Arpeggios From Hell!

[Jimmy James]

Hi, and welcome to hell!

No. Not the Yngwie tune. I just thought it was a cool title for the lesson I’d like to share.

I like to use arpeggios that are not the mirror image of the chord I’m playing over. For example over an Am chord I rarely ever play an Am arpeggio over it. I would play a GM7 arpeggio.

I play it like this:

------------------------------7-10-----------


-------------------------7-8------------------


------------------4-7-------------------------


-----------4-5--------------------------------


-----2-5--------------------------------------


2-3-------------------------------------------


The last two notes on the high E string finish the pattern but you can end it on the last note of the B string.

It just sounds a lot more interesting to my ears. The theory behind it is that you can play arpeggios based around the chord scale of the Am. It really helps to know where the chord is within the chord scale. If Am is the II chord of a chord scale you can play the following arpeggios over an Am chord:

Am (ii) Am arpeggio
CM7 (IV) CM7 arpeggio
Em7 (vi) Em7 arpeggio
F#m7flat5 (vii) F#m7flat5 arpeggio
GM7 (I) GM7 arpeggio
D7 (V) D7 arpeggio
Bm7 (iii) Bm7 arpeggio

Depending on the style of music you’re playing they won’t sound all that wonderful over that Am chord. Let's say, "Different." Some sound weird to my ears but the ones that sound good, sound really good and adds hip elements to your playing.

Being primarily a Blues guy I like using that GM7 arpeggio a lot for that Santana vibe as well as the CM7 arpeggio over the Am. I'll also sweep pick a Bm7th arpeggio over that Am chord Yngwie style. Yeah, I'm a blues guy but a heretic as well. An Am arpeggio over an Am chord is a no brainer.

Over a dominate chord like a G7 for example you can use:

G7 (V) arpeggio
Bm7flat5 (viii) arpeggio
Dm7 (ii) arpeggio
FM7 (IV) arpeggio

I’d tab out all the patterns for you guys but I’m at work. You’ll get more out of it when you sit down and work out each note of the arpeggio yourself and hear how they sound against the chord. You’ll actually discover that you’re in fact teaching yourself.

If you have trouble mapping out all the arpeggios get a book. Information is everywhere. Or ask some of the theory geniuses here.

Its ammunition to add on to what you already do but takes time. Use the ones you like as I do. There’s no need to play every single arpeggio that I've listed over that chord.

You don’t have to sweep pick the whole thing back and forth either. You can add few notes here and there from the arpeggio into your already excellent pentatonic wanking.

If I’ve made a mistake or if anyone would like to tab out the other arpeggios feel free. I get a lot out of this simply revisiting and thinking about it.

Enjoy and happy wanking.

[Fred5]

:) Goodie, goodie stuff, JJ!

[babybatter]

Oh man, careful what you wish for! :)

I have to gobble this up too....whew.....3 hours already today, and I have yet to have my theory session.

This forum is totally what I was craving. Great stuff.

[Jimmy James]

It's from hell!

[CarvinRock]

Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------

[ablei]

Originally posted by Jimmy James
Hi, and welcome to hell!

No. Not the Yngwie tune. I just thought it was a cool title for the lesson I’d like to share.

I like to use arpeggios that are not the mirror image of the chord I’m playing over. For example over an Am chord I rarely ever play an Am arpeggio over it. I would play a GM7 arpeggio.

I play it like this:

------------------------------7-10-----------


-------------------------7-8------------------


------------------4-7-------------------------


-----------4-5--------------------------------


-----2-5--------------------------------------


2-3-------------------------------------------




why do you make this harder than it needs to be? play it in a single position.

[Jimmy James]

Originally posted by ablei


why do you make this harder than it needs to be? play it in a single position.

Because moving up the neck is more interesting than moving across the neck in only on position. It also allows me to pick faster and utilize other positions on the neck. I use the whole neck. I'm not a box player. :D

[najmul]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------



very nice~!

[sansunzeste]

Originally posted by najmul




very nice~!


I agree!

[Jimmy James]

I finally understood what an arpeggio was because of Yngwie. I was using that stuff all the time and when I found the transcription to Vai's "Crossroads Suite," I figured how to connect different arpeggios up and down the neck.

On the first Vinnie Moore Video he shows you how to sequence the notes of an arpeggio and come up with some cool ideas.

Then I had to stop. That up and down, back and forth stuff is not really what it's all about. Once in a while is fine! But if all you do is play an arpeggio back and forth over and over again the Yngwie Police will hear you coming a mile away.

Coming up with hip ideas within the arpeggio and adding it to what you do is where it's at. You can play an arpeggio from the inside out or simply skip some notes and sound like you have a brain. You can't go wrong playing the notes of a chord within your solos.

The stuff I listed above is even hipper. You're essentially laying the notes of a chord on top on an entirely different chord. Colors baby!

Just a thought for you Yngwie improvisors. Think out of the box.

[335clone]

Hey Jimmy,
Mind if I back you up for a minute? I always understood arpegios to be the chord tones as in you finger a chord, and play it one string at a time from the 6th string to the 1st, then back to the 6th. I am obviously missing something here. Could you give a brief description of arpegios? I know that what I am describing is a basic arpegio in it's simplest form, but there is obviously a hell of a lot more to it.

[Jimmy James]

Originally posted by 335clone
Hey Jimmy,
Mind if I back you up for a minute? I always understood arpegios to be the chord tones as in you finger a chord, and play it one string at a time from the 6th string to the 1st, then back to the 6th. I am obviously missing something here. Could you give a brief description of arpegios? I know that what I am describing is a basic arpegio in it's simplest form, but there is obviously a hell of a lot more to it.

You got it. The notes of a chord played one note at a time. But what I'm saying is you don't have to play for example an Am arpeggio over an Am chord. You could but there are more interesting options when soloing.

Play a GM7 arpeggio over that Am chord. Be like Santana!:D

[335clone]

Originally posted by Jimmy James


You got it. The notes of a chord played one note at a time. But what I'm saying is you don't have to play for example an Am arpeggio over an Am chord. You could but there are more interesting options when soloing.

Play a GM7 arpeggio over that Am chord. Be like Santana!:D

Cool. I guess if I had my guitar here at work, or bothered to analyze the notes I would have figured it out. It looked much more like a scale to me, but I think it was the two or more notes per string that confused me. So now I have more patterns to try to cram into my head. So you are NOT holding the chord SHAPE (although you can), but repeating the chord TONES, right? One last thing, are there certain fingerings that make these easier to play fast, or is it simply a matter of practice and memorization?

