interesting sweeping arpegios
is there any un-usual ways of doing them could you suggest some other than doing the d-shape all the time.
# 1
Take a look a GT's Johan's 'Final Fantasy Arpeggios' for some ideas. You can find it under 'Video Games' on the 'By Inspiration' column to the left. Should give you some new arpeggio shapes to play with
Hope that's of some use...
Hope that's of some use...
Don't worry too much about me, ignore me long enough and I'll go away.
# 2
Here's a previous post I did on getting awa from stock arpeggio patterns:
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When you are sweeping arpeggios there are a few different ways to approach each arp, try the following exercise and see which arpeggio within it works best for you. They all involve the same notes but are played on different frets. I've started practicing them all because I was stuck doing the same shape all of the time and I found some of these worked better is certain situations.
I'm no expert on theory so if anyone knows better, please correct me!
This is an exercise I put together to help me tackle 2 and 3 octave arpeggio sweeps in various positions all in the same key. There are probably a few more shapes that I missed but this is a great one to practice fluidity and it's helping me to know my way around the fretboard.
h = hammer on
p = pull off
s = slide
t = tap (hammer) with the right hand
(PS as each arp ends it starts the next 1 off)
E----------------7-------------------------7
B--------------7--7----------------------7--7
G---------4-h7-----7-p4---------------7-----7
D-------4---------------4-----------9--------9
A-----5-------------------5-------9------------9
E---7-----------------------7-h10---------------10-p9
E--------------------------------------------------
B-------------------12-------------------------------------
G----------------11---11--------------------------11-h16-p11
D----------9-h12--------12-p9---------------9-h12------------12
A--------9---------------------9-----------9--------------------14
E--7-h10------------------------10-p7-h10-----------------------14-10
E--------------------------------------------------14-h19-14
B--------------7-h12-p7-------------------------15----------15
G------------7----------7---------------------16---------------16-----
D----------9-------------9------------7-12-16--------------------16
A--------9----------------9---------7-------------------------------17
E--7-h10-------------------10-p7-10
the Gambale arp above can be picked (without hammer or pulls) all the way to the top hammer on due to the 7-12-16 (up, down,up)
E-------------------------------------------------------------15-h19-t24
B------------------------------------------------------12-h17
G-16-s11-----------------------------------------9-h12
D--------12---------9---------------------------9
A----------14-p9-----9---------9--------2-s7-10
E----------------10----10-9-10---7-0-h3
end doing a difficult Rusty Cooley sweep from lowest E to highest E
There you have it, I practice this mother daily and I'm finding I can do it better every day, some sections are easy where others are more difficult and require you to break from the usual patterns and think outside the box. The fingering is challenging in parts and requires some awkward stretches. Remember, this is written as an exercise not a solo!
PS i hope I didn't tab any bum notes in there!!
--------------------------------------------
----------------------------------
When you are sweeping arpeggios there are a few different ways to approach each arp, try the following exercise and see which arpeggio within it works best for you. They all involve the same notes but are played on different frets. I've started practicing them all because I was stuck doing the same shape all of the time and I found some of these worked better is certain situations.
I'm no expert on theory so if anyone knows better, please correct me!
This is an exercise I put together to help me tackle 2 and 3 octave arpeggio sweeps in various positions all in the same key. There are probably a few more shapes that I missed but this is a great one to practice fluidity and it's helping me to know my way around the fretboard.
