Contemporary Arpeggios!

Transcription

1 Contemporary Arpeggios And the secret system of Arpeggio implementation in your playing Niels Vejlyt

2 The Secret System of Implementation described In this book you will not only be shown the leading edge in Arpeggios for guitar but you will even learn something more valuable. How to use the arpeggios in your own playing which is actually a bigger challenge than learning the techniques. Not to undermine the actual physical drills that you have to go through being able to execute the Arpeggios themselves, even if you are new to the techniques being used which is a combination of Sweep picking, Legato and Tapping. Because let s get real, it is just a numbers game, obviously there s more to it than that but once you completely understand the techniques and can play through them it s just a matter of keep practicing them until you can reach the desired speed. What i m saying here is that the time it may take to implement a new lick is longer in most situations than to learn a specific technique. So this means that as soon as you start working on the implementation on any of the licks the better. Now the next thing I will get into is the amount of material you should work on and this is a critical topic because I have experienced first hand working on too much material ending up with not using any of it, so you have to be extremely patient with the implementation part. Here I will give you examples on how exactly to approach this, exactly how much to practice at the time. It can be a little tougher to get into for how long and how many repetitions to do each lick because everybody s different and some techniques has a tendency to come easier to some people, as an example, if you have any experience with any of my lessons you may have seen my Sweep Picking 8 finger Tapping technique, this technique came relatively easy to me in the implementation phase for some reason, and then a much simpler technique lige Legato licks has taken a lot of practicing for me, so only you will know what comes easy and what takes more drilling for you. Practicing example The technical side of things takes less practice as I stated before so this means that you can actually practice and drill a lot of the individual licks at the same time but I strongly suggest that you only work on the implementation part on one lick or maximum two. This can take quite some time before you will experience using the licks unconsciously but don t give up, some licks will come easier to you than others probably as I described before. The next thing you have to remember is that never start working on implementing a new lick unless the lick you previously worked on have settled deeply into your muscle memory, this means that you are at a point where you without thinking about it got from a scale pattern into the lick you work on. You cannot skip this method if you truly want to be able to actually make use of the material and not just end up with another bunch of chops like so many guitar programs out there offer, and also saying this because this may have been something that has disappointed you before when purchasing a guitar program. So do yourself a huge favor and really follow these instructions on how to incorporate the material, also because that is really how you can measure the level of musicianship, it s what comes out when you solo and improvise, not what you can play when you sit at home with your guitar alone with all your tablature books and videos, not that there s anything wrong with that of course. But in my opinion it s a waste of talent if you only play a small amount of all the material you actually know when you are soloing. Looking back I remember that it I felt it had to be almost impossible to go from playing an Alternate picking shape and without any hesitation going into a Sweep picking technique, I felt that doing that while improvising was impossible but some years after it became a reality after practicing in this way I just described. So the System of implementation is not so challenging in itself but it takes dedication and discipline and not to forget the fact that you have to stay with maximum two licks at the time and try to avoid becoming too bored with the material and avoid taking more

3 material into the implementation phase which is a sure way to fail. The Techniques The way this book is written is taking one Scale at the time, dividing that scale up to seven Three notes per string shapes taking those shapes and showing you exactly where the start the techniques making sure you can use it for improvising. The way the techniques are presented is starting out with the Major and minor Triads moving into my own personal four, five and six note Arpeggios like Major seven, minor seven, dominant and minor seven flat five and nines and thirteens, still using the sweep picking technique but adding the extra notes using hammer on s and pull off s. The next techniques shown are Tapping Arpeggios and again in a four note and up arpeggio fashion. So if Sweep picking and Tapping techniques are new to you, you obviously also have to put in the time to become familiar with those techniques on top of the time you spend on the Implementation. Regarding the speed of the techniques is totally up to you since that to a large degree is a matter of taste and maybe also a matter of what style you prefer to play. But if you want to be able to play the techniques really fast do yourself another favor and pay extra attention to the clearness of each individual note once you take the speed to the next level since Sweep picking is famous for being one of those techniques where you can easily play faster with the picking hand than the fretting hand is actually able to stay in synchronization, this will result in a typical case of only being able to hear the first and last note of the Sweep picking Arpeggio and the rest is just muffled notes or as Al De Meola calls them pop outs. So let s get started with the Major scale, and as you ll see the same system we are using will be used for the Harmonic minor scale and the Melodic minor scale in the exact same fashion. Advanced Sweep picking Arpeggios Other than the four note Arpeggios that I created, I also created some pretty sweet, even more advanced Arpeggios like minor 9 and Major 13 Sweep picking Arpeggios using a combination of Sweep picking and Legato. The concept that you will be introduced to is to sort of cram in extra hammer on s and pull off s to add the extra notes so we end up with some pretty interesting Arpeggios. Arpeggios So even though the Triad Arpeggios are certainly not new in any way the idea of incorporating them into your playing is all but typical unfortunately. Few of the Tapping four note Arpeggios are used by others, but it s a system I came up with to play four note Arpeggios sometime around 1992, in other words way before the internet, and from that basic idea I created a very large system using Tapping presented here for the first time with the Implementing system which as explained is an express way into start using the material in your own playing and not just as tricks when you sit at home playing Extreme Tapping In this book you will also be introduced to my special techniques to play Arpeggios like minor and Major 9. This you do among other using three fingers on the Tapping hand. So you will develop your tapping hand technique to include the ring finger and little finger, which is added to the long finger that you may or may not already use. The way I do it is I keep the pick between my thumb and index finger and then use the remaining fingers for tapping using three all in all in this course. I highly reccomend this way of doing it because it makes it way more simple and

