Ultimate Arpeggio Integration Masterclass Intermediate

MASTERCLASS BOOKLET
JamTrackCentral
ULTIMATE ARPEGGIO
INTEGRATION
MASTERCLASS:
Intermediate
INTRODUCTION
Welcome to this JTC masterclass!
There are three parts: Beginner, Intermediate and Advanced. You can choose your level, but
consider working through the whole masterclass. Even if you can play the licks or exercises
from the Intermediate or Advanced parts, you could still learn something new from the easier
parts.
The format is similar for all three parts. We’ll start by looking at some theoretical concepts,
with exercises to develop your technique or fretboard knowledge. Next we’ll see how these
concepts can be used in a real musical situation, using a series of short licks.
In the Beginner and Intermediate sections, we’ll throw everything together into a cool solo. You
can learn it, steal your favourite licks, or just use it as inspiration for jamming over the backing
track. And in the Advanced section, we have something new… the Vocabulary Builder. This is
like a database of ideas and strategies for taking your playing to the next level!
Are you ready?
WWW.JAMTRACKCENTRAL.COM
ULTIMATE ARPEGGIO INTEGRATION MASTERCLASS: INTERMEDIATE
JAMTRACKCENTRAL
FOUR NOTES!
In this section of the masterclass, we’ll be working extensively with 7th chords. This means
progressing from the world of two triad types…
C major: C E G
C minor: C Eb G
… to four common 7th chord types…
C major 7 (Cmaj7): C E G B
C dominant 7 (C7): C E G Bb
C minor 7 (Cm7): C Eb G Bb
C minor 7 flat 5 (Cm7b5, aka “half-diminished”): C Eb Gb Bb
And that would probably be a good point to revise the subject of diatonic chords.
DIATONIC CHORD
This is a subject we’ve covered in other masterclasses, but it’s a fundamental part of music
theory, so it’s very important to know it!
This is a concept that applies to all the standard 7-note scales that we use. That means the major
scale and its modes… Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. It also applies
to melodic minor, harmonic minor and all their modes, but that’s pretty crazy stuff, so let’s stick
to the major scale for now.
Basically, a scale is more than just a collection of single notes. It also has a fixed pattern of
chords, built from the notes of the scale. Here’s the pattern for the C major scale…
C major – D minor – E minor – F major – G major – A minor – B diminished
All we’re doing is taking the C major scale (C D E F G A B) and counting “1-3-5” from each note
to create the triads (CEG, DFA, EGB, etc). You could use a different scale (let’s try A-flat major)
but the pattern is the same…
Ab major – Bb minor – C minor – Db major – Eb major – F minor – G dim.
We started to play some arpeggio exercises based on this sequence back in the Beginner
section, and there are some more here. However, we’re also working on four-note 7th arpeggios
in this section, and the diatonic sequence also has a fixed pattern of 7th chords. We’ll switch
back to the C major scale for easy comparison…
Cmaj7 – Dm7 – Em7 – Fmaj7 – G7 – Am7 – Bm7b5
Again, we use the notes of C major (C D E F G A B) but this time counted “1-3-5-7” from each
note. One important thing to note is the difference between the diminished triad, the diminished
7th chord and the m7b5 (“half-diminished”) chord…
JAMTRACKCENTRAL
B diminished triad: B D F
B dim7 chord: B D F G#
Bm7b5 chord: B D F A
The diminished triad and m7b5 chord are part of the diatonic sequence of the major scale. The
dim7 chord is built purely from stacked minor 3rd (3-fret) intervals and is diatonic to the harmonic
minor scale (G#dim7 is in A harmonic minor). It can also be used as a “feature” chord, or as a
substitute for various dominant 7th chords, but that’s a whole other masterclass!
One last concept… in one of the exercises below, you’ll see diatonic NINTH chords, as an
introduction to the more complex stuff we’ll be covering in the Advanced section. It’s exactly the
same principle as before… we’re now counting “1-3-5-7-9” from each note of the C major scale
(giving CEGBD, DFACE, etc)…
Cmaj9 – Dm9 – Em7b9 – Fmaj9 – G9 – Am9 – Bm7b5b9
INTERMEDIATE EXERCISES
We’re diving right into the exercises in all three parts of this masterclass, because that’s where
you’ll find the important concepts. What’s most important is that you really THINK about
what’s happening in each exercise – don’t just use them to warm up your motor skills with a
metronome!
EX1 – We start the Intermediate exercises as we started the Beginner exercises: pushing beyond
the most obvious shapes and patterns. This looks like a really complex sequencing of a C major
arpeggio, but it’s actually based on a simple shape. You can see the shape in the first three
notes… two notes on the E string, one note on the B string.
By following this strict 2+1 pattern, you’re forced to find arpeggio notes outside of the standard
block shapes. This is the Mental Map we talked about in the beginner section; you’re learning to