h = hammer on
p = pull off
s = slide
t = tap (hammer) with the right hand
(PS as each arp ends it starts the next 1 off)
E----------------7-------------------------7
B--------------7--7----------------------7--7
G---------4-h7-----7-p4---------------7-----7
D-------4---------------4-----------9--------9
A-----5-------------------5-------9------------9
E---7-----------------------7-h10---------------10-p9
E--------------------------------------------------
B-------------------12-------------------------------------
G----------------11---11--------------------------11-h16-p11
D----------9-h12--------12-p9---------------9-h12------------12
A--------9---------------------9-----------9--------------------14
E--7-h10------------------------10-p7-h10-----------------------14-10
E--------------------------------------------------14-h19-14
B--------------7-h12-p7-------------------------15----------15
G------------7----------7---------------------16---------------16-----
D----------9-------------9------------7-12-16--------------------16
A--------9----------------9---------7-------------------------------17
E--7-h10-------------------10-p7-10
the Gambale arp above can be picked (without hammer or pulls) all the way to the top hammer on due to the 7-12-16 (up, down,up)
E-------------------------------------------------------------15-h19-t24
B------------------------------------------------------12-h17
G-16-s11-----------------------------------------9-h12
D--------12---------9---------------------------9
A----------14-p9-----9---------9--------2-s7-10
E----------------10----10-9-10---7-0-h3
end doing a difficult Rusty Cooley sweep from lowest E to highest E
There you have it, I practice this mother daily and I'm finding I can do it better every day, some sections are easy where others are more difficult and require you to break from the usual patterns and think outside the box. The fingering is challenging in parts and requires some awkward stretches. Remember, this is written as an exercise not a solo!
PS i hope I didn't tab any bum notes in there!!
--------------------------------------------
# 3
Originally Posted by: SuperhumanHere's a previous post I did on getting awa from stock arpeggio patterns:
----------------------------------
When you are sweeping arpeggios there are a few different ways to approach each arp, try the following exercise and see which arpeggio within it works best for you. They all involve the same notes but are played on different frets. I've started practicing them all because I was stuck doing the same shape all of the time and I found some of these worked better is certain situations.
I'm no expert on theory so if anyone knows better, please correct me!
This is an exercise I put together to help me tackle 2 and 3 octave arpeggio sweeps in various positions all in the same key. There are probably a few more shapes that I missed but this is a great one to practice fluidity and it's helping me to know my way around the fretboard.
h = hammer on
p = pull off
s = slide
t = tap (hammer) with the right hand
(PS as each arp ends it starts the next 1 off)
E----------------7-------------------------7
B--------------7--7----------------------7--7
G---------4-h7-----7-p4---------------7-----7
D-------4---------------4-----------9--------9
A-----5-------------------5-------9------------9
E---7-----------------------7-h10---------------10-p9
E--------------------------------------------------
B-------------------12-------------------------------------
G----------------11---11--------------------------11-h16-p11
D----------9-h12--------12-p9---------------9-h12------------12
A--------9---------------------9-----------9--------------------14
E--7-h10------------------------10-p7-h10-----------------------14-10
E--------------------------------------------------14-h19-14
B--------------7-h12-p7-------------------------15----------15
G------------7----------7---------------------16---------------16-----
D----------9-------------9------------7-12-16--------------------16
A--------9----------------9---------7-------------------------------17
E--7-h10-------------------10-p7-10
the Gambale arp above can be picked (without hammer or pulls) all the way to the top hammer on due to the 7-12-16 (up, down,up)
E-------------------------------------------------------------15-h19-t24
B------------------------------------------------------12-h17
G-16-s11-----------------------------------------9-h12
D--------12---------9---------------------------9
A----------14-p9-----9---------9--------2-s7-10
E----------------10----10-9-10---7-0-h3
end doing a difficult Rusty Cooley sweep from lowest E to highest E
There you have it, I practice this mother daily and I'm finding I can do it better every day, some sections are easy where others are more difficult and require you to break from the usual patterns and think outside the box. The fingering is challenging in parts and requires some awkward stretches. Remember, this is written as an exercise not a solo!
PS i hope I didn't tab any bum notes in there!!
--------------------------------------------
You are definitly working scales throught a wide range of pithes which is great for redirecting the ear to follow in interesting ways your traveling through higher, and lower pitches withen perfict diatonic patterns. I traced your notes which stayed within diatonic scale. This is the reason I think your compositions are coming out so impressive because I seems you have mastered the flow notes withen a key, and now you can use these skills to work chromatic notes with some trial and error to even further coining techniques that are your own creations, and do things that will have people asking , how did he do that. Which as far as I can see it there already are with your, and your band members, skillful musicanship,and much energy blasting through many diffrent well placed notes clearly in diatonic scale.
What importance do you put on the diatonic patterns, and how many chromatic do you practing working into your routines at add deepth, and variaty in your new works?And last of all how much time do you put into peices like the ones in this post, and do you plan, or are already considering putings vocals on top of your music?