4 easy to switch from technique to technique, especially when you are improvising. Understanding the Theory Its critical that you understand that you don t have to play just the Arpeggio that fits the root key that you are in, let me give you an example. If we are in the key of C then you can theoretically play seven different Arpeggios and for each Arpeggio you can play it in several inversions and starting from different strings. This does of course not mean that all the Arpeggios sound equally good, for example playing a D minor Arpeggio over the C Major chord would sound a little weird because the D minor Arpeggio consists of D, F and, the D is the second to C, the F is the fourth and the a is the sixth, which means none of those notes are chord notes compared to the C, so it sounds pretty out here even though all the notes of the D minor are notes from the C Major scale, so this is a case of fitting it to the situation you are in which only you can, and also into the style. That being said you could use those strange approaches of Arpeggios to create a specific sound or if you changed the C triad to a C Major thirteen you would get a better sound, but that again has to fit into the style and situation you are in and this is where your personal approach comes in. So I would like to encourage you to try and use all the Arpeggios available to you all the time and judge for yourself what fits into your style and approach. I personally like to use probably more Arpeggios than most and then I weave into a strong melody or Arpeggio before and after an Arpeggio that maybe does not fit that well, what I m saying here is you can get away with everything as long as what you end you phrase with fits well into the music you play over, I believe that you mind remembers what you start and end with, of course not to say that your middle can suck, but you get the idea im sure The Scales You will be shown all the Arpeggios, triads, four notes al the way up to thirteenths, both in the Major Scale and in the Harmonic minor Scale. I will also give you just a taste of the Melodic minor scale, but just the first position. So that after learning all these new patterns you should understand the Secret Implementation system well enough to add it to the remaining positions of the Melodic minor Scale from the second to the seventh pattern. After doing so you can use the Secret Implementation system on any other scales you want to use which is so valuable. As soon as you learn the system you can use it on any scale fitting any style and chord

5

6 The Major Scale In this first example we are going to take a look at the Major scale and its seven Three notes per string positions, taking each position one by one and you will see exactly how you can easily start to implement the different Arpeggio Techniques into a soloing situation whether that be improvising or a composed solo. I also need to explain that it s important that you don t necessarily think that the scale is in F, its important that you get that the scale pattern is a fixed system you can move up and down the fret board to change it into any key you desire. That being said when you take a closer look at the first few Arpeggios you ll see that we in this example see it from the first position played from A making it A Major. This is one of the first and most crucial lessons you need to understand to be able to improvise and play solo and its also one of the first things i teach guitar players when I teach one on one here in Denmark where I live, so really take your time with this system and these scale patterns if this is yet something you don t completely master. I can also tell you that pretty much everyone I have ever taught through the years always tell me they know the scales, but once I ask them to move around in the scales in the different keys and patterns none of them really know them. Because to be able

7 to actually use them in a real improvisation situation you have to know them in the heart of hearts, so get crackin if this is you. Of course you can start to drill the Arpeggio techniques while you practice the scale patterns but then wait until you feel comfortable with the scale patterns before you move into the Implementation system First Scale Position