see the whole fretboard as a network of interlocking arpeggio shapes.
EX2 – Also following a theme we started in the Beginner section, here’s the diatonic triads in C
major. Again, starting with a non-root note means that you have to think a little harder.
EX3 – By starting with a note other than the root, we’re playing inversions. The next two
exercises expand on this theme, working on just two strings. In this example, we’re playing the
second inversion (with the 5th on the bottom).
EX4 – This is similar to Exercise 3, but we’re now playing first inversions (with the 3rd on the
bottom). For a more complete workout, you could systematically run the basic pattern of
Exercises 3 and 4 across all string pairs: E&B, B&G, G&D, etc.
EX5 – Now we’re taking the concept of Exercises 3 and 4 even further. We’re playing first-
inversion triads through the diatonic sequence in C major, but staying in one position, going from
the lowest note to the highest and then down again. We’re at the 8th fret, so the lowest note is C,
but the first triad is A minor (first inversion: C E A).
JAMTRACKCENTRAL
EX6 – The same concept as Exercise 5, but we’re now playing second inversions. Starting from
the low C again, this means our first triad is F major (second inversion: C F A). This is a really
valuable exercise; by forcing yourself to work in one box position, you can’t simply jump to your
favourite comfortable shapes. For best results play this exercise all over the fretboard.
EX7 – We’ll now be working with diatonic 7th arpeggios. If you need to review the theory,
read the section above before progressing further. This exercise follows the same principle as
Beginner Exercise 12, alternating between ascending and descending arpeggios as we move
through the diatonic sequence. This time we’re including the 7th in each arpeggio.
EX8 – This is similar to what we were doing in Exercises 5 and 6 above. It’s a little easier as we’re
now playing root position arpeggios (with the root at the bottom) but it’s also harder because
we’re playing diatonic 7ths.
EX9 – For a complete contrast to Exercise 8, this is the same principle as Beginner Exercise 1,
but now applied to the four notes (“tetrad”) of a 7th chord. We’re starting from the same low C
root note and gradually stretching a Cmaj7 arpeggio from a vertical box shape to a horizontal
shape along the A string.
EX10 – This is a variation on Exercise 8; instead of playing all ascending arpeggios followed by
all descending arpeggios, we’re now alternating between them. That means you have to think
faster. Another benefit of this exercise is that you’re starting to use arpeggios in a more “musical”
way… moving smoothly through the chord changes by going to the closest note in the next
arpeggio.
EX11 – As we mentioned in the Beginner section, target notes don’t have to come from the major
or minor triad of the backing chord. As we’ve seen, you can also use the appropriate type of 7th
(even if the actual chord doesn’t contain the 7th) and you can go even further into the “upper
partials”… the 9th, 11th and 13th. This is where personal taste and musical context become
more important; holding a big, bold E note (the 9th) over a D major chord will be great in some
contexts, weird in others.
This applies to all uses of chord tones or arpeggios in your solos. If it seems appropriate in the
musical style, you can easily extend your arpeggios to 9ths or beyond. As we showed above,
you can do this within the diatonic structure, so the key of C (for example) has a ready-made
series of 9th chords, as shown in this exercise.
EX12 – Here’s a great study to test your fretboard knowledge over a cruel, relentless metronome
beat. Starting from a low root note (G in this case), play 2-octave arpeggio shapes for the four
primary 7th chord types… major 7, minor 7, dominant 7 and minor 7 flat 5 (“half-diminished”). This
is a concept that you can apply in lots of different ways… different root notes, playing along one
string, using 9th arpeggios, etc. Check out Exercise 13 for another variation.
JAMTRACKCENTRAL
EX13 – Here’s another variation on Exercise 12. Instead of just using our low G starting note
as the root, here we’re playing the four minor 7 chords that feature the note G. This means
we’re dealing with inversions… the first inversion of Em7, the second inversion of Cm7 and the
third inversion of Am7. The idea here is that you learn to view an arpeggio covering the whole
fretboard, not just starting from a root note (this is also an important concept in scale practice).
EX14 – Taking things further outside the diatonic framework, this exercise demonstrates how
you can go from chord to chord without changing very much. Within six frets on the top three
strings, we can cycle through major and minor triads for half of the cycle of 5ths. Keep following
this pattern and you’ll have covered all major and minor triads by the time you reach the 17th
fret.
INTERMEDIATE SOLO AND LICKS

