在本课程系列的第五部分，我们将专注于琶音以及如何看待与笼式系统的连接。由于Arpeggios基本上是肮脏的音调单独播放，因此您应该看到关于Triads和扩展和弦的前几个部分的大量相似之处。但是，在琶音的情况下，我们不仅限于每串仅播放一个音符，因此您将看到用指裁的一些变化。
让我们首先在一个有限范围内检查第7个琶音的统一C重大比例（在这种情况下FRET 7-10），并查看我们可以将它们与之相关的录音模式。
All of these notes are within the E shaped C major scale, but when we’re playing arpeggios it makes a lot of sense to actually shift your mindset towards seeing each individual CAGED shape for every new arpeggio to make it easier to locate the chord tones. If you haven’t worked a lot with arpeggios in the past I suggest that you start from the lowest root note available in your current position, this to make sure you have a good idea of where your harmonic centre is. Further down the line you can also play the lower chord tones that are available within each shape. Below you’ll find the same arpeggios but with fingerings starting from the Cmaj7 in the D Shape and all shapes will be between the 9th through 13th fret.
现在我希望你从剩下的三个位置开始做同样的事情。由于六弦吉他的标准调整，包括除G和B串之外的所有相邻字符串对之间的完美第4间隔，我们可以找到一些有用的两个串琶音形状，它们可在脚板上移动，同时保持完全相同指裁。
In the examples below I’m showing a major 7th arpeggio played with two notes per string, which is then moved between the different string sets and CAGED shapes. There’s also a minor add9 arpeggio with three notes on the lower string and just one note on the higher string, this is moved the same way as the maj7 arpeggio. Now check these out:
另外尝试使用本文系列第4部分中讨论的和弦公式，以查找小型7，主导7，M7♭5，MMAJ7,6，ADD9等的指裁。
变畅
我们来看看如何在爵士乐的爵士乐周转中使用Arpeggios的一些例子。第一个例子真的只是概述和弦，通过播放每个给定的和弦的根，第3，第5和第7和第7个。A7和BM7在播放下降的同时播放升序。请注意，每个弦转换都发生在半步运动中。琶音用实心点概述，而空心点显示其源自笼形状的其余部分。该示例在第5次 - 第12章中展示。
In the second example I’m demonstrating how to play superimposed arpeggios to give the sound of extended chords. Superimposing means playing a chord or arpeggio based off of a different root note. Here it starts with a C♯m7♭5 over the A7 chord – giving an A9 sound. Then A♯dim7 over F♯7 – giving an F♯7♭9 chord. Followed by a Dmaj7 over Bm7 – resulting in a Bm9 sound. And finally a Fm(add9) over E7 – adding the very jazzy alterations of the ♯5, ♯9 and ♭9. In this example the superimposed arpeggio is shown with solid dots while the hollow notes shows the rest of the underlying chord. This example is demonstrated between the 9th-13th fret.
由于我们进入了与弦进展的叠加的琶音，因此我们还通过静态和弦来查看叠加三合会的一些创造性方式。第一个通过AMAJ7（♯11）进行播放，并包含以下三合一：
一个专业（A C 1 E） - B次（BD♯F♯） - C♯M（C♯eG♯） - F♯M（F♯AC♯） - C♯SUS2（C♯D＃G♯）
所有这些笔记是一个主要的规模a raised 4th degree (commonly referred to as a ♯11) , this is also called the Lydian mode. Since this mode has both a major 3rd, major 7th and a sharp 11th it fits very well over an Amaj7 (♯11) chord. Instead of just playing stepwise melodies through the scale it’s common to use triads since they are strong melodic and harmonic building blocks, and stringed together like this it really shows the full harmonic qualities of the scale without actually sounding like a scalar line. Let’s try it:
The next one is played over an Am6/9 and contains the following triads:
Em (E B G) – Csus2 (C D G) – D (D F♯ A) – G (G B D) – C(♭5) (C E F♯)
所有这些笔记都是一个小规模，升高了第6度，这也称为Dorian模式。最后一个琶音是一个奇怪的歌曲，它是一个带有扁平5th的主要三合会。由于C的第5个是G，它会呼叫扁平的第5个GB是有意义的，但由于F♯在DORIAN模式内，我选择坚持为此。这被称为增强臂等同物，意思是两个音符，声音相同但是根据上下文不同地“拼写”。我们所有这些都可以在Dorian模式的位置播放，但可视化单个三合会并源自笼中的形状仍然很重要。让我们一个拍摄：
我希望这个课程给你一些洞察力和灵感如何使用琶音。在即兴创建或撰写独奏琶音时，真正可以是一个很好的工具，以确保旋律连接到弦进展。下个月，在本课程系列的最后部分，我们将深入进入秤及其与笼中的系统的连接。您可以期待学习主要规模，旋律和谐波次要，减少秤等模式。同时，幸福的练习！完了，走吧…
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