Originally Posted by: SuperhumanHere'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!!
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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?
