the three minor modes combined with the Gm7 arpeggio. The three minor modes that contain a minor seventh chord are: Dorian, Aeolian and Phrygian. The Dorian mode contains a major 2nd and major 6th. The Aeolian mode contains a major 2nd and a minor 6th. The Phrygian mode contains a minor 2nd and a minor 6th. These seconds and sixths help to define each mode.

Here is a Gm7 arpeggio followed by a G Dorian mode. Notice the arpeggio notes in black, within the G Dorian mode.

The following lick combines the Gm7 arpeggio as well as the major 6th - E. The major 6th really defines the melody as a Dorian sound.

Here is a Gm7 arpeggio followed by a G Aeolian mode. Notice the arpeggio notes in black, within the G Aeolian mode.

This G Aeolian lick uses the minor 6th along with chord tones. The minor 6th (Eb) defines the melody as Aeolian.

Here is a Gm7 arpeggio followed by a G Phrygian mode. Notice the arpeggio notes in black, within the G Phrygian mode.

This little melody defines the Phrygian mode by using both the minor 2nd (Ab) and the minor 6th (Eb). Notice the chord tones on the strong beats.

The next article will look at combining mini-arpeggios with more scales to create even more interesting melodic lines. See you next month!

Paul Musso

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