chords , so obviously they are going to be the structures that most accurately represent the sound and color of the chords they share the same formulaic construction with . This is because they are built using only the tones found in each chord . Following the order of each chord in the F major ii-V-I progression , you could use the notes from each of the following arpeggio forms to play an eighth note pattern over each chord change as demonstrated in example 2 .
Since each arpeggio only includes notes that are found in each corresponding chord , you are effectively outlining the changes in the most literal way possible .
As you might guess , great players do not rely on arpeggios alone . You would probably never want to improvise a bass line or solo over a tune on a gig using nothing but chord tones . Unless a part was written that way intentionally ,
Example 2 it would sound quite stale and exercise-like . However , if you listen to a great improvised bass line or solo in which the bass player is outlining the changes effectively , you will notice a couple of things . For one , you will hear that often they will use a chord tone or other type of guide tone on the downbeat of a chord change . This signifies harmonic transition and creates a smooth connection between phrases as they pass through each chord . Another thing you will notice is that will rarely play phrases that are exclusively made up of scale fragments and / or sequences . Quite often , he or she will build phrases that incorporate greater intervallic distances exhibiting contour and a change in direction .
The value of mastering the application of chord tones in the practice shed cannot be overestimated . For this reason , I have spent a lot of time over the years working on chord tone exercises . In fact , I still practice in this way today , especially in instances in which I am learning to navigate through challenging chord progressions for the first time .
For this installment , I want to present you with some basic arpeggio form exercises that you can practice that will help you navigate the fretboard more effectively . Many of you will already be familiar with various arpeggio forms that are played starting from the root , but I want to share with you some additional patterns that can be played from any chord tone included in the arpeggio . I call these arpeggio inversion exercises .
ARPEGGIO INVERSIONS Here are some forms you should memorize up and down the range of the neck . What ’ s great about them is that they allow you to play ideas that don ’ t always sound so “ root-centric .” Over-relying on the root is a big problem for many bass players who are just beginning to improvise . Because we bass players almost always have foundational roles in an ensemble , we have a tendency to want to build ideas from the root because that is what we do the most . When you are improvising , you want to think more like a singer or sax player . Let go of the