These arpeggio fingerings correspond to the major scale fingerings on this blog. Note that I have included all of the chord tones within each position.
Practicing arpeggios from the root of a given harmony is useful but insufficient.
Smooth voice-leading is achieved through stepwise resolution, not melodically arbitrary leaps to the same factor of each harmony.
That said, I feel it is vital to pay special attention to the root of these shapes, as it is the basis for moving them around the fretboard. Hearing the root first will also attune the ear to the quality (major, dominant, minor, half-diminished) of each seventh chord.
Playing music on the guitar well often demands that we play along the string (shifting). Certain musical gestures cannot be attained through positional playing alone, and often fingering a passage along the string simply feels better than the positional alternatives.
However, positional scale and arpeggio studies are essential to developing an understanding of the symmetry and organization of the fretboard. Also, a positional approach provides the consistency required to develop the kinesthetic-visual-aural associations that improvisation demands.
The PDF files below present 5 fingering patterns (or regions) for the C Major scale. The regions are named for the lowest scale tone in the given position. For example, Region 7 begins on the 7th scale degree. Study of these 5 simple shapes will lead to mastery of major scale harmony as applied to the guitar.
A few things to consider while practicing these scales/arpeggios:
- They are movable to other tonal centers. The white dots/notes provide visual cues.
- They can be chromatically altered to produce other scales and modes. For example, lower the third, and you have Jazz Minor sounds (ascending Melodic Minor).
- In the beginning, it is most effective to practice improvising over a given chord progression within a single region. Later, when all 5 regions have been assimilated, one can move between the others freely, shifting at will.