Thanks

[Jimmy James]

Originally posted by 335clone


So you are NOT holding the chord SHAPE (although you can), but repeating the chord TONES, right? One last thing, are there certain fingerings that make these easier to play fast, or is it simply a matter of practice and memorization?

Thanks

You're playing each individual note without the other notes ringing with it. If it rings it's a chord. If they sound separately, it's an arpeggio. Same notes but it's how you play them. You wouldn't fret them like a chord.

Just do it and experiment. You'll find the easiest way to finger it. Everybody is different.:D

[335clone]

Thanks Oscar.:D

[Jimmy James]

There's no ice water in hell. What's up with that?

[TubeAddict]

Originally posted by Jimmy James


Play a GM7 arpeggio over that Am chord. Be like Santana!:D

. . .or play a C7 arpeggio over an A7 chord like Parker. . .

[butch]

Arpeggio means "broken chord" or the notes of a chord played separately.They can be played to 'ring" or not to ring.Of course if you play the flute there's no options .On the guitar we have both or a combination.Ring is mostly a "'chord" accompinment thing.Whats being discussed here's it's more of a melody thing .

I see it three ways:

1.Horizontal
2.Vertical
3.combination of both

In other words the notes of the chords can be visualized and played horizintaly or vertically (or both ) on the fretboard.I think a good place to start is triads.Major triads and horizontaly first.My first horizontal vision is to see it laid out into 2 string groups at a time

Strings: 6-5.. 5-4... 4-3 ... 3-2 ... 2-1
And the three notes of a triad in it's 3 inversions
1-3-5... 3-5-1 .... 5-1-3

Gmajor:1-3-5 .....6th - 5th string group
......... .........
......... .........
......... .........
......... .........
.....2. .........5
.........3 .........

This pattern is the same (just like chords or scales) for every Major triad 1-3-5

For the 2 string group(6-5,5-4,4-3, 2-1)you'll notice 3-2 isn't the same because of the tuning.(later).Here's 2 more variations

3-5-1
5-1-3

Gmajor 3-5-1 6th -5th string group
......... .........
......... .........
......... .........
......... .........
.....5 .........10
.........7 .........

Gmajor 5-1-3 6th -5th string group
......... .........
......... .........
......... .........
......... .........
.........10 .........14
.........10 .........

Exception 3-2 string group>>>>>>>>>>>>>>>>>>>>>

Cmajor:1-3-5 .....3rd -2nd string group
......... .........
.........5 .........8
.........5 .........
......... .........
......... .........
......... .........


Cmajor:3-5-1 .....3rd -2nd string group
......... .........
.......8. .........13
.........9 .........
......... .........
......... .........
......... .........

Cmajor:5-1-3 .....3rd -2nd string group
......... .........
...............13 .........17
.........12 .........
......... .........
......... .........
......... .........



Now a practice routine.I'd learn each inversion Right now it doesn't matter what the name of the chord is (you can find out by knowing what the "1" note is) the shape is what's important.Play all the shapes(1-3-5, 3-5-1, 5-1-3)on the 3rd fret starting on string group 6-5...gottem?

Now take each inversion shape and play through 3 octaves.

1st octave Gmajor 1-3-5 string group 6-5
......... .........
......... .........
......... .........
......... .........
.....2. .........5
.........3 .........

2nd Octave (same shape) string group 4-3
......... .........
......... .........
.......4. .........7
.........5 .........
......... .........
......... .........

3rd Octave (same shape) string group 2-1

.......7. .........10
.........8 .........
......... .........
......... .........
......... .........
......... .........

This works for every chord The exception for strict 'same "shape is....if you start on the 5-4 string group the next pattern will be different because the octave pattern will be on string group 3-2(i.e. anything involving string group 3-2)

As a varition you can move up in inversions(1-3-5, 3-5-1, 5-1-3) in the same string group then do octaves from them.......There's alot of variations......
Start with one idea and stay with it until it's 'under your fingers then experiment with combinations and variations.Next would be Minor triads.You're 2/3rds of the way there already:

Minor lower Majors "3" one fret.
Diminished lower Minors triads "5" one fret.
Augmented raise Majors "5" one fret.

Stay focused ....you'll want to jump all over the place cause .....this is easy as shit to do really.Concentrate on clean playing and hearing the sounds with your head and fingers.This will open up you visual feild .

You'll start to see the scale patterns they are buried in.And of course all the other "arpeggios/chord shapes around them..It's an endless excercise and now an easy jump to add in the extension (7,9,11,13,6,) and making "altered chords/arpeggios(b5,#5,b9,#9).Not to mention that combinations of different aprpeggios (chords) creates extended and altered chords

The real secret is how they connect to make musical statements.if not.... they're just 80's "learn to burn jerk off excercizes."Of course this is the tip of one iceberg.I would bet it's one most guitarist swerve to avoid.good luck

Butch

[ranalli]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------

Was learning this one last night....I'm slow and sloppy now but I hope to get it up to speed....lotsa fun to play though!!!!

[BlinkRulz!!!]

man i'm confused:confused:

[DD]

You got me confused for a moment, Oscar.

You mean GM7 = Gmaj7.

Right?

The way you wrote it made me think you where doing a Gminor7 arpeggio.

[Jimmy James]

Originally posted by DD
You got me confused for a moment, Oscar.

You mean GM7 = Gmaj7.

Right?

The way you wrote it made me think you where doing a Gminor7 arpeggio.

M = Major

m = Minor

[FuzzBob]

Originally posted by Jimmy James


M = Major

m = Minor

Depends on who you ask, or whatever Real Book chart you look at. :)

You really could do a Gm7 arp over an Am7 chord for a nice dark Phrygian flavor. If your badass B3 player is doing a spare comp with open-sounding Am7 or AQ chords, you have all kinds of leeway to do some mode mixture in your soloing. Go from A Dorian to A Phrygian and back to Dorian again for some light-dark-light contrast. Tension and release kicks ass!

[Sorted69]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------

Thanks for the guitar shop material :)

[devast8r]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------

What would be the 'correct' (i.e. how a classically trained guitarist would do it) way to finger this passage? I'm experimenting with a few ways but I'd imagine the correct way would be to emulate a single position?

[Jones_Tone]

Originally posted by devast8r


What would be the 'correct' (i.e. how a classically trained guitarist would do it) way to finger this passage? I'm experimenting with a few ways but I'd imagine the correct way would be to emulate a single position?


yes i'm very interested to know that as well!

