In Chapter 8, you learned about arpeggios. It's time to put them to work since they are very common in pop and rock. Arpeggios are usually played as eighth notes, sixteenth notes, or triplets. The following chord progression combines I-IV-V chords with sixteenths. The sustain pedal is used to create a beautiful, harp-like effect. In FIGURE 12-12, pedaling occurs on each measure. Release the pedal just after you play the last sixteenth note. Then press it down again a millisecond before you play the next bar. Timing is crucial.

FIGURE 12-13 is a similar pattern played as triplets. Notice how chord inversions are used here to make the arpeggios more colorful and melodic.

You can and should come up with your own arpeggios using I-IV-V chords. FIGURE 12-15 is a more intricate pattern that uses greater harmonic movement. Notice how the IV chord (F major) uses an E in the arpeggio. This is a major seventh. This figure also uses mixed rhythms. You will see a dotted eighth-sixteenth rhythm. To understand this rhythm, picture the beat divided into four parts as illustrated in FIGURE 12-14.

The final arpeggio in this chapter employs a left hand crossover. Sometimes pianists play a note that is beyond the reach of the right or left hand. This often happens when playing extended arpeggios. The solution is to cross one hand over to strike the note that is out of range. If you're moving up the keyboard, you will cross your left hand over. If you're moving down the keyboard, you will cross your right hand over. FIGURE 12-16 (see page 182) is a pop progression that uses extended harmonies and hand crossing. Play this figure slowly at first and follow the fingering strictly.

FIGURE 12-12: I-IV-V Arpeggiated

TRACK 47

FIGURE 12-13: I-IV-V Arpeggiated with Triplets

TRACK 48

FIGURE 12-14: Dotted Eighth-Sixteenth Rhythm

FIGURE 12-15: I-IV-vi-iii-IV-V-I Arpeggiated using Mixed Rhythms