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Arpeggios play an important role in the improvastion toolset since they're all about playing all the notes that make a 3- or 4-note chord on up to several octaves (usually between two and three). Knowing the arpeggios means that we can create melodies on the fly simply out of the chart chords themselves. Arpeggios nicely complement the scales but it's acknowledged they sound better due to the shortlisting of the notes fitting the chords. Obviously they should not be played mechanically for the sake of it : the listener might notice that it sounds too scholar and boring after a short while.

Nevertheless, the knowledge of a few arpeggios is a sound basis to later venture out the beaten tracks they shape on the neck by playing the alterations brought by the musician's inner melody.

In order to ease the work, I chose to separate the arpeggios according to some of the 3- or 4-note chord types that are widely used in Manouche:

Since arpeggios are intimately linked to the chords, these chords or their inversions are represented next to the arpeggio when deemed necessary.

There are mainly two ways of playing arpeggios: the "vertical" way that implies playing one or two notes per string, and the "diagonal" way that implies to always play two notes per string and which offers many advantages for 4-note arpeggios. Those advantages are the following:

1- One or two patterns to remember that can be played all over the neck
2- Playing speed is usually faster because almost everything is played in alternate picking, upwards or downwards (no -v-v-)
3- Easier fingerings that serve fluidity. If we push that concept to the extreme, we could paly everything with just two fingers just like Django used to do back then (and some musicians play this way to sound as close as possible to Django).

Here, I speak about these two fashions. It's then up to you to choose in this list what best suits you.