[CustomGR]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------

Is there a sound clip of this I can have a listen to? The things I like about it, is its so much easier than the arpegeos I normally see..

[Promethius]

Originally posted by DD
You got me confused for a moment, Oscar.

You mean GM7 = Gmaj7.

Right?

The way you wrote it made me think you where doing a Gminor7 arpeggio.

Good that answers my question. I thought he meant mionor too. I was about to ask why you had an Am as the ll, wouldn't the 1 have to be a major chord?

But the world once again makes sense to me.

[Jimmy James]

I've always seen a small "m" as minor and a large "M" as major. Sorry for the confusion.

[Fluffy_Bunny]

I'm starting to get it speeded up now... very nice fingerpractise :) thanx a lot!

[- SG -]

cool riffs and lessons!
im just wondering why is this the only thread with a number of views or is there others?
also whats up with the rating line thing?

[nagesha]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------


Hi,
Would you please let me know what arpeggios we are working with here. After the Am, I'm not sure what we're doing. Thanks.

Bob

[NYC-Rider]

I originally posted the rambling arp under the CarvinRock moniker. (Lost the password)


Anyway, I tried to answer fingering questions and the names of the scales. I believe the names are correct, but I am not sure the fingering is "technically" correct. The fingering indications are representative of how I play the scales. Others may have better suggestions/styles.





A- G#o
-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------
1 4 3 3 2 1 4 1 2 3 3 4 1 4 1 4 1 4 3 4 1 4 1 4


G#o A7
-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------
1 4 1 4 1 4 3 4 1 4 1 4 1 4 3 3 3 1 4 1 3 3 3 4


Dminor A-
-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------
1 4 2 3 2 1 4 1 2 3 2 4 1 1 3 4 3 3 2 1 2 3 3 4 1


B7 E7
--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------
2 1 3 1 3 3 1 3 3 1 4 1 3 2 1 1 1 1 4 1 4 4 3 2


A-
--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------
3 1 2 3 3 4 1

[Stanley]

Jimmy Rocks!

[devast8r]

Thanks for the fingering thingee. If anything, it can serve as a point of reference for people to try/experiment off of, etc.

Awesome exercise, in any case.

[electrobank]

Man, I'm so psyched!!!

I sat down at work and figured this thing out, and came up with the exact same arpeggios the other guy did....so I know I'm on the right track.

What I want to know is.....how do these different arpeggios "fit" scale-wise with each other???

anyone???

[fretwizard4hire]

butch has got it. its pretty simple in the diatonic format (not that i am saying that ripping out malm or vai is easy). but i'm a jazzer guys, probably one of the only ones here, and if your interested in getting into jazz the arppegios are a must!!!! most non-diatonic substitution from those like Wes Montgomery, Coltrane, Grant Green, Charlie Parker, are heavily phrased in arppegios. arrpeggios will enable you to understand the construct and rotation of inversions like "drop 2s" as well. which is great for "block chording" w/melody lines.

[GorillaLover]

Originally posted by BlinkRulz!!!
man i'm confused:confused:
__________________
my fav guitar playez

tom delonge
billy joe armstrong
kurt cobain


I can think of three reasons why you're confused... and you already named them in your sig :D

[roofus]

Does anyone here know how to play the actually song Arpeggios from Hell by Yngwie Malmsteen?

he's right man, tom delonge, billy joe armstrong, kurt cobain, arent that great at guitar. Good song writers, especially Kurt, but not that great of riffs.

[gimmejava]

Hey Guys,
I went ahead and put the arpeggio exercise in Powertab. For you advanced guys, you may want to play the arps as 32nd notes, but since I'm learning, I kept everything at 16th note pace.

Enjoy,
Randy

[Keeping Face]

ummmm... i'm looking at that powertab. i'm thinking it might not be 16ths. looks more like it'd be sixtuplets to me. i could be wrong though.

[StevieRaveOn]

Originally posted by NYC-Rider
I originally posted the rambling arp under the CarvinRock moniker. (Lost the password)


Anyway, I tried to answer fingering questions and the names of the scales. I believe the names are correct, but I am not sure the fingering is "technically" correct. The fingering indications are representative of how I play the scales. Others may have better suggestions/styles.





A- G#o
-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------
1 4 3 3 2 1 4 1 2 3 3 4 1 4 1 4 1 4 3 4 1 4 1 4


G#o A7
-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------
1 4 1 4 1 4 3 4 1 4 1 4 1 4 3 3 3 1 4 1 3 3 3 4


Dminor A-
-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------
1 4 2 3 2 1 4 1 2 3 2 4 1 1 3 4 3 3 2 1 2 3 3 4 1


B7 E7
--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------
2 1 3 1 3 3 1 3 3 1 4 1 3 2 1 1 1 1 4 1 4 4 3 2


A-
--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------
3 1 2 3 3 4 1


Anyone have any other stuff similar to this? I really like it, I've been working on it as part of my daily (If I get to play everyday :D) jammin'. Anybody?

[aboynoir]

Originally posted by CarvinRock
Here's something I use to warm up. Its based on a Bach theme, ripped off directly from Vai, but I have fun with it. Great speed builder, too.





-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------


-------------------------------------------------------12-15-12-------------
--------------------15------------------------------14----------14----------
--------------13-16----16-13---------------------14----------------14-------
--------12-15----------------15-12------------14----------------------14----
--11-14----------------------------14---12-16----------------------------16-
----------------------------------------------------------------------------


-----------------13-17-13------------------------------------12----------------
--------------15----------15------------------------------13----13-------------
-----------14----------------14------------------------14----------14----------
--------15----------------------15------------------14----------------14-------
--12-17----------------------------17------12-14-15----------------------15-12-
----------------------------------------12-------------------------------------


--------------------14---------------------------12----12-16-12-16-20-19-16----
-----------------16----16---------------------12----12-------------------------
-----------14-16----------16-14------------13----------------------------------
-----13-16----------------------16-13---14-------------------------------------
--14---------------------------------------------------------------------------
-------------------------------------------------------------------------------


--17-12-----------------
--------13--------------
-----------14-----------
--------------14--------
-----------------15-12--
------------------------

Thanks a bunch bro!! I learned that and then practiced through it for an hour. Then I went to run some scales for good measure and I blew through them faster than ever! What a great site this is.

[aboynoir]

Originally posted by GorillaLover


I can think of three reasons why you're confused... and you already named them in your sig :D

I was gonna say the same thing. Although, you have to respect Billie Joe Armstrong (Green Day). His music may be simple... but he has style!

