Approach Notes – Part Three

Approach Notes – Part Three…

Studying different variations of approach notes to arpeggios ignites the imagination, and adds chromaticism to your lines. New ideas will creep into your playing from out of thin air! Run this material through all of the different chords and keys as strict exercises, and then begin to create with them. My previous lessons covered approach notes from below -and- approach notes from above. This lesson will combine both approaches to major 7^th arpeggios from both below and above! I use major sevenths as an example, but all the variations should be applied to minor 7, dominant 7, minor 7b5, and diminished 7^th. 

The first examples approach the root of a G major 7^th arpeggio as a double chromatic from below and above- before continuing to the third, fifth, seventh, double chromatic from below and above to the root, continue to the third, fifth, and come back down.

The next example approaches the first inversion of G major 7^th arpeggio. A double chromatic from below and above approaches the third, continue to the fifth, seventh, root, double chromatic from below and above to the third, continue up to the fifth and seventh, and back down.

The third example approaches a second inversion of a G major arpeggio. A double chromatic from below and above approaches the fifth, continue to the 7^th, root, 3^rd, double chromatic from below and above to the 5^th, continue to the 7^th, root, and back down. 

This final example approaches a third inversion of a G major 7^th arpeggio. A double chromatic from below and above approaches the 7^th, continue to the root, 3^rd, 5^th, double chromatic to the 7^th, continue to the root, 3^rd, 5^th, and back down.

Don’t overload your brain with too much information. Figure out a logical method to practice this material until it becomes part of your permanent memory. As always—good luck!