8 First position in the Major scale We will start with the high E string and play all the different arpeggios from there which the first one is Bm and as you can see here it s the standard minor triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Bm E7 This next one i would say is known to some but it s definitely not a typical Arpeggio that everyone uses, one this that is very important to play exactly as I written it is that you go from using the long finger to bare over the B and G string to go into using the index finger on the D string to be able to play the two final notes on the A and low E string, so this takes some getting used to if tis new to you of course D This is in a way a standard triad Sweep picking Arpeggios with the exception that the fingering used is still the same as in the E Dominant Arpeggio. This Arpeggio is often played with two

9 notes on the A string instead of this version where you play the root note on the low E string, it makes a lot of sense to know both versions because you sometime are at a spot where your little finger is in a position to play this exact Arpeggio Bm7 So Here comes the new Arpeggios that I among others described in the introduction. These Arpeggios consists of four notes which is root note, third, fifth and seventh, this way is used in all the different modes of each scale presented creating new Arpeggios. This type of Arpeggio I came up with because I wanted to use the Sweep picking technique but also being able to add at least one extra note to the shape which in several situations would be a stretch using the traditional Sweep picking and Triad shapes just adding the extra notes. So these,makes use of quite a few extra hammer on s and pull off s to get the sound across. I also was not happy with the possibility of just adding the seventh at one spot like the high E string which is a possibility but I dont think its enough to only have the seventh at one place in the Arpeggio and then the root, third and fifth several places. For me personally it took some time to get a smooth sound and at the same time increase the tempo but in my experience you develop this specific technique a bit in the same way as developing the Alternate Picking technique which is what I like to call quantum leap because you don t see any evidence of improvement for a long time until suddenly you increase in speed. So hang tight and don t give up on these very cool Sweep picking Arpeggios Bm7 Bm9 To play this one you have to mind the fingering, when you reach the last note which is the B on

10 the low E string you have to make sure you are using the long finger on the seventh fret on the low E string, this way you can move into the A string on the fifth fret with the index finger doing the hammer on with the little finger on the same string and the rest of the Arpeggio comes easy A Triad Here is our Triad Arpeggio played from the first note in the bottom of this first scale shape of the Major scale, This is also one of those techniques that is a great idea to master before you move on to more advanced techniques like minor seven, Major seven and Dominant Arpeggios. You could also use this shape to get really into deep with the Sweep picking technique. Make sure that you are really able to hear all the individual notes when you play through the six strings, and really be critical about your execution because this is what will get you to the next level. But of course not crazy critical which could in severe situation make you quit, remember that no one is perfect and also remember to enjoy the process of getting better and better, you need to learn to love to practice if you want to become your best without frustration and anger so remember it should be fun to practice but of course also be realistic and set a goal to achieve and keep monitoring your progress Amaj 7 This Arpeggio is so lovely, it s probably the first Arpeggio I developed when I wanted to play four note Arpeggios using Sweep picking instead of Tapping. In the four note Sweep picking Arpeggios you really need to be aware that all notes are equally long so that the notes played with

11 hammer on s and pull off s are not faster than the ones played with Sweep picking Amajor 9 Here we go with the new techniques, this one being Major 9, notice that you in this one have a three notes per string on the high E string Amaj 13 Now it becomes kind of crazy because this one is in theory all seven notes of the Major scale played in intervals of thirds to make it an Arpeggio, in praxis we don t necessarily use all the notes, in many situations you would lose the fifth and eleventh and of course the same in the chords of the same name. As youll see in this one you both have three notes per string shapes on the G string as well as on the high E string

12 D Here we have a good ol triad, this one starting from the A string. When you start practicing this one make sure you decide whether you want to use the long finger or ring finger to bar the D, G and B string Dmaj 7 Here is another Major seven Arpeggio, a beautiful sound sound and pay attention to the stretch you get on the high E string especially if you play it on the low end of the fret board

13 Amaj 7 Here s some Tapping, I use three different fingers for each string I tap but it does not matter if you just use the long or index finger as most people do Amaj 9 Here we get into the advanced Tapping, this is again one of those Arpeggios I developed in the beginning of the Nineties, i m really proud of these Arpeggios shown to you in this book and still use them all the time in my playing and compositing Amaj 9 Now it becomes really advanced and you have to be able to tap with three fingers on the Tapping hand to be able to play something like this so there s quite a lot of work in this

14 Dmaj 7 Here we get the same concepts again but now starting from the A string instead of the low E string, the shape is fortunately exactly the same Dmaj 9 And again the crazy one with three fingers Tapping on the high E string