In the Beginner section, our solo and licks were all played over a diatonic chord progression.
This time, the chord progression is built partly around a descending chromatic movement… the
D in the first D chord falls to the C# in Dmaj7, then to the C in D7, the B in G major, the Bb in G
minor…
This means that we can’t just rely on the comfortable diatonic sequence. You may have noticed
that some of the diatonic exercises above are easier if you know the 3-note-per-string scale
shapes. Playing the diatonic arpeggios in C major is really just a way of sequencing the C major
scale! This time, we have to treat several of the chords as separate entities.
Most of this is self-evident, especially for the major/minor triadic arpeggios. Even though some
of the chords have 7ths, you don’t HAVE to include that note in your arpeggios. Here are the
triads you’ll be using through the progression…
D – D major (D F# A)
Dmaj7 – D major (D F# A)
D7 – D major (D F# A)
G – G major (G B D)
Gm – G minor (G Bb D)
D – D major (D F# A)
Em7 – E minor (E G B)
A – A major (A C# E)
JAMTRACKCENTRAL
When you want to add the 7th, it’s pretty obvious when there’s a 7th in the backing chord. But
when there isn’t a 7th in the chord, what “flavour” of 7th do you add to your arpeggio? Here are
some possibilities based on1 what Jake does in the solo and licks…
D – You could use Dmaj7, but it might weaken the effect of the proper Dmaj7.
Dmaj7 – Dmaj7 (D F# A C#)
D7 – D7 (D F# A C)
G – Try Gmaj7 (G B D F#) and G7 (G B D F); both sound good.
Gm – Gm7 (G Bb D F), also check out the Gm9 (G Bb D F A) in Lick 4.
D – D7 works well here, but also try Dmaj7.
Em7 – Em7 (E G B D); Jake also uses Em9 (E G B D F#) in Licks 6, 9 and 12.
A – A7 (A C# E G); Jake uses A9 (A C# E G B) in Lick 12.
Take your time and remember to work carefully on the exercises. When you’re ready, we’ll see
you in the Advanced section!
INTERMEDIATE EXERCISE 1
As recorded by jamtrackcentral.com
(From the 2017 Album JTC ULTIMATE ARPEGGIO INTEGRATION MASTERCLASS: INTERMEDIATE)
P
V = 90 V V
V V V
1
I 44 V V V V V V V V V
8 3
T 5 8 5
A 5 9 5
5 10 5
B 7 10 7
8
JamTrackCentral Ltd 2017

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
P = 90
V V V V V V V V V V V V V
V V
1
I 44 V
3 3 5 5 7 7 8 8
T 5 6 8 10
A 5 7 9 10
B
V V V V V V V V
8va
V V V V V V V V U
3
I
10 10 12 12 13 13 15 15 20
T 12 13 15 17
A 12 14 16 17
B

P = 90
V V V V V V V V V V V V V V V V V V V V V V
1
I 44 V V
T
A 5 9 7 10 9 12 10 14 12 16 14 17 16 19 17 21
5 7 9 10 12 14 15 17
B

P = 90
V
V V V V V V V V V V V V V V V
1
I 44 V V V V V V V V
T
A 5 7 9 10 12 14 16 17
2 5 3 7 5 9 7 10 9 12 10 14 12 15 14 17
B

