Escalas y Arpegios (MI)

8/19/2019 Escalas y Arpegios (MI)

http://slidepdf.com/reader/full/escalas-y-arpegios-mi 1/39

by Daniel Gilbert and Beth Mar/is



. . . . . .

kty

IJ 'l9 tbOV'e, play

up

to the

1~ baek

dO w n

to l

ile

Un at*"&t•

pock

1

ng

the

5:

pa

uern 2

dle

w e

be

posrf>On

o C the the the

lho

tootó"'I) the

4

.. ~ 4;

p1tt

etn 4

Playing Moveable Major S

ca

le Patterns



1

2

two the

1

• •

l4)J)Qt

the

note

added) be

tnan ton~

N o w

took at the upper OC1ave o 4 pat1<trn 2

Ag

. 2

:

m"or sca

le patt•m

2

º

¡

J ;

©

;,1, .

< -

A

r

Flg. 1 . patlern 4

1

T •

•

•

V.l~ wQtk. lno

by

th o

4

Loolt

Major Scale Patterns



S

flg. 1

pn

18m

1

p a 1 1 e m ~

5

•

•

- - •

•

. .

•

•

•

•

•

•

•

•

•

• •

{j)

;

r~

Q

0

( . )

Major Scale Patterns,

Long and Short Terrn Goals



PradlCc caeh ot

m

ese ~o.nd

dff:oondi

ng lho erpeggloecen

~·

OCl6vl o

4 wetl . shlPM

dlforem

Fig

.

3: p1ttern 4 upptroctavt

1

S., we lhe

ton<• chord U1glo n o 1.. be

U 9 e C I

the "°"nd

w

ll

team

major &ealé.

cel'9d because

oontain

lhe

lllree

pttches

(root

t.tiird. and

f

fth.

)

neoded c t o f 1 1 1 e e

Loo'c

shape l t lMt'I tnad

a : : P*ttorn tow~octave

1

Arpeggio Shapes for the

1.

IV,

Chords



pattern 2

P f

:

1 .-.,

• r

•

1

-

-

poeem4

lg. 1

0 1 U ' iS :

SC4. . ,

010

doriVod

tho

tea. '8

A s

o4

f

act.

4 f 1 Y

.u.Je

' & h o

prosentt ld a• o

v a . r i t l l J O n the

' ° ' ° " ' . . - i g

two

th O

icak>

2

80d

4);

Patterns of the Major Pentatonlc Scale

Chapter 4



Patterns of the Ma)or Pentatonlc Scale

Fig. 1

pa r tom

3

,,.,_5

1

1

~

. .

1

•

•

•

e [,

, ¡ : r

e

. . . . .

¡¡¡

. .

-



th65oo de'Seendlng

$tarl

by that.

¡

·

•

tí)

1

1 j•

: J >

..tj'"

+ : :

C l

1

1

.. Q ) . . . . - "11'- " ' " > - « : -

W < : J by 2 any sctte

loco od S l . l d . t ' I , n3mOd . s e . a l e . ldea

wol.)

Patterns of the Natural Mlnor Scale



Ftg.

2

-

pa

ttMt •

oct

ave

. .

r l

O

L

36

A s Pf e v ' I OU .S

She the

tne these bwet

OCl<We

Arpeggio Shapes for the 1,IV, and V

Chords of the Minor Tonality

WMn read,.,

ab

lo to ¡:tay on any tcnt;:, asoeodW'll)nd

U ' $ > n 9

alt~to picking,

t

h o n

Patterns of the Natural Minor Scale

Here 010 t

h O

romalning

patternt ol

the natural minot

$Cl\lt. Aga ln. toep

lho

long and

goal•

1Mse

W ' l

F1g. 1 1

pao o m

·

1

:

=

f

•

t

. . , . . • •

1

· 1•

-0

1

< l • v - + , , .