# 4
I've never actually studied theory on the guitar but have developed an understanding of musical architecture mainly by ear. Practicing diatonic runs and homemade exercises as you explained above opens up the fretboard and helped me to 'feel' the notes I want to play at any position on the fretboard. I've always approached composition a bit differently, I just imagine what I want to play first and then work it out - as opposed to approaching it theoretically. So when it comes to playing runs and licks, I hear them in my mind first, then work them out, then practice playing them over and over.
For a long time I used to try creating lead around scale shapes but found that I only started creating new sounds when I got away from 'shape mentality'. I was always terrible at maths in school and college and I find theory a bit like studying maths. On the other hand I was good at art so a looser more creative approach work better for me.
My take in the August assignment was an example of a solo constructed in one sitting (section by section) - I listened to the backing music and imagined what I wanted to hear over it, then worked it out.
As far as vocals on my other stuff goes, I'm working on church choirs along with symphonic elements. The plan is to also mix in techno sounds and robotic voices along with human voice - from regular through to death metal growls. I'm trying to stay away from sounding like a band with a regular singer. It's a major undertaking as far as midi programming goes but it's starting to come together.... slowly!
Thanks again for the comments!
For a long time I used to try creating lead around scale shapes but found that I only started creating new sounds when I got away from 'shape mentality'. I was always terrible at maths in school and college and I find theory a bit like studying maths. On the other hand I was good at art so a looser more creative approach work better for me.
My take in the August assignment was an example of a solo constructed in one sitting (section by section) - I listened to the backing music and imagined what I wanted to hear over it, then worked it out.
As far as vocals on my other stuff goes, I'm working on church choirs along with symphonic elements. The plan is to also mix in techno sounds and robotic voices along with human voice - from regular through to death metal growls. I'm trying to stay away from sounding like a band with a regular singer. It's a major undertaking as far as midi programming goes but it's starting to come together.... slowly!
Thanks again for the comments!
# 5
The ear is the most important part of working towards increasing your abilitys. You have a very good ear for picking out sounds that intrest you, and a remarkable ability to transfer, and improve those sounds to your playing, ( considering the limited deepth of theroy you say you havent yet got into ). You are definitely covering the entire neck in great form, and most impressively with very controled speed.
The reason I am focusing on your playing is I see alot of my own approaches to playing in some of your work. I was so obsessed with becoming a master gutiarist, I thought myself the entire diatonic scale in G major (before I knew what diatonic scale was) without any formal training. I went by just learning my favorite songs, and slowly deducing what patterns they were useing to get the in key sound. This was in my earlly years. Your can imagine my shock when I finally decided I needed to get some gutiar training books and further my knowledge and found that I have sounded out the diatonic scale for myself, and that was why my playing was improving so much better.
My point is you have a great musical ear, wonderful hand, eye coordination, an abitity to blast out killer, unique note structures. Dont stop trying to learn all you can about the study of musics many theroy concepts, and others views on them because what you are doing now with the right education, ( above, and beyond your present musical education ) will have you doing things that far surpass what your doing now, (which is amazing)
If you listen to any thing I say let it be this, ( keep studying Theroy, diatonic Function, and your favorite players ) I am looking forward to your next song posts,( I am trying to steal some of your tricks) " Joking "
The reason I am focusing on your playing is I see alot of my own approaches to playing in some of your work. I was so obsessed with becoming a master gutiarist, I thought myself the entire diatonic scale in G major (before I knew what diatonic scale was) without any formal training. I went by just learning my favorite songs, and slowly deducing what patterns they were useing to get the in key sound. This was in my earlly years. Your can imagine my shock when I finally decided I needed to get some gutiar training books and further my knowledge and found that I have sounded out the diatonic scale for myself, and that was why my playing was improving so much better.
My point is you have a great musical ear, wonderful hand, eye coordination, an abitity to blast out killer, unique note structures. Dont stop trying to learn all you can about the study of musics many theroy concepts, and others views on them because what you are doing now with the right education, ( above, and beyond your present musical education ) will have you doing things that far surpass what your doing now, (which is amazing)
If you listen to any thing I say let it be this, ( keep studying Theroy, diatonic Function, and your favorite players ) I am looking forward to your next song posts,( I am trying to steal some of your tricks) " Joking "
# 6