P = 90
V
1
I 44 V V V V V V V V V V V V V V V V V V V V V V V
T 10
A 9 10 12 9
9 10 12 9 10 9 12 10
B 12 8 10 8 12 10 12
V V V V V V V V
8 12 10 12
4
I V
10 12 13 12 10
T 12 13 10 12 10 13 12 10 13
A 10 9 12 10 12 12 10 12 9
12
B
V V V V V
7
I V V V V V V V V V V V V V V V V V V V V V
W
T 12 10
A 10 9 12 10 9
12 10 12 9 10 9 12 10 9
B 12 10 12 8 10 8 12
12 10 12 8

P = 90
1
I 44 V V V V V V V V V V V V V V V V V V V V V V V V
T 10
A 9 10 9 12 10
9 10 9 12 10 12 9 10
B 8 12 10 12 8 10 12
V V V V V V V V
8 10 12
V V V V V V V V V V V V V V
V V
4
I
10 12 13 10 12 10
T 12 10 13 12 13 10 13 12 13 10
A 12 9 10 12 12 10 9
12
B
V V V V V V
I V V V V V V V V V V V V V V V V V V V
V
7
W
T 12 10
A 12 10 12 9 10 9
12 10 9 12 10 12 9 10 9
B 12 10 8 12 10 12 8
12 10 8

P = 90
V
1
I 44 V V V V V V V V V V V V V V V
T
A 0 4 5 2 4 7 9 5
2 3 5 7
B 3 5 7 8
V V V V V V V V
3
I V V V V V V V V
T
A 7 10 12 9 10 14 16 12
9 10 12 14
B 10 12 14 15

P = 90
V V V
1
I 44 V V V V V V V V V V V
V
V V V V V V V V V
T
A 9 10 9 12
9 10 9 12 10 9 12 10
B 10 8 12 10 8 12 10 12
V V V V
8 12 10 12
V V
V V V
V V V V V V V V V V V V V V
4
I V
10 12 13 10
T 10 12 10 13 12 10 13 12
A 10 9 12 10 9 12 10 12
9 12 10 12
B
V V V V V V V
7
I V V
12 10
T 13 10 12 13 10 12 10
A 10 12 9 10 12 9 10 12 9
12 10 12 9 10
B 12
10
I V V V V V W
T
A 10 9
12 9 10 12 9 10 9
B 10 12 8 10 12 8 10
12 10 12 8

P = 90
1
I 44 V V V V V V V V V V V V V V V V V V V V V V V V
T 0
A 0 0 0 4 0 4
2 2 2 2 2 5 5 2 2 5 9 5 2
B 3 3 3 3
4
I V V V V V V V V V V V V V V V V V V W
T
A 5 9 5 9
B 3 7 7 3 7 10 10 7 3 7 10 14 10 7 3

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P = 90
V V V V V V V V
1
I 44 V V V V V V V V V V V V V V V V
T
A 9 10 12 9
9 10 9 12 10 9 12 10
B 10 12 8 10 12 8 10 12
V V V V
8 12 10 12
V V V V V V V V V V V
4
I V V V V V V V V V
10 12 13 10
T 10 12 10 13 12 10 13 12
A 10 12 9 10 12 9 10 12
9 12 10 12
B
V V V V V V V
V V V V V V V V V V V V
V V V
V V
7
I
13 12 10
T 10 12 10 13 12 10
A 10 12 9 10 12 9 10 12 9
12 10 9 12 10
B 12
V V V
10
I V V V V V V V V
V V V
V V V V V
V W
T
A 10 9
9 12 10 9 12 10 9 10
B 10 12 8 10 12 8 10
12 10 8 12

P = 90
V V V V V V
1
I 44 V V V V V V V V V V V V V V V V V V
T
A 9 10 9 12 10
9 12 10 9 12 10 9 12
B 10 8 12 10 8 12 10
V V
8 12 10 12
V
V
V V V V
4
I V
10 12
T 10 12 10 13 12 10 13 12
A 9 12 10 9 12 10 9 12
10 9 12 10 12
B 12
V V V V V V V V V V V V V V V V V
V V V V V V
7
I V
10 13 12 10
T 13 10 12 13 10 12 10
A 10 12 9 10 12 9 10
12 10 12 9 10
B 12
V V V V V V V V V
10
I V V V V V V V V V
V V V
V V
T
A 12 9 10 9
12 9 10 12 9 10 12 9
B 10 12 8 10 12 8 10
12 10 12 8

