ARPEGGIOS FOR THE MODERN GUITARIST, The Complete Guide, Including Theory, Patterns, Techniques and Applications. CD TABLATURE
Arpeggios for the Modern Guitarist
The Complete Guide, Including Theory, Patterns, Techniques and Applications
Series: Guitar Educational
Format: BOOK W/CD - TAB
Author: Stephen Ross
Using this no-nonsense book/CD pack, guitarists will learn to apply and execute all types of arpeggio forms using a variety of techniques, including alternate picking, sweep picking, tapping, string skipping, and legato. This is not just another arpeggio book, but a methodical approach to expanding your skills as a guitarist – and as a musician!
Inventory #HL 00695862
ISBN: 9780634086090
UPC: 073999265620
Width: 9.0"
Length: 12.0"
64 pages
With this no-nonsense book and CD, you'll learn to apply and execute all types of arpeggio form using a variety of techniques, including alternate picking, sweep picking, tapping, string skipping, and legato. This is not just another arpeggio book, but a methodical approach to expanding your skills as a guitarist and as a musician.
ABOUT THE AUTHOR
Stephen Rogouski (aka Stephen Ross) has been a professional guitarist for eighteen years. His most
recent project, Rogosonic, has released a new CD called Leave the World Alone. Additionally, he has
released a solo album titled Midnight Drive on the highly acclaimed Shrapnel label, appeared on
numerous other notable recordings such as Warmth in the Wilderness, Part II (Lion Music) and The Alchemist
(Liquid Note Records), received praise from several major guitar publications, and contributed guitar
lessons to several online instructional web sites. He currently lives in Monmouth Junction, New Jersey.
PREFACE
My first real jazz teacher was Harry Leahey, who not only was a student of the great Johnny Smith but also
toured with Phil Woods and taught at William Paterson College. He was a legend in the area, and
almost every guitarist worth his or her salt studied with him at one time or another. I recall that my mom
would drive me to his large Victorian house in South Plainfield, New Jersey, for my lessons, and we would
wait in a small room with food and cigarette ashes strewn about while he finished his previous student's
lesson. As we sat waiting, the sound of wonderful bebop licks would emerge from the teaching room.
Usually it would take about ten minutes before the door would spring open and a smiling Harry would
greet us and call me in.
It was in those lessons with Harry that I was first introduced to arpeggios and chord theory. I have always
loved the sound of arpeggios and feel they are an important part of my guitar style. Thus I felt compelled to share my insights and ideas by writing this book. I hope you enjoy learning from it as much as I enjoyed writing it.
INTRODUCTION
Why this book?
OK, so here's another book on arpeggios. What makes this one different from the others? Most arpeggio
books I have seen focus primarily on forms with little information on how to play them effectively. In this
book, the forms given are designed around certain techniques such as sweep picking, alternate picking, legato
playing, two-hand tapping, and multi-finger tapping. If you can play one form well using one particular technique,
you should not have too much trouble playing the other forms well using that same technique.
Prerequisites
Many musicians think of arpeggios as an intermediate to advanced topic-and they're right! To use this book
effectively, you should understand what scales and modes are, know how to play and transpose them in
different keys, understand basic chord theory, and have some knowledge of meter and rhythm.
Methodology
An arpeggio book must teach the student arpeggio forms and show how to execute and apply them. The challenge
in creating a successful text is carefully blending and balancing these topics.
1. Learning arpeggio forms: To learn arpeggio forms effectively, they must be organized in a
structured and logical manner. This book organizes arpeggios by tonality and harmonic complexity.
The tonality of the arpeggio is simply designated as major, dominant, minor, diminished,
or augmented. Harmonic complexity is closely related to the number of notes in the
chord formula; for example, a Gmaj13 arpeggio is considered more harmonically complex
than a G major.
To make memorizing arpeggio forms easier, forms that are harmonically complex are sometimes
built by stacking basic forms; for example, seventh arpeggios, which have four-note
chord formulas, can be built by stacking three-note triad forms. This approach is utilized
quite frequently throughout the text.
2. Playing arpeggio forms: This book integrates practice tips and execution notes throughout
each chapter. Techniques covered in this book include alternate picking, sweep picking, hammer-
ons and pull-offs, two-hand tapping, and string skipping.
3. Application: Integrating arpeggios into your playing style is the part of the process that
takes the longest amount of time, but is also the most rewarding. By the time you are finished
with this book, you should be well on your way to integrating the arpeggio forms illustrated
in this book as well as your own into your playing style
TABLE OF CONTENTS
ABOUT THE AUTHOR & PREFACE
INTRODUCTION
HOW TO PRACTICE ARPEGGIOS
CHAPTER 1: Triad Arpeggios
CHAPTER 2: Seventh Chord Arpeggios
CHAPTER 3: Extended Chords (9ths, llths, and 13ths)
CHAPTER 4: Altered Dominant Arpeggios
CHAPTER 5: Octave Arpeggios
CHAPTER 6: Tapping Arpeggios
CHAPTER 7: Arpeggios and String Skipping
CHAPTER 8: Key Transposition
CHAPTER 9: Arpeggio Examples
GUITAR NOTATION LEGEND
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