- 0 }

1

()-+ -O

( )

- @ I



PtactiCe t

1 ~1;1

a~nding de5oeodng in"'

ke) 'S us

log f J 1 ~n& l8

piclung,

t

'-'

tlammet·

fJg. 4 -

pane

rn 2 :

eetev

e

• •

at

pkty a&<:encfrig



~ J ~ J • J

_ . _ . _ . J r

1 .

. •

~

-

•

•

J

1 2 ) '

s

be tre.t f O Y

rt

h l tnQél '$ &s oe n d and

doocend.

Objectives

5 e a ; 1 n tM. tea •.

•

T

o use

$

i

dos

the

t o n a ~ r y C h O rd

The Minor Pentatonic Scale



p.ek ng.

tMn

C l }

_ ¡

1

1

•

pot tcm

4

a~tern 2

the

Ffg.

1



Remalning Mlnor Pentat:onic

Scale Pat:t:erns

m 1 n c w

&e a le .

reacy

pattorn

.. """' 3

p an

tm5

. .

-e-

•

:

- 1

•

•

1 I

+(¡}+

f

}

- t -

- ©

> .

l)-

• •

45



•

•

osad up

ot

FftJ. 1 : m•Jot aeale p1 1 1 om5 , thrM

n~ st

ingpatt

en'l

1

Three Note·per-String Major Scales

)'01.I ' ° f90

" '4Y"'IJ l\8bdS rlly1lv'1

U 1)1oto}. Ch OOM

' .l t é V

ll o r

D

l h < W 1 6 tldYllQ Ut

(Of

ºnood;e"

wrth

tt'8H

< M A

•ach

Objectives

z¡,c¡.¡ ~

OQOtigura11on

•

U . S ¡ n g

SC 3t e

over

l ' r ' f

Three Note-Per-String

Major Scales



W h o t

may

aSk?

01 '

ei

bul physical 6QmQ

eipproec::h

thit mofe me1er ° ' de\K:e

.

e

. , .

.

_._.

- - -

•

·

1 :

-

- -

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.. . . . . . . .

•

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t • IS

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t

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T

8

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°"

ranOo m · . n

v . 1 t h thii

w .th

tnpleC

q

r

r-"'"l

J r r

,

.

·

·

=

·

~

·

·

i.

-

~ .J

Objectives

l'o

l t lnMI

not•por·s;mg patterns O f thO

mr«

o nd '-Y

ap¡My

appfy



1

:

•

1

1 •

1

1

1

T ~ ·

-

~

••

•

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t f

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C D

e

thrw

not~,

Mg anom

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•

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t

*

11\ret note·pot--s. ttrg pattcm 2

1h1oe

not•J*~trl

ng pa.11em 3

r m

.

•

¡:

•

• •

1 :

• •

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l

T ~ j

- · 1

•J

,_ ¡,

"'t

0) - O > -

t e¡;

• • •

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- ¡ -

-

i4

•ji

2)."'

C i }

• •

•



S 9

• •

•

.

1 lJ c ¡ ~

panemS

:

.

- o

m eeo rse w e toadarpegg¡os a t• they

T h e

ba$od

0t11)na.l

ent1r

o

1 1 1 1 1 0

o ctave .

P ' C

k l " O

S U U ' l

a n g

tl ' I O S . O

•

h o

posw ll

od

shol11y.

Flg.

Major Arpeggios



pattom2

:

•

•

v

©

. . .

63

the Kat

CO\'Ot

the

these

r v 1 1

t

w o ~h

l ie A

Fi9.

1



........ 3

5

•

.

t

.

:

.

f f i

~

¡~~

-

e 1

e e

.:¡.

rool



1onahl10S-

based

ori

tho

t.

eonarty.

The Blues Tonality

try

be yo u 1

o . r e MU91ie

bogin

to

ptaying: (hOw tt íCQ.

not

Wam.wiglThi I can VBslf)'

~rove ) 'O(Jr

¡Myino,Nt

et

~et

ptva

....