[RJpilot]

Somin I just worked up..
It utilizes two popular (forms) ways to play a three string diminished arpeggio in an ascending format. I'm working on a good way to come down (descending)

----------------------- 3-6-3--------------------------- 6-9-6-----------
-------2-5-2---------5-------5---------5-8-5---------8-------8---------
-----3-------3---3-6-----------6-----6-------6---6-9-----------9--------
-2-5-----------5-----------------5-8-----------8--------------------------
-------------------------------------------------------------------------
-------------------------------------------------------------------------



---------------------------- 9-12-9------------------------
--------8-11-8-----------11--------11-------------------------
------9--------9----9-12--------------9---------------------
-8-11------------11---------------------11----------------------
---------------------------------------------10-----------------
--------------------------------------------------------------

[Moggo]

Originally posted by Jimmy James
Hi, and welcome to hell!

No. Not the Yngwie tune. I just thought it was a cool title for the lesson I’d like to share.

I like to use arpeggios that are not the mirror image of the chord I’m playing over. For example over an Am chord I rarely ever play an Am arpeggio over it. I would play a GM7 arpeggio.

I play it like this:

------------------------------7-10-----------


-------------------------7-8------------------


------------------4-7-------------------------


-----------4-5--------------------------------


-----2-5--------------------------------------


2-3-------------------------------------------




JJ, a quick question if you dont mind - on the way down do you lead with your pinkie?

[amplayer]

Originally posted by Jimmy James
Hi, and welcome to hell!

No. Not the Yngwie tune. I just thought it was a cool title for the lesson I’d like to share.

I like to use arpeggios that are not the mirror image of the chord I’m playing over. For example over an Am chord I rarely ever play an Am arpeggio over it. I would play a GM7 arpeggio.

I play it like this:

------------------------------7-10-----------


-------------------------7-8------------------


------------------4-7-------------------------


-----------4-5--------------------------------


-----2-5--------------------------------------


2-3-------------------------------------------


The last two notes on the high E string finish the pattern but you can end it on the last note of the B string.

It just sounds a lot more interesting to my ears. The theory behind it is that you can play arpeggios based around the chord scale of the Am. It really helps to know where the chord is within the chord scale. If Am is the II chord of a chord scale you can play the following arpeggios over an Am chord:

Am (ii) Am arpeggio
CM7 (IV) CM7 arpeggio
Em7 (vi) Em7 arpeggio
F#m7flat5 (vii) F#m7flat5 arpeggio
GM7 (I) GM7 arpeggio
D7 (V) D7 arpeggio
Bm7 (iii) Bm7 arpeggio

Depending on the style of music you’re playing they won’t sound all that wonderful over that Am chord. Let's say, "Different." Some sound weird to my ears but the ones that sound good, sound really good and adds hip elements to your playing.

Being primarily a Blues guy I like using that GM7 arpeggio a lot for that Santana vibe as well as the CM7 arpeggio over the Am. I'll also sweep pick a Bm7th arpeggio over that Am chord Yngwie style. Yeah, I'm a blues guy but a heretic as well. An Am arpeggio over an Am chord is a no brainer.

Over a dominate chord like a G7 for example you can use:

G7 (V) arpeggio
Bm7flat5 (viii) arpeggio
Dm7 (ii) arpeggio
FM7 (IV) arpeggio

I’d tab out all the patterns for you guys but I’m at work. You’ll get more out of it when you sit down and work out each note of the arpeggio yourself and hear how they sound against the chord. You’ll actually discover that you’re in fact teaching yourself.

If you have trouble mapping out all the arpeggios get a book. Information is everywhere. Or ask some of the theory geniuses here.

Its ammunition to add on to what you already do but takes time. Use the ones you like as I do. There’s no need to play every single arpeggio that I've listed over that chord.

You don’t have to sweep pick the whole thing back and forth either. You can add few notes here and there from the arpeggio into your already excellent pentatonic wanking.

If I’ve made a mistake or if anyone would like to tab out the other arpeggios feel free. I get a lot out of this simply revisiting and thinking about it.

Enjoy and happy wanking.

In my opinion, playing the note F# over an A minor chord only works in certain contexts. Mainly, it works in long one chord vamps and also in tunes that are primarily modal in flavor.
In most other contexts, playing F# over an A minor makes it sound like a dominant function (i.e, D7 or F# m7b5), not a subdominant. Usually the dominant function is not desired because the real dominant is coming as the next chord in the progression, and it loses its sting if you gave it away by playing the F# already.

[EDS]

I think that in the context of the this thread, the Am chord is not serving a subdominant function. Esp. in the case of Santana, it would be modal harmony, not funtional harmony, so the raised 6th scale degree in minor serves to give the charateristic modal coloring of Dorian. Even if the 6th was flatted, it would still probably sound modal in the context that the original poster intended.

In jazz, it is common knowledge that a raised 6th scale degree is most commonly used over most minor chords. I see your point about the using the 6th "gives away" the leading tone of the dominant before it appears, but I think many jazz musicians think in terms of dominant-tonic, not subdominant-dominant-tonic. This is not to say that this always occurs, but I think it is worthwhile to point out that using natural 6th on minor is very common in American music.

[typedeaF]

This thread is extremely weak. It has one example of playing a 7th flavored arpeggio and then a transcription of the ever common "Crossroads" section. I expected to see some crazy arpeggio sequences and theory. This does not deserve to be a sticky! :mad:

[Paragraph51]

I put this on another thread, but this is the recurring arpeggio break I play in one of my instrumental pieces.



#This file is the author's own work and represents their interpretation of the#
#song. You may only use this file for private study, scholarship, or Author/Artist: REF
Title: Arpeggio break from one of my songs
Album: The best of ZEN
Transcribed by: Me
Written in 1995, this is the break between melodies of an instrumental for guitar and band.