P = 90
V V V V V V V V eV V V
Gmaj7 Gm7
g 4 V V V f V
1
I 4 V V V V V V V V V f V V eV
V V V V eV
10 10
T 7 8 12 12 8 7 6 8 11 11
A 7 7 7
4 5 9 9 5 4 3 5 8
B 5 5 5
`
3 7 7 3 6
V V V V V fV V
G7 Gm7 5
g V fV V eV f V V V V V fV
I V fV V V
eV V fV V V V V V eV eV V
3
10
T 8 6 6 8 12 12 8 6
A 7 7 7
8 5 3 3 5 9 9 5 3 3
B 5 5 5 4
6 3 7 7 3 6
g e V f V V eV eV V V V V
5
I V eV V V fV
eV eV U
9
T 6 8 11 11 8 6
A 6 6
5 8 8 5 3
B 4
6 3

P = 90
V V V
V V V
Gm7
e V V V
Ie 44 V V V V V V V
V V V
k
V V V
1
V
10 13 10
T 8 11 11 8
A 7 10 10 7
5 8 8 5
B 5 8 8 5
3 6 6 3
V V V
V fV V
Em7
e V V
Ie V V fV V V V fV V
V V fV
k
V fV V
4
V
10 12 10
T 8 12 12 8
A 7 9 9 7
5 9 9 5
B 5 7 7 5
3 7 7 3
V V V
Cm7
e V V V V V V V V V V k
7
Ie V V V V V V
V V V V
8 11 8
T 8 11 11 8
A 5 8 8 5
5 8 8 5
B 3 6 6 3
3 6 6 3
V V V
V V V
Am7
e V V V V V V V
10
Ie V V V V V V
V V V V
8 12 8
T 8 10 10 8
A 5 9 9 5
5 7 7 5
B 3 7 7 3
3 5 5 3

P = 90
V V V V V V V V V V V gV V V V V
Am A Dm D
1
I 44 V V V V gV V V V
3 3 3 3 3 3 3 3
5 5 5 5 5 5 5 5
T 5 5 5 5 6 6 7 7
A 5 5 6 6 7 7 7 7
B
V eV V V V V V fV V V V V V V V
Gm G Cm C
V eV V V V fV V V V
3
I
3 3 3 3 3 3 3 3
6 6 7 7 8 8 8 8
T 8 8 8 8 8 8 8 8
A 7 7 7 7 8 8 9 9
B
` B` E`m
e V V f V V eV W
V eV V V V V V fV V V V V
Fm F Bm
V eV V V V V V V eV eV V V V
5
I
3 3 3 3 3 3 3 3
8 8 8 8 9 9 10 10 11 11
T 9 9 10 10 11 11 11 11 11 11 11
A 10 10 10 10 10 10 10 10 11 11
B

INTERMEDIATE LICK 1
PR = 140
D Dmaj7
gg 6 P V V P V V V V
1
I 8 z z V V V V V
T
9 11 11 9 7 6
A 7 7
B 9 5 9
sl. sl. P sl.
D7 G
g P V V
3
Ig fV z V V V V V V V
T
5 7 9 7 5 4
A 5 5
B 5 5
sl. sl. P sl.
g fV P V V V V
Gm D
5
Ig V eV V z V V V
4:3
3 5 5 3 2
T 3 6 3
A 2 3 2
B
sl. sl.
V V
Em7 A
g k l V V V V V V V k
7
Ig V V V V V
5 7
T 5 7 8 8 7 5
A 7 6
7 7
B 7 9
sl. sl. H P sl.
V P fV V V V V V V V
D Dmaj7
gg P V V V z V
9
I V z k
3
M
Full
10 12 13 12 10 12 10 (10) 12
T 10 12 12
7 9 11
A
B
sl. sl. sl. P H

