Major 7th arpeggios contain four notes, all derived from the first note of the Ionian Mode. These notes are:
Root – Third – Fifth – Seventh
So, for a C Major 7th chord, these notes would be:
C – E – G – B
The following examples lay out three different sizes of Major 7th Arpeggios, one octave, two octave and three octave fingerings. If you notice, each of the larger fingerings is built by combining two or three of the one-octave apreggios. This allows you to learn a new fingering without learning new material, just applying previous knowledge in a new manner, as well as makes it easier for you to memorize longer-form arpeggios.
Each fingering is presented on a C Major 7th arpeggio, but make sure to practice these in all 12 keys so that you learn you neck, as well as take these fingerings into every possible spot on the neck.
Click on any example to see a larger, printable version of the page.
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I really like this idea of 3-9 arpeggios, but, my problem is how to look at a chord progression and decide what to do as a solo. e.g. Scale or arpeggio.
What would you suggest is the most practical way of breaking down chord chart please? Do you identify ii V i etc and stick to one scale/arpeg through it, OR do you look at the which key would fit over most of the tune……
Hey Ivan,
Good question. I would practice improvising over any new tune using only one approach. So I would solo over each chord with just the triad, then just the arpeggio, then just the 3-9 arpeggio and finally just the scale.
Then I would mix them together in the practice room so that when I get on the bandstand my ears can guide my choice of scale vs. arpeggio when I’m soloing.
Separating them will give you a good command of each approach, making sure that you are never stuck using only one because that’s all you can do over a certain tune.
Try that out, you might be surprised how deep you can get into a tune with this easy approach.