----------------8-12-8-----------------------------8-12-8---------------------
--------------8--------8-------------------------8--------8-------------------
------------9------------9---------------------9------------9-----------------
---------10----------------10---------------10----------------10--------------
------10----------------------10---------10----------------------10-----------
-8-12----------------------------12-8-12----------------------------12-10-14--


-----------10-14-10---------10-15-10----------10-14-10------------------------
---------10--------10----10----------10----10----------10---------------------
-------11-------------11----------------11----------------11------------------
----12-------------------------------------------------------12---------------
-12-------------------------------------------------------------12------------
-------------------------------------------------------------------14---------


----------------8-12-8-----------------------------8-12-8---------------------
--------------8--------8-------------------------8--------8-------------------
------------9------------9---------------------9------------9-----------------
---------10----------------10---------------10----------------10--------------
------10----------------------10---------10----------------------10-----------
-8-12----------------------------12-8-12----------------------------12-10-14--


-------------10-14-10----10---------------------------------------------------
----------10----------10----10----10------------------------------------------
-------11----------------------11----11----11---------------------------------
----12----------------------------------12----12----12------------------------
-12----------------------------------------------12----12----12---------------
----------------------------------------------------------14----14-10---------


----------------8-12-8-----------------------------8-12-8---------------------
--------------8--------8-------------------------8--------8-------------------
------------9------------9---------------------9------------9-----------------
---------10----------------10---------------10----------------10--------------
------10----------------------10---------10----------------------10-----------
-8-12----------------------------12-8-12----------------------------12-10-14--


-------------10-14-10----------10-15----------10-15-10------------------------
----------10----------10----10-------10----10----------10---------------------
-------11----------------11-------------11----------------11------------------
----12-------------------------------------------------------12---------------
-12-------------------------------------------------------------12------------
-------------------------------------------------------------------14-10------


----------------8-12-8-----------------------------8-12-8---------------------
--------------8--------8-------------------------8--------8-------------------
------------9------------9---------------------9------------9-----------------
---------10----------------10---------------10----------------10--------------
------10----------------------10---------10----------------------10-----------
-8-12----------------------------12-8-12----------------------------12-10-14--


-------------10-14-10----------10-15-10----------------|----------------------
----------10----------10----10----------12-------------|----------------------
-------11----------------11----------------12----------|----------------------
----12----------------------------------------12-------|----------------------
-12----------------------------------------------14-10-|----------------------
-------------------------------------------------------|----------------------

[Brewski]

Holy Crap - I've been dicking around in the electric guitar forum wasting time yacking about equipment and I could have been here actually learning something I can apply.

Boy do I feel like an ass!!

This is the best explanation of Arpeggios I;ve ever heard and I'm running downstairs to try these out right now!!

Thanks Again Harmony Central for reminding me how ignorant I am

[Paragraph51]

http://www.soundclick.com/bands/pagemusic.cfm?bandID=487085

[FreakyStyley]

Try practising those clean with some reverb into it, sound's so sick.!

[chronowarp]

Originally posted by Jimmy James


You're playing each individual note without the other notes ringing with it. If it rings it's a chord. If they sound separately, it's an arpeggio. Same notes but it's how you play them. You wouldn't fret them like a chord.

Just do it and experiment. You'll find the easiest way to finger it. Everybody is different.:D

Thats not completely true. To arpeggiate simply means to seperate the chord tones. They can ring, but when they ring all at once, or harmonically, then it is a chord.

[Yngwieclone]

Speaking of arpeggios... the most important thing I ever learned musically was from Yngwie Malmsteen's Liar of of Trilogy. Most every Yngwie tune has a short musical interlude of Baroque nature just before the solo. It is this arpeggio "Etude" if you will, that taught me an awful lot. Not technique, mind you, but of music theory! I forget right now what key it is in as I have not been an Yngwie clone in years:) but remember it being in a minor tonality. When I learned the pice, I brought it to the attention of my instructor because there were arpeggios that just were not supposed to be in this key! But it sounded great and twisted the ear a tad. He explained to me that it wasn't based soley on a Minor chord scale, but he took the Aeolian mode and made a chord scale from that, then did the same for the Dorian mode, and then the Phrygian mode. Compared the similar "chords" of the 3 minor mode "chord scales" and noticed the chords that differed between the them. This opens up a new world musically and doesn't limit you just to the typical Minor key which is based off of Aeolian.


Sorry that my musical prowness is not sharp as i am mostly self taught and can read Chineese faster than I can read music... but for example... hamonize a chord scal from A aeolian. Then do the same for A dorian, then A phrygian. Compare what you have and run with it! You can make some really haunting movements especially using adjacent major arpeggios where they normally wouldn't be in typical A minor.

[fastsix]

Originally posted by NYC-Rider
I originally posted the rambling arp under the CarvinRock moniker. (Lost the password)


Anyway, I tried to answer fingering questions and the names of the scales. I believe the names are correct, but I am not sure the fingering is "technically" correct. The fingering indications are representative of how I play the scales. Others may have better suggestions/styles.





A- G#o
-----------------12-17-12---------------------------------------------------
--------------13----------13------------------------------15----------------
-----------14----------------14---------------------13-16----16-13----------
--------14----------------------14------------12-15----------------15-12----
--12-15----------------------------15---11-14----------------------------14-
----------------------------------------------------------------------------
1 4 3 3 2 1 4 1 2 3 3 4 1 4 1 4 1 4 3 4 1 4 1 4


etc...



Cool sutff, Thanks!

I don't have a cutaway, so I moved it down 5 frets. Here it is if anyone else finds themselves picking away on an acoustic late at night.



-------------7-12-7-----------------------------------------------
-----------8--------8------------------------10-------------------
---------9------------9-----------------8-11----11-8--------------
-------9----------------9----------7-10--------------10-7---------
--7-10--------------------10---6-9------------------------9-------
------------------------------------------------------------------
1 4 3 3 2 1 4 1 2 3 3 4 1 4 1 4 1 4 3 4 1 4 1 4


--------------------------------------------7-10-7----------------
----------------10------------------------9--------9--------------
-----------8-11----11-8-----------------9------------9------------
------7-10--------------10-7----------9----------------9----------
--6-9------------------------9---7-11--------------------11-------
------------------------------------------------------------------
1 4 1 4 1 4 3 4 1 4 1 4 1 4 3 3 3 1 4 1 3 3 3 4


---------------8-12-8-----------------------------7-------------
------------10--------10------------------------8---8-----------
----------9--------------9--------------------9-------9---------
-------10------------------10---------------9-----------9-------
--7-12------------------------12-----7-9-10---------------10-7--
-----------------------------------7----------------------------
1 4 2 1 2 1 4 1 2 1 2 4 1 1 3 4 3 3 2 1 2 3 3 4 1


-----------------9----------------------7---7-11-7-11-15-14-11----
--------------11---11-----------------7---7-----------------------
---------9-11---------11-9----------8-----------------------------
----8-11-------------------11-8---9-------------------------------
--9---------------------------------------------------------------
------------------------------------------------------------------
2 1 3 1 3 3 1 3 3 1 4 1 3 2 1 1 1 1 4 1 4 4 3 2


