What are some nifty shapes you guys like to incorporate in your playing, post your favorites if you would, I'm just trying to expand my playing, thanks
As far as exotic arpeggios go, I like to use diminished ones. They're not that exotic I guess, but they sound pretty tense and out there.
Yep, and Harmonic Minor !!
Tone is all ...... well probably 75%, in your fingers.
The rest depends on your wallet's thickness !!

Keep the faith, baby!!
what do u mean with exotic arpeggios ? but here are some of my favorites:

     Ddim              |     Aaug           |          Emadd2           |       Fmaj7

    Badd9         |     F6add9         |     E6add2
Quote by Jimi Hendrix
The Blues Is Easy To Play But Hard To Feel.

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I Promise That My Solos Will Only Get Faster.
[Practice Makes Perfect][Hell Yeah]
Last edited by Evil_Empire24-7 at May 18, 2006,
Quote by megadave_49
can you show me some of the ways you use these arps

Maybe. If damn Windows works for me this time--it's my third try to post the same message. Man, I'm glad I have a Mac at home.

Ok, I use diminished arpeggios to add a bit of tension to a solo. Then I often resolve on a sweeter-sounding run, like from the mixolydian mode.

For example, if we're playing a blues in E with the chords E, A, B7, then I'll use a diminished arpeggio over the B7 to make it sound more interesting. The B7 chord, like all dominant 7th chords, has a flattened 5th interval in it called a tritone. This is just two notes that sound kinda tense together. In the B7 chord they're the A and D# notes. Now, diminished chords are basically a bunch of stacked tritones and diminished arpeggios are a series of minor 3rd intervals containing these tritones.

So to play a diminished run over the B7 chord I just have to find a diminished arpeggio that contains the notes of A and D#.

Here's one way I could play one:


The notes also outline a B7 chord. There's only one note different, the C, which is the real tense note of this run over the B7. I also ended on the B and not the A, because that gives a better sense of resolution, since A is a tense note in B and kinda neither here nor there in E.
Hmm well here's a run that I might do over an E chord or E powerchord:

 L---|R--|L--|R--|L--|R L

This is all tapped, I tried to write the hands. I first hammer up from a maj 7, outline an E chord, then hammer up from a b3, outlining an A chord (which would be Root, 4, and 6 of E), then hammer up from b6 to b7, and finish off with maj3 to octave.

It's a bit over the top on theory, but I really just came up with this messing around one day and it sounded cool to me. The theory is just my attempt to explain it.
Quote by megadave_49
What are some nifty shapes you guys like to incorporate in your playing, post your favorites if you would, I'm just trying to expand my playing, thanks

Well, do you understand the concept of scales and how the intervals work?

Try anythng full of semitones and augmented 2nds, say, er, the byzantine scale, and then harmonise it.

Or do you need tabs? Because learning how scales WORK and how they work over CHORDS...well, that'll take your playing to a whole new level, whereas a coupla fly egyptian licks wont, homey.
i understand scales, but I've never taken time to understand what all the intervals are, I understand steps if you could explain it that way?

and also I know a few relative minor arpeggio shapes, its just I'm looking to see what other people llike to use, just to expand
What do you mean you understand steps but not intervals?

So, if i say, i have a scale, and it goes WWHWWWH, what does that tell you about the scale? Not much. Simply put, there are 12 intervals. Knowing all of them (which isnt really hard, as for everything but fourths and fifths, a flat version is called "minor" - and to be honest "augmented" and "diminished" do exactly what they say on the tin - more or less, sharper or flatter) means that at a glance, you can form just about any chord, and scale, in many positions...

Understanding scales is understanding the way the intervals work. If you dont understand the intervals, a scale is a mystery - its a bunch of "safe" notes, or "notes that sound exotic", but if you only know a b2 sounds exotic and dissonant (which takes, er, ONE LISTENING, its instant) then ANY scale, or chord, you come across with a b2 or b9 (same thing, octave apart) can be anticipated and be played over in a much better way than trying to vaguely hit the right stuff through remembered patterns.

Its not that hard. Learn the names of 12 intervals (11 if you know what an octave is ) and you open your scale and chord vocabulary immensely.
well obviously if you say wwhwwwh then thats worthless if you don't tell me the tonic note, i understand scale degrees and such, I'm sure I could make sense of something you told me
Well, if you understand scale degrees then you understand intervals, i dont getcha...

Major b9 arps, sus4s and sus2s, major 13ths can sound chinese in many contexts, minor and major pentatonic, byzantine...
i guess i just don't understand my terminology that well haha, i'll have to check some of these out thanks