Objectives

The Blues



se.oles 1 1 ' 1 1~

to the

highcs.t P Q S l i Om .,

p i c k 1 ng

olt$, t

c

.

)

U

p daionic sca

l

o one

C le

\

iOe

u5ed

mue

up

e

he

no

1

es ~

w o r l c . w e •

apptO&eh

ata ..

2

T

.

1

.

. .

.

. . . . .

-

1

·

- .

.

•

•

1

' ¡. .•

·¡;--

..:..

, _

'1>-" ....

T h e (o

w •

""'8 ~ panems and 0 tno scaio . A .

s u g g o s

8 00

on hélbORtd ctagrems..

F

lg

.

1



1 1

goes

G sade 4

d

.atonic ~ fth f)()SlltOn

¡ ,

~

~

J

JG

•

(

•

T

•

•

•

•

•

1

•

r;:-J

J

•

Objectives

t.hé $ C a l é

•

T o l eern •cat a.nd responso· i n blues

Blues Variations



97

•

•

e

DEf C

w

1

th

(Ex.octly

~hal

1 1

SI)

flg.

teale

•

1tie

d e the both note & the

k . f l Y e O 'M

l

Ot

Minor Pentatonic Scale Variation



Se ptay ncc:o as~g .n onyko y

.

P

a

tterns of the Dorian Scale



1 05

•

•

•

••

• • •

e

1 (8)

A S.

"""'d 6

{

1 )7

·

1 :

2 tht$

5

F

•

E

•

('13

o

2

e

Thrs

to tM

lhe of e t l O C I 10 $ C é 1 ' 8

would the t°'

vanauon:

Dorian Scale Varlatlon



The o e modo. otl'w r

A B · C

)7

o

2

e

me,or

s.GYentn

be

conta•n lhe t

0 1 c w - 1 n g

noto~:

The Consructlon o'f the Mlxolydian Scale

yout

a . 1 ) 1 1

(lh~

I J)(4Ctl0& U\gil'lg \ljl1h )"OUI tca\OS, •tptggbl. ~· at(j am.

goal 1 s l>ül

iS

hands.

P ' a y

1

ng•

Objectlv

es

\t

xotydan scalt.

•

T o

l

eam

f W O

p¡:i1t9lnl lhil MutOlydiafl

.sc91G

.

:he S C l f f

•

T

o

1mp r C MS e

l o \ • l h

M•xotyd·an

5COlo

< M J r

dl0<d

P 'OQlos.s ioM

1 n

tho

blun

end

tonaflbn

The Mixolydian Scale

Patterns for the Mixolydian Scale



8e theie

c : i e - s . c e n d l n g . t

onte.

p.Wog.

Apply

8$

~•~

Ag .2

pa1ttm2

· - ·

• r

• •

•

1

.

•

1

•

t =

+-º

1 •

t :

.

- -

'P

~ q j

1



113

Patterns of the Mlxolydlan Scale

the

palteml 2

8nd

4

are

av a•abl• 1mtn9d&at1 reea

t

and u" any ~

ey.

Ftg

. 1

pru_~m2

5

1

•

1

± i

:

-e ..

•

tif

'

ij:

..¡-

• •



lhe st.:a lti h:irmcwif1ed

1 ' 1

(by tdr::tlng the

m.nor ff\l'el'lth, d0mttan1 sovon h, and ~r 181.-en lla

t

· f 'Ne caHod1a f dfn1nd ' ledJ . ~ a b & e

The Four Seventh Chord 'TYpes

not

t h u mb

O I

~ 6 e t t wnstot U w o re O C W I O 10 take p u se. Then, w « h a 'G h V M Y

~ni ma~

thlt J S ~ base

il~ ~ to

' - C >

tho

the tne

Objectives

the

llJ)eOQOS the

be map

to

ine

two baséd

arpegg¡o.

oombtno tona•iy

Major Seventh Arpeggios



As

begl't by to

l t \e .so two pectooo

•

•

•

•

.