--12-7--------------
-------8------------
---------9----------
-----------9--------
-------------10-7---
--------------------
3 1 2 3 3 4 1

[Guitarfreak911]

Originally posted by Jimmy James
------------------------------7-10-----------


-------------------------7-8------------------


------------------4-7-------------------------


-----------4-5--------------------------------


-----2-5--------------------------------------


2-3-------------------------------------------


hey jimmy, sorry im just starting out on this stuff, isnt a GM7 arpeggio the root 3rd 5th and 7th of dorian mode in G. thats at least what i read at another site. help me out im confused:confused: and if you are playing the GM7 arpeggio why doesnt it start in G? the first note in the tab is F#

[Andelusion]

Originally posted by Guitarfreak911


hey jimmy, sorry im just starting out on this stuff, isnt a GM7 arpeggio the root 3rd 5th and 7th of dorian mode in G. thats at least what i read at another site. help me out im confused:confused: and if you are playing the GM7 arpeggio why doesnt it start in G? the first note in the tab is F#

The notes in G Dorian are G-A-Bb-C-D-E-F

A GM7 (GMajor7) chord has the notes G-B-D-F#

So you would have a couple of clashes there, the B (major 3rd) and the F# (major 7th) against the Bb (minor 3rd) and F (minor 7th).

The Dorian mode is minor, you could play a Gm7 (Gminor7) over it, as Gminor is chord I in G Dorian and the 7th extension is minor as F is a minor 7th higher than G.

The arpeggio he's written starts on F# because he wants it to :) You don't always have to start an arpeggio on the root note (which would be G in this case), I think a big point of this thread is to encourage people to experiment, so if playing a GM7 arp starting on the 7th (F#) sounds cool to you, then go for it :)

[Guitarfreak911]

Originally posted by Andelusion


The notes in G Dorian are G-A-Bb-C-D-E-F

A GM7 (GMajor7) chord has the notes G-B-D-F#

So you would have a couple of clashes there, the B (major 3rd) and the F# (major 7th) against the Bb (minor 3rd) and F (minor 7th).

The Dorian mode is minor, you could play a Gm7 (Gminor7) over it, as Gminor is chord I in G Dorian and the 7th extension is minor as F is a minor 7th higher than G.

The arpeggio he's written starts on F# because he wants it to :) You don't always have to start an arpeggio on the root note (which would be G in this case), I think a big point of this thread is to encourage people to experiment, so if playing a GM7 arp starting on the 7th (F#) sounds cool to you, then go for it :)

awesome, now i understand, thanks man

[NITEFLY182]

Originally posted by typedeaF
This thread is extremely weak. It has one example of playing a 7th flavored arpeggio and then a transcription of the ever common "Crossroads" section. I expected to see some crazy arpeggio sequences and theory. This does not deserve to be a sticky! :mad:

+1. Maybe its just me but I never think people's "crazy" arps are crazy at all, theyre pretty tame. Also, if hes playing two notes per string how is it even an arpeggio, its a scale. Regardless, here is a crazy arpeggio:

----------------10------------------------
------------13-----13-----------------------
--------10-------------10-------------------
----14---------------------14---------------
-12----------------------------12----------
---------------------------------------------

------------------14---------------------------
--------------17-----15--------------------------
----------16-------------14---------------------
------14---------------------15------------------
--15-----------------------------17--------------
------------------------------------------------

Now those are crazy

[Snowcow]

Originally posted by NITEFLY182

Also, if hes playing two notes per string how is it even an arpeggio, its a scale.

Well, no, you seem a little confused...

An arpeggio can be played on just one string if wanted: it does not necessarily need to be spread across several strings; you can play 3 notes on one string, two on the next, one on the next, you can skip strings, go backwards etc. It has nothing to do with the strings you use, it is all about the notes.

And, a scale is the same: it can be played one note per string, 3 notes per string, all on one string, strings can be skipped, etc. It's the notes that are important, not where they are played.

[bvmartin]

I've been learning more here than in any book.

[mad turnip]

Jimmy’s actually given away two lessons for the price of one here; some cool arpeggio advice, and something that should be taught in tandem with your first lesson in scales – the good old position change. It’s causing undue distress, so probably worth a brief spiel.

I apologise for insulting anyone’s intelligence before hand, but here’s a standard G major scale for simplicity.

|---------------------------2h3----|
|-----------------------3h5--------|
|-----------------2h4h5------------|
|-----------2h4h5------------------|
|-----2h3h5------------------------|
|-3h5------------------------------|


But why not play it like this:

|-----------------------------------|
|----------------------------7h8----|
|------------------------7h9--------|
|-----------2h4h5-7h9h10------------|
|-----2h3h5-------------------------|
|-3h5-------------------------------|

Or:

|------------------------------------|
|------------------------------------|
|-----------------2h4h5-7h9h11-12T---|
|-----------2h4h5--------------------|
|-----2h3h5--------------------------|
|-3h5--------------------------------|

Of course, there are plenty of other ways to play it too and the same idea applies to all scales, modes and arpeggios:In answer to the question why bother:

(a) For beginners, it teaches fret board layout, the relationship between notes, tones etc. faster than any other method as well as providing the basis for good speed technique.

(b) For more advanced players, the variation in position opens up a surplus of creative possibilities. I’d argue that position is often more important than the note(s) in question, depending on the note(s) that are to follow. To be clichéd, it’s the all about the journey; making your solos both more imaginative and easy to play.

[goaway]

know what ya mean

[Blackwind]

Originally posted by Jimmy James

I like to use arpeggios that are not the mirror image of the chord I’m playing over. For example over an Am chord I rarely ever play an Am arpeggio over it. I would play a GM7 arpeggio.



Quick question for anyone who can answer this. I know a decent amount about scales, modes and such, but I'm just getting a grasp on chords so forgive any seemingly "dumb" questions.

1. When arpeggiating over and Am chord, why do you chose GM7 for an arpeggio? How did you narrow it down from the infinite other chord possibilities?

2. If I understand correctly Am is ii in the GM7 chord scale, but aren't Major 7th chord progressions mainly used for Major 7th chords and not Triads such as Am?

3. Is there a possibility that Am could be found in another chord progression other than GM7? Is there a quick way to narrow down to which progression(s) you'd find a certain chord in?

4. Lastly if you're playing an Am chord, wouldn't you arpeggiate with notes derived from another minor chord? Or are you "allowed" to go back and forth from minor and major?