15 Second Scale Position

16 A major triad The first Arpeggio from the second position of the Major scale is started from the high E string as you can see but also take note that you ll have to bar your pinkie over the A and low E string to play this one, it s a cool way to play it and I often use this way when I m down on the low end of the fret board, it simply becomes easier to play it this way once you master the barring technique with your pinkie. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string

17 C#m triad From the same spot as in the previous Arpeggio we get this minor shape that you already know though, so this is all about learning all the essential spots when you start your Arpeggios to be able to use them in a real musical situation C#m7 Here we again get my special four note shape, this time a minor seven

18 E major triad And the Major triad from the A string again with the three string barring E7 Here we again get my special four note shape, this time a Dominant starting from the A string and notice the three notes per string shape on the high E string in this one E7 And over to the Tapping technique again and this time with a Dominant shape

19 E9 And the insane shape with an extra note added on each string making it a Dominant 9 Bm A traditional minor triad again

20 Bm7 Here we again get my special four note shape, this time a minor seven Bm9 Here we again get my special four note shape, this time a minor nine

21 Bm7 And back to Tapping again in a shape you should know by now Bm9 And the one with the extra note on each string

22 Third Position

23 Bm triad Triad from the A string as the first one in the third position of the Major scale, and this one you know. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string

24 D triad Yet another triad you know Dmaj7 Here we again get my special four note shape, this time a Major seven

25 Dmaj7 and Dmaj9 Here is a really interesting one. As the description says we play the Major seven that you already know if you have been through all the previous material and did not just jump in the middle. To make this one happen you have to change your fingering when you reach the lowest note, normally you would just use your index finger on the lowest but when you have to go into the Major nine you have to go into the A string with your index finger which then means that you have to use your long finger on the low E string playing the D, you don t have to stretch that much, you are allowed to jump on the F# as long as the notes does not become staccato

26 F#m triad You should know this one by now, if not, make sure you use your index finger when you get to the D string and don t barre here C#m triad Here we get the one where you barre both with the index finger over the high E, B and G string and then with the ring finger over the D and A string

27 C#m7 And here we get my version of the minor seven again C#m7 And same Arpeggio but this time with the Tapping techniques C#9 And now with the added note on each string

28 F#m7 Here we get the minor seven in my version but this time from the A string F#m triad The classic minor triad shape that for many is the first Sweep picking Arpeggio they learn

29 F#m7 And with the Tapping technique instead F#m9 With the nine too

30

31 Fourth Position

32 C#m Now we reached the fourth position of the Major scale and this one we start out with the high E string playing the C# minor triad that you know by now. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string E Another triad from the high E string

33 E7 Here s the Dominant in my shape starting from the high E string D Now starting from the low E string Dmaj 7 And my personal favorite of my four note Arpeggios from the low E string

34 Dmaj 7 and Dmaj 9 Another cool combination of Major Arpeggios, remember to use the long finger again when you reach the lowest note to be able to morph into the next version of the Major nine Arpeggio Dmaj 13 The super cool Arpeggio shape I came up with to be able to play a Major thirteen, really

35 drill the combinations of the sliding, hammer on s and pill off s and Sweep picking technique to be able to increase in speed Dmaj 7 The Tapping Arpeggio which starts from the low E string Dmaj 9 And adding the nine in the same Arpeggio

36 G#m7 b5 Here we get the minor seven flat five in the four note shape system I came up with, it sounds super awesome, even for such an untraditionel Arpeggio, in some styles anyway G#mb9b5 Here s a super cool altered Arpeggio I came up with, enjoy the sound of the flat nine in this one and the flattened fifth, it fits the Locrian scale which would be correct if the Root note was on the A string in this case, but don t let that alarm you, we are still just

37 talking shapes and not a specific key G#m7 b5 Here we get the minor flat five shape but with Tapping Dmaj7#11 Here s a new cool shape I came up with, pay attention to the high E string where you need to use all four fingers to play it, in general you have to fit a lot of hammer on s and pull off s in this Arpeggio so the key to speed in this one also is to drill it slow to get the synchronization down between the techniques

38

39 Fifth Position D major triad

40 Another triad from the high E string. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string F#m triad Another triad from the high E string F#m7 And here is the four note minor seven starting from the high E string which can be an interresting way to start it because you move into the B string with the ring finger which can feel like a bit of a stretch

41 F#m7 and F#m9 In this one you again need to make use of the long finger on the last note on the low E string to be able to go into the A string with index finger which is critical to make this lick work Amaj7 The four note Arpeggio from the A string, this spot is Major

42 A triad In this version of the triad starting from the A string I personally like to bar with the long finger, use the ring finger if that s more flexible to you Amaj7 And now its Tapping time