1

)0"""1

4

Patterns ot' the Major Seventh Arpeggio

$h$r>et

m A J O t '

he

the



Construction of the Minor Seventh

T hG lnl~l leap

1 1

C

tenl'I

uscng alemato pdcáng 1 4 > he tretboard on ine A

8 I O d

6 1'111-.gs

J

~ ~

) ', •

1

1

-

t

• •

•

e

•

IS

. .

• •

Objectives

.o l \ lpeOf>O iAny r 0 0 4 I

• T o le.arn

I W O

2-oc l~ve pe t tem s l t le

mo no r

' iO\. 'éOfl

arpeggto

phras.es based

ilri>eoQio

af'POOQtO owr.



1

, . .

: J

1

- L

--~ .

•

•

l 1

1

•

pa1tom 2



a " 'inure

o

S O i o

to

lhe '6

tno

~oc

yoor For

\\oatlt ~t h

'V'Of't/

up 1 1 SOio.

OOl'M)OO C 0 ' 1

1

()4JI

1 1 > e

K a ' M l l M W o t a l po.nts

lnl:ol\Sdy

Pl

d)lng at

~k

tEM ls l'OO' saa1

1 lns,h

P

l a o y 1 n g . , . . . l h

a

V t J < V

sParM.

itnd bac:k

approooh.

Go k > . \ · o , prtd' I

2. G o "'Y~

3 Go

1 0 SUbs.

8'>Cl-x

..-non<ila>onoc lOUt ld&

be t o o - 81' ) '

tne

Ole

chotd

Objectives



10 tha1 tho6e mere y s . e · . i e n t h wl i'l ~ed They

Pathorn

s of the Dorninant Seve11tl1 Arpeggio

arpegglO pert

C i

.atonie

r v

o r -

¡t)e

sovet'lh

P(Jr:.ftm4

:

1

·

:

l

·

:

i

t-.

e

. . .

•

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1

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, 1 > 1

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r

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t.

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•

•

•

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±

•

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e

C 1 J

1

s

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o



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-

- -

~

-

,.

. .

•

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-

~

-

•

s

•

T h e w

Is

11\ape

chorá up

$wCJieP•l9oee&UM

to

i' O o o ooottol tho

&ne lhe et

the

Objectives

be

able

tno SO' J Of l

baSéd

4

2

th& O\Ntr

Minor Seven Flat-Five

Arpeggios



petem4

2

pa:tt tm 1

·

1

: :

1

·

1

1

.

•

•

•

f ~

± -

· O

~

< '

3

~

- - ¡ - <

0

·l

pattem3

•

:

1

tQI' tho

thtS

loom

1 ng by uSing

Fig. 1

Patterns of the Half Diiminished Arpeggio

• 5

l h o u g h (M

cend

<>g) Is""""

E t thrd the$8

e

E >

a.



•

-

J

-

-

-

• •

. .

$0Xlupl(ll $íX

f lCC•s equal vatuo. o b Y t O t . . 1 1 banotil ot 1"'8

. sé lCtuP'el

rh) 'f im bM

he execo

t

10n

ot thtee

l 1y

4

t.ctin.cas d\allnnge s o m o p¡ayers

m ay

r . e the atea &eeumto e.aeh

s,il(

o o • nottt

ol l l ' O as you

pt:sy

G ma ¡ or acete

Gradua.tly

buikt your ~

Objective

the

he

•

T o léarn sequeeces

ptira'"

Das:to o n

the

m n o r

I C : 3 I O .

mnor to

c;hord

The Harntonic Minor Scale



) ' OU f ' le&e

apc>ly

' "

0

t-d.-t- 'J-'

ro,

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l ...

Ji,

•

•

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p ¡ 1 i

1 1 o t n

1

tcm2

pattt.m

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be

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Flg.

1

Escalas y Arpegios (MI)

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Transcript of Escalas y Arpegios (MI)