-Thanks

[rx jr.]

man i'm confused:confused:

i'm not surprised... :o

[TTCZ06]

I was wondering, what left hand fingers do you use for this kind of arpeggio?

-|-18p15-------15-----------------------|-------------------------------------|
-|-------15-------15--------------------|-------------------------------------|
-|----------15-------15-----------------|-------------------------------------|
-|----------------------17--------------|-------------------------------------|
-|--------------------------------------|-------------------------------------|
-|--------------------------------------|-------------------------------------|

[Hand Amputation]

This is a great thread!

+1 on the wasting time in other forums!

[I_cant_play]

I'm a little confused about the theory behind the original post. Are you saying you got the GM7 from the Am chord scale? If this is so, when I try to do that I end up with an F as the 7th note, not the F#. What am I doing wrong here?

thanks

[rx jr.]

I was wondering, what left hand fingers do you use for this kind of arpeggio?

-|-18p15-------15-----------------------|-------------------------------------|
-|-------15-------15--------------------|-------------------------------------|
-|----------15-------15-----------------|-------------------------------------|
-|----------------------17--------------|-------------------------------------|
-|--------------------------------------|-------------------------------------|
-|--------------------------------------|-------------------------------------|

bar 15th fret with index.

[TheAmazingBlob]

bar 15th fret with index.Ditto. Then either ring or middle for the 18th and 17th frets.

[TTCZ06]

thanks :) , and when sweeping down I should release pressure on the strings I just passed with my right hand by lifting up my finger but keeping the top of it on the last string? mmmm this is gonna take some practice but I'll work on it .

Thanks again !

[Roguetitan]

:snax:

[Sweeps]

5 String Sweep arpeggios

A Major
|------------9-12-9
|---------10--------10
|-------9--------------9
|----11-----------------11
|--12---------------------12
|------------------------------

A Minor
|------------8-12-8
|---------10--------10
|-------9---------------9
|----10-------------------10
|-12-------------------------12
|-------------------------

A Diminished
|------------9-11-9
|---------10--------10
|-------8--------------8
|----10------------------10
|-12------------------------12
|-----------------------

[Divine Inferno]

Speaking of arpeggios... the most important thing I ever learned musically was from Yngwie Malmsteen's Liar of of Trilogy. Most every Yngwie tune has a short musical interlude of Baroque nature just before the solo. It is this arpeggio "Etude" if you will, that taught me an awful lot. Not technique, mind you, but of music theory! I forget right now what key it is in as I have not been an Yngwie clone in years:) but remember it being in a minor tonality. When I learned the pice, I brought it to the attention of my instructor because there were arpeggios that just were not supposed to be in this key! But it sounded great and twisted the ear a tad. He explained to me that it wasn't based soley on a Minor chord scale, but he took the Aeolian mode and made a chord scale from that, then did the same for the Dorian mode, and then the Phrygian mode. Compared the similar "chords" of the 3 minor mode "chord scales" and noticed the chords that differed between the them. This opens up a new world musically and doesn't limit you just to the typical Minor key which is based off of Aeolian.


Sorry that my musical prowness is not sharp as i am mostly self taught and can read Chineese faster than I can read music... but for example... hamonize a chord scal from A aeolian. Then do the same for A dorian, then A phrygian. Compare what you have and run with it! You can make some really haunting movements especially using adjacent major arpeggios where they normally wouldn't be in typical A minor.


I never thought of doing this. Thanks for the tip there man I'm going to work on some ideas with this tonght.

[cloudsnstuff00]

Can someone explain a chord scale to me?

[GreenAsJade]

If Am is the II chord of a chord scale you can play the following arpeggios over an Am chord:

Am (ii) Am arpeggio
CM7 (IV) CM7 arpeggio
Em7 (vi) Em7 arpeggio
F#m7flat5 (vii) F#m7flat5 arpeggio
GM7 (I) GM7 arpeggio
D7 (V) D7 arpeggio
Bm7 (iii) Bm7 arpeggio


How did you come up with these choices?

Just a couple of examples...

I would have thought that if Am is the II, then G is the I, so why GM7 instead?

I would have thought that GM7 would have gone with Am7 as II.

I get these examples from the whole

I II III IV V VI VII
M m m M D m m

chord scale thing that I've learned about.

I'm not saying that GM7 doesn't work over Am as II (it probably does), I just would like to understand the system that comes up with that (and the others).

Thx,

GaJ

[GreenAsJade]

Oh - a chords scale is what I just quoted.

It works like this. Suppose you start with C Major Scale. The notes are
C D E F G A B

And the first chord of the C chord scale is C Major. It is 1 3 5. So that means C E G.

The _next_ chord of the C chord scale starts with D. Then you use the same notes from C major scale to form it. That's D F A. Guess what... Dm.

Then there's E G B .... guess what ... Em etc.

You can see that if you play Em over C Major scale, you will be choosing notes from the scale, so it has a chance of sounding OK. And so on with all the notes from the C Maj Chord Scale. They "Harmonise" C major scale.

Mark Wies talks about it here: http://premierguitarlessons.com/index.php?option=com_content&task=view&id=56&Itemid=28

That sequence turns out to be M m m M Dom m m for harmonizing the major scale.

I thought this would be what gives the clue that GM7 works over Am, but it doesn't explain it!

GaJ

[bustaplz]

Gmajor 5-1-3 6th -5th string group
......... .........
......... .........
......... .........
......... .........
.........10 .........14
.........10 .........


Butch

I played those three notes, played a Gmaj open chord and then figured out a hendrix-style version of Star Spangled Banner. Thanks for a great post, for some reason it really clicked! :wave:

[bulevardi.be]

I’d tab out all the patterns for you guys but I’m at work. You’ll get more out of it when you sit down and work out each note of the arpeggio yourself and hear how they sound against the chord. You’ll actually discover that you’re in fact teaching yourself.

If you have trouble mapping out all the arpeggios get a book. Information is everywhere. Or ask some of the theory geniuses here.

If I’ve made a mistake or if anyone would like to tab out the other arpeggios feel free. I get a lot out of this simply revisiting and thinking about it.

Enjoy and happy wanking.

Somebody has a good reference? Or a good book with all arpeggios in it?

Like I said in the following thread, I have a few books where speep picking with arpeggio's is explained. (Stetina's Speed Mechanics and Govan's Creative Guitar 2) And they explain what an arpeggio is, how to pick it, a few examples,... But not an overview of all chords.
Therefore, you should have a chord book with all types and variations of chords, and you would have to finger it out yourself I guess... Well, that's the way I do it right now.
http://acapella.harmony-central.com/forums/showthread.php?t=1920276


But like Blackwind says too, I don't know what chord I have to choose to arpeggiate, when I have a chord sequence for rhythm playing. Are there tables with scales etc?
I want to know what chords I have to arpeggiate for the following chord sequence: Em, C, D, E. Can someone help?


