In Part 1, we looked at a way to pull arpeggios out of scales by looking at the bigger picture first, then focusing on a smaller part of it. This way, we were able to extract all the diatonic triad and seventh arpeggios and blend them with scales. In this second part, we’re going to use the same idea but expand it to ninth arpeggios, which have applications ranging from prog rock to jazz.
If you haven’t read Part 1, check it out now as it builds the foundation for what we’re about to see...