43 Amaj9 And with the extra note E triad

44 E7 Here is the Dominant four note Arpeggio I created again from the low E string E13 And basically a Dominant but with the thirteenth added, make sure you drill all the techniques like sliding, hammer on s and pull off s plus Sweep picking to get a good synchronization in this crazy Arpeggio I created E7 Dominant Arpeggio using the Tapping technique

45 E9 And the Dominant plus the ninth

46 Sixth Position E minor triad

47 Starting out with another triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Bm triad This one actually stretches into the previous Scale position but still starting in the sixth G#m7b5 The interesting minor seven flat five Arpeggio I created

48 Bm triad The traditionally first Sweep picking triad lesson again Bm7 And the sweet minor seven Arpeggio I developed from the A string

49 Bm7 And the same notes but using the Tapping technique Bm9 Adding the ninth again

50 F#m triad Good ol triad Sweep picking F#m7 The great Sweep picking four note Arpeggios again

51 F#m7 and F#m9 Again make sure to use the long finger on the last note on the low E string to be able to move into the A string with the index finger F#m7 Four note Arpeggio with Tapping

52 F#m9 Add the extra note on each string F#m13 The minor thirteen version of the advanced Arpeggio I created. make sure you drill all the techniques like sliding, hammer on s and pull off s plus Sweep picking to get a good synchronization in this crazy Arpeggio I created

53 Seventh Position

54

55 F#m triad Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string A triad Nothing new here Amaj7 The sweet sound of Major seven in the Arpeggios I created back in the beginning of the wonderful nineties

56 Amaj7 Amaj9 Amaj13 Here s something new and exciting. The combination of three different Arpeggios from one spot, make sure you are using a fingering that makes it easy for you to go from Arpeggio to Arpeggio like we did with the previous thirteenth Dmaj7 Now after all these Arpeggios these ones should be kind of standard to you

57 C#m triad And certainly this one too C#m7 This one is so cool I think, try to be creative and add some Tapping on the high E string, just to make it a little more your own creation

58 C#m7 Back to Tapping again C#m9 Again with the ninth added

59 G#m7 b5 This one is so cool and you should use it to create a more exotic Arpeggio sound opposite so many that play Sweep picking which has become completely standard today, so today its even more important to create to be unique, if thats your goal of course G#m7 b5 The same Arpeggio but with Tapping

60 G#m7 b5 b9 And an extremely cool one here with extra notes added on each string, this one you probably never heard before, since I created most of these Arpeggios back in the beginning of the ninenties I have not seen many use them, so you can still be unique with this one too

61 Harmonic Minor It s time to make use of a new sound but still using Arpeggios, the cool thing about it is that we use the same theory and system but getting new and interesting sounds with this new scale. Notice how Jazzy the Harmonic minor scale gets with four note Arpeggios

62 as opposed to the Neo Classical sound it is with just the Triads. Again I have used my own personal system and patterns to create new and never before seen Arpeggios making this way more inspiring to practice I think. Here is a bunch of chops for the first position in the Harmonic Minor scale, starting out on the high E string moving on to the A and finally the low E string Bm7b5 This one you have seen before, it sounds cool and also fits into the Harmonic minor scale like a few of the others that you know from the traditional Major scale, but hang tough, you ll be untouchable in your improvising and soloing if you learn to use all the Arpeggios from this scale too. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your minds eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Dm Just a regular ol triad, yes, those we can absolutely use in the Harmonic minor scale

63 several places, almost like in the Major Scale E7 The Dominant from the high E string Dm7 Yet another minor seven, this one also spans over two position but still has its start in the first position of the Harmonic minor scale

64 Dm The same Arpeggio but without the seventh and started on the A string Dm7 And also the minor seventh but started on the A string

65 Dm7 And again the same but using the Tapping technique Am And now the first Arpeggio that you would connect with the A minor scale that we are working in Am maj7 Now it gets really interresting and notice the total switch in sound as soon as we add the

66 Major seventh to the minor Arpeggio. This one I came up with just from using my old system but changing the Scale Am maj 7 And also this one I came up with just from using my old system but changing the Scale but now with the Tapping technique Am Now you get a new technique, I invented this technique because I wanted to play triads using Tapping but I wanted to make use of my remaining fingers and I wanted to stay

67 away from the very stock single note tapping playing triads which often would result in a kind of Van Halen type sound, not that there s anything wrong with that, I just wanted to invent my own styel and techniques Am maj9 Now adding some extra notes to the Tapping pattern