1. When arpeggiating over and Am chord, why do you chose GM7 for an arpeggio? How did you narrow it down from the infinite other chord possibilities?

[bulevardi.be]

But like Blackwind says too, I don't know what chord I have to choose to arpeggiate, when I have a chord sequence for rhythm playing. Are there tables with scales etc?
I want to know what chords I have to arpeggiate for the following chord sequence: Em, C, D, E. Can someone help?

1) How do I know in which key the chord progression is made?
For chord progression: Em C D E

It could be in C ... but it could be in lots of other keys. How do I detect it?

2) To which key I have to transpose it?

I could transpose it to key G, but also to key E, or D or...

Zillions of possibilities, but I don't have time to write them all down and figure out if they sound well if I play them over the other chord progression.

Okay,
I had much on this part: (use for roman numerals)
http://lessons.mikedodge.com/lessons/MusicTheory/Diatonic/Dia8.htm
and also this part: (toneslinger's one page theory)
http://toneslinger.com/main/index.php?/Guitar-Theory/One-Page-Theory.html

So if the key is in C with chord progression Em C D E
and you transpose it to the key of E, then the chord progression will be: G#m E F# G# ?
if you transpose it to the key of G, it would be: Bm, G A B ?

or did I get it wrong, reading the theory in the links above?
Because...

... than this one, it confused me a lot: (basic chords from the key)
http://lessons.mikedodge.com/lessons/MusicTheory/Diatonic/Dia5.htm

So my C key chords would be C Dm Em F G Am Bmb5 C ... and my Em C D E won't fit in it with the minor chords...

Can anyone help, please?

[bulevardi.be]

So if you play a rhythm guitar with chords Em C D E,
the arpeggio over this chord progression will be:

(going out from the 'thought' that the first chord progression is in key C and the second is transposed to key E)


G#m E
|---------------7---------------------------4----------------------|
|-------------9---9-----------------------5---5--------------------|
|-----------8-------8-------------------4-------4------------------|
|---------9-----------9---------------6-----------6----------------|
|------11---------------11----------7---------------7--------------|
|-(11)---------------------(11)-(7)-------------------7------------|

F# G#
|-----------6------------------------8-----------------------------|
|---------7---7--------------------9---9---------------------------|
|-------6-------6----------------8-------8-------------------------|
|-----8-----------8-----------10-----------10----------------------|
|---9---------------9------11-----------------11-------------------|
|-9-------------------9-11-----------------------11----------------|
Or the same with 7th-chords:


G#m7 Emaj7
|----------7-11-7------------------4-7-4----------------------------|
|--------7--------7--------------5-------5--------------------------|
|------8------------8----------4-----------4------------------------|
|----9----------------9------6---------------6----------------------|
|-11--------------------11-7-------------------7--------------------|
|-------------------------------------------------------------------|

F#maj7 G#maj7
|---------6-9-6-------------------8-11-8----------------------------|
|-------7-------7---------------9--------9--------------------------|
|-----6-----------6-----------8------------8------------------------|
|---8---------------8------10----------------10---------------------|
|-9-------------------9-11----------------------11------------------|
|-------------------------------------------------------------------|
Instead of the same chords, which is no brainer:

Em C
|---------3-7-3-------------------------------------------------|
|-------5-------5----------------5-8-5--------------------------|
|-----4-----------4------------5-------5------------------------|
|---5---------------5--------5-----------5----------------------|
|-7-------------------7----7---------------7--------------------|
|------------------------8-------------------8------------------|

D E
|----------------------------------4-7-4------------------------|
|----------7-10-7----------------5-------5----------------------|
|--------7--------7------------4-----------4--------------------|
|------7------------7--------6---------------6------------------|
|----9----------------9----7-------------------7----------------|
|-10--------------------10--------------------------------------|

So is this right? Or wrong?
If wrong: why? And how to correct it?

[Jawbreakerr]

Jimmy James thread got unsticky pwned.

[Mark Wein]

Jimmy James thread got unsticky pwned.

It might have been "unstickied" since all of the material was included in the "Official Lesson Loft Lesson Thread (http://acapella.harmony-central.com/showthread.php?t=1710551)" sticky

[bulevardi.be]

Jimmy James thread got unsticky pwned.

But I still haven't got an answer on my questions :(

[ToneSlinger]

1) How do I know in which key the chord progression is made?
For chord progression: Em C D E

It could be in C ... but it could be in lots of other keys. How do I detect it?

2) To which key I have to transpose it?

I could transpose it to key G, but also to key E, or D or...

Zillions of possibilities, but I don't have time to write them all down and figure out if they sound well if I play them over the other chord progression.

Okay,
I had much on this part: (use for roman numerals)
http://lessons.mikedodge.com/lessons/MusicTheory/Diatonic/Dia8.htm
and also this part: (toneslinger's one page theory)
http://toneslinger.com/main/index.php?/Guitar-Theory/One-Page-Theory.html

So if the key is in C with chord progression Em C D E
and you transpose it to the key of E, then the chord progression will be: G#m E F# G# ?
if you transpose it to the key of G, it would be: Bm, G A B ?

or did I get it wrong, reading the theory in the links above?
Because...

... than this one, it confused me a lot: (basic chords from the key)
http://lessons.mikedodge.com/lessons/MusicTheory/Diatonic/Dia5.htm

So my C key chords would be C Dm Em F G Am Bmb5 C ... and my Em C D E won't fit in it with the minor chords...

Can anyone help, please?

bulevardi.be,
Always remember... anytime you get confused go back to the musical alphabet and the major scale. Its called 2131... 2-whole steps, 1 half step, 3 - whole steps, 1 half step.

What I have found is that we try to make it more complicated than it actually is. If you find yourself getting confused, no matter what you are trying to learn, ALWAYS back up and go back to those two basic things. You can pretty much sort out anything theory or playing wise with those two things.

Check out this article, it will break it all down and the one page theory will make more sense.

The Secret to Deciphering Anything Musical (http://toneslinger.com/main/index.php?/Guitar-Theory/The-Secret-to-Deciphering-Anything-Musical.html)

Everything builds on this. Sorry, the article isn't the greatest formatted piece on my site. It was one of the first I wrote.

Hope this helps.