Please watch the video above for a deeper analysis, understanding and explanation:
PART 1:
Moving on from our last look at simple alternate picking 1 and 2 finger arpeggio superimpositions, we will now add “Target Tones”.
They are commonly used on the up-beat as we can see in the example below.
To begin with we will take a basic E major 7th Arpeggio and add our simple 1 and 2 finger alternate picking fingering method.
Next we will add the target tones and use them to introduce the arpeggio.
Now we will go back to our Lydian chord and extend/superimpose that with an arpeggio. But, first, here is the F maj7#11 Lydian Chord.
Here is our simple 1 and 2 finger arpeggio that is alternate picked starting on a downstroke.
Now we will take our arpeggio and employ target tones to set it up a musical phrase.
Now we will extend our superimposition. We will take the Lydian #11 a step further by implying “Chord Pairs”.
We will now decorate this superimposed Lydian #11 arpeggio with chromatic target tones.
PART 2:
QUICK DESCENDING SUPERIMPOSITIONS:
Here is a descending idea. This uses Em7 [or Cmaj9] and ends on the tonic note F
Here is another idea that employs Em7 and Bm7b5 fused together.
PART 3:
STARTING AND CREATING A NEW PHRASE WITH TARGET TONES:
The great thing with target tones is that you can finish the arpeggio and start another colourful chromatic phrase with them as demonstrated below.
Target Tones 2nd Phrase part: [These create a good rhythmic, chromatic and professional jazz improvised line and sound].
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