INTERMEDIATE LICK 2
PR = 140
Em7 A
V
8va
g l V V V V V V
1
I g 68 j
V V V V V V V
V V V
O
1/2
14 17
T 15 14 14 17
A 14 12 12 14 14
14 11 11 14
B 12
P P H sl.
Em7 A
V
8va 8va 8va
g V j V V V V V k k
3
Ig u
M
3
O
Full
15 17 17 (17) 15 17 21
T
A
B
P
D Dmaj7
V V
8va
g V V V k j j
5
Ig
M
4:3
1/2
21 17 22
T 19
A 19
B

INTERMEDIATE LICK 3
PR = 140
V V
D Dmaj7
g V V
1
I g 68 j j j
3
M
Full
O
12 (12)
T 10 10
A
B
V V V fV V V V
D7 G
gg V V V V fV V V fV
V k
3
I V V V
M M M
3 3 3
1/4 1/4 1/2
O
(12) 10 12 10
T 13 10 13 10
A 11 11 10 12
12 10 12 9 (9)
B 12
P H sl.

INTERMEDIATE LICK 4
PR = 140
eV V V V V V V V eV fV fV V
Gm
gg 6 f V V V V V
1
I 8 V V eV V V V V
10 10 11 12 13 10
T 11 11 11
A 10 10 14 10 14 10 14 14
12 12 12
B 10 12 13 13
fV
D
V fV V V V V V V V gV fV V
gg fV V V
2
I 3 3
M M
3 3 3
1/2 Full
13 10 10 10
T 13 10 13 10 10
A 12 13 12 10 12
12 12
B
P sl. P
Em7
V V
8va 8va
g V V fV gV V l V
3
Ig fV gV V V
3 3 3
10 12 13 14 15 14 14 17
T 12
A 10 11 12
B
sl. sl.
A D
gg gV f V V V V V e V V f V gV V V V V V f V gV f V f V V V f V gV V
8va
4
I V j
16 15 14 14 17 15 13 14 13 12 12 12
T 17 17 16 15 13 14 14 12 12 15 13 14 15
A
B
P sl. sl. P sl.

INTERMEDIATE LICK 5
PR = 140
V V V V V V fV V
Gm D
gg 6 eV V V fV aP V V V V k
1
I 8 V V z
M
1/2
T 10
10
10
O
(10) 8 10
A 10 7 11
8 7 10 7 10 12
B 10 9
P sl.

INTERMEDIATE LICK 6
PR = 140
Em7 A
V V V V V V
8va
g V V V V
1
I g 68 j V V V V V
M
Full
O
15 15 15 (15) 14 12 12 17 12
T 15 14 14 14
A 14
B
P P P
Em7 A
V V
8va 8va
g V k V V V V V V
3
Ig V V V V V
3 4:3
M
4:3
Full
T 15 17 17 17
O
(17) 15 17 14
17
14 12
15
12 10
A
B
P
P V V
Em7 A
g z V V V V V V
Ig V V V
4:3
5 V V V V
4:3
4:3
12 14 10
T 12 10
A 12 11 9 9
12 9 11 11
B 12 12
sl.
g V
D
V
7
Ig
T
A 12
B

INTERMEDIATE LICK 7
PR = 140
(Dmaj7)
g
I g 68 j j l
8va
V
1
V
T
A 12 11
B
P P
D7 G
8va
g V f V gV f V V V V j
2
Ig fV V fV V V V V
u
M
Full
10 13 14 13 12 10 12
T 13 10 10 13
A 11 11
10
B
P sl.
V V V V V fV V V
Gm D
g l V eV P V V V V
4
Ig 4:3
z V
M M
3
O
1/2 1/4
10 12 (12) (12) 10 13 10 10
T 10 11 10 12 10
A 11
12
B 12
H P H
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Em7 A
gg R V V V V V V V P u
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M
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T
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A 12
B 12 14
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16
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INTERMEDIATE LICK 8
PR = 140
gg 6 j
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T
A
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Em7 A
gg R V V V V V V V V V V
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2
10 12 14 15 14
T 10 10 15 14
A 7 9 11 14 14 12
7 7 14 12 11 12
B 7 9 12 12
sl. sl. sl. P sl.
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Em7 A
g V V V V V V f V gV V V V V V
4
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12
T 12 15 12 13 14 14 13 12
A 14 14 13 12 11 14 12
12 14 12 14 16 14 12 10 11 11 9 9
B
sl. H H P H H P sl. sl. sl.
Em7 A
gg V V V V V V V V V V
6
I V V V V V V V V V V V V
T
A 12 11 9 9 7 6
12 9 9 7 5 5 7 7
B 7 5 7 5 4 4 7
5
P P P sl. sl. P sl. P H
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D
8
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A
B
H sl.