68 Harmonic minor 2nd Position

69 Am A classic Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Cmaj7 #5 Now it gets crazy again, I came up with this one again using my techniques play this awesome scale E The easy way to play a Major triad with the root note from the A string

70 E7 And the super awesome Dominant I created to start on the E string E7 And you can also start it from the A string E And the triad from the A string

71 E7b9 Here we use Tapping again and this is a super sweet pattern I came up with to cover the Dominant flat nine in Harmonic minor E7 And again using Tapping to play the regular Dominant

72 Bm7b5 And again using my four note Arpeggio Sweep picking Legato technique for the Half diminished as the minor seven flat five is also called Bm7b5 And again using Tapping for the Half diminished as the minor seven flat five is also called Bm7b9b13 Here we use Tapping for this highly advanced Arpeggio

73 Harmonic Minor Position 3

74 D minor triad

75 A classic minor Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Dm7 My Sweep picking Legato minor seven Arpeggio played from the high E string F Triad from the high E string

76 F And from the A string Fmaj7 This one is also pretty cool where we use sliding technique with the pinkie on the high E string Fmaj7 And Major seven with Tapping

77 Cmaj7#5 The Arpeggio we get from the third step of the Harmonic minor scale, make sure you use all four fingers on the high E string and don t slide Cmaj7#5 The same Arpeggio but with Tapping I came up with

78 Harmonic Minor fourth position

79 E A classic Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your mind s eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string E7 And the Sweep picking Legato Dominant

80 E7b9 This one I came up with to get the flattened nine in the Dominant and here started on the high E string Ab dim 7 Tapping a diminished Arpeggio 4 note Arpeggio Dm Regular ol triad

81 Dm7 But now with the seventh Dm7 Dm9 Here again we get a cool combination of several Arpeggio types, make sure you use the long finger on the lowest note when you get to the low E string the second time Dm7 minor seven with Tapping

82 Dm9 And with the ninth added Harmonisk mol femte position

83 E A classic Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your minds eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes,

84 some when we start from the low E string and some when we start from the high E string E7 The Dominant Sweep picking Legato technique Am Am

85 E E7 The Dominant again with Sweep picking and Legato I came up with E7b9 And now also with the flattened ninth added again

86 E7 Here we get the Dominant with Tapping E7b9 And this time with the Tapping the flattened ninth

87 Harmonic Minor sixth position

88 E Another classic Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your minds eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Bm7b5 Here is my four note Arpeggio using Sweep picking and Legato starting from the A string

89 Bm7b5 And the same Arpeggio but with Tapping Bm7b513b9 Here we get kind of a scale sound but can still be seen as a type of Arpeggio F

90 Fmaj7 pattern Here is a very cool way of using the basic idea I gave you of the Major seven Arpeggio I came up with but this time moving back and forth in it making it more of a lick I think Fmaj7 You know this one

91 Harmonic minor seventh position

92 Fm A classic minor Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your minds eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different shapes, some when we start from the low E string and some when we start from the high E string Fm maj7 And the four note played from the high E string

93 Ab ma7 #5 Check out the wonderfull sound in this Tapping Arpeggio Abmaj9 #5 Plus adding the ninth Edim7 Tapping the diminished

94

95 Bonus Chapter Melodic Minor

96 First position Am A classic minor Triad. Again remember that you should take a good look at the Scale shape and see that when you play the accompanying Tablature of all the Arpeggios how the Scale shape and Arpeggios shapes fit together like a puzzle, by all means try to close your eyes and see the shapes with your minds eye, imagine how they look while your eyes are closed and see the way the shapes fits together. Notice that we get different

97 shapes, some when we start from the low E string and some when we start from the high E string Another thing, notice how the Arpeggios shifts from the Neo Classical sound to a more Fusion - Jazz type sound once you stack the Triads with more thirds like the minor Major seventh and so on, a bit like in the HArmonic minor scale too Am7 And you should know my four note minor seven Arpeggios by now D

98 D7 The Dominant from the A string D7 And the same but using Tapping D9 And adding the natural ninth

99 Am Am maj7 Here we get the same type of Arpeggio as we did on the first step in the Harmonic minor scale, the minor Major seventh Am maj7 And the same with this sweet Tapping pattern

100 Am maj9 This is really an interesting one Thats all folks. With your new found knowledge you should be able to start composing your own Arpeggios to the remaining Melodic minor scale. Good luck Niels Vejlyt 2017