INTERMEDIATE LICK 9
PR = 140
V V V V
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gg 6 V V V V V V
1
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14 10 9 14 10
T 10 10 10
A 11 11
B
P
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8 7
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B
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5
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O
(5) 3
A 3 3 2 7 7
5 4 2 4
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P sl. sl.
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Em7 A
g V V V
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v
7
7 10 14 10 12
T 8
A 7 9
B
H sl. P

INTERMEDIATE LICK 10
PR = 140
V
D Dmaj7
g d V V V V V V V V
1
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M
1/2
T 3 7 7 (7)
O
(7) 5 5 7
10
A 7
4 4 7 7
B
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V
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3
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Full M
Full
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1/4
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12 (12) 12 (12) 10 12 10 12 15 10 10 10
T 13 11 12
A
B
P P sl.
V V V V V V
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g l V eV V V V V V V u j
5
Ig
4:3
MO
4:3
1/2
10 12 (12) 10 14
T 10 11 11 15
A 12 11 14 14
12
B
H P
V V V V V V V V V
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g V V V
7
Ig j 3
4:3
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O
1/2
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15 15 15 14 12
T 15 14
A 14
14 16 14 12
B

PR = 140
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D Dmaj7
gg 6 P V z V V V V V
1
I 8 j k z k l
10 12 10 12 14 9 9
T 10 12 10
A
B
H P sl.
V
D7 G
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3
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4:3
4:3
12 8 8
T 10 10 10 12 8 8
A 11 7
9 7 9
B
sl. P H
V V V V V V
Gm D
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5
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4:3
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4:3 4:3
1/2 1/2
T O 10 10 12
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7 7 9 9 7 10 11 11 12
A 8 10
B
sl.
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1/2
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Em7 A
gg 6 V V aP gV VV VV VV VV f VV
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14 12 12 10 9 7 9 7 5
T 12 15 12 13 14 12 10 8 10 8 6
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gg 6 k V V V V V V V V
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5
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INTERMEDIATE SOLO
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xx xx xx x x
PR = 140
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D Dmaj7
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1
I g 68 z V k
3
T 10 10 10 12
9 11 11 9 7
A
B
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3
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1/2
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O
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A 11 7
12 9
B
P H H
g V V V V V V
Gm D
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5
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3
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M M
4:3
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T 8 10 10
O
(10) 8 10
A 7 9 7 7
7 8 9
B
H sl. P
V
Em7 A
g k V V V V V V V V
Ig V V V
3
7
V V V V V
V
7
T 7 8 8
A 7 9 9 7 9 6
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B 7 4 7 9 7
5
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INTERMEDIATE SOLO - jamtrackcentral.com Page 2 of 2
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11
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13
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4:3
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O
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P
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Ultimate Arpeggio Integration Masterclass Intermediate

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MASTERCLASS BOOKLET

Are you ready?

… to four common 7th chord types…

C major – D minor – E minor – F major – G major – A minor – B diminished

Ab major – Bb minor – C minor – Db major – Eb major – F minor – G dim.

Cmaj7 – Dm7 – Em7 – Fmaj7 – G7 – Am7 – Bm7b5

Cmaj9 – Dm9 – Em7b9 – Fmaj9 – G9 – Am9 – Bm7b5b9

INTERMEDIATE SOLO AND LICKS

Dmaj7 – Dmaj7 (D F# A C#)

G – Try Gmaj7 (G B D F#) and G7 (G B D F); both sound good.

Gm – Gm7 (G Bb D F), also check out the Gm9 (G Bb D F A) in Lick 4.

D – D7 works well here, but also try Dmaj7.

A – A7 (A C# E G); Jake uses A9 (A C# E G B) in Lick 12.

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

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