This article is a continuation of my lesson on learning and implementing various arpeggio shapes that aren't simply ascending or descending triads, tough they can be great sounding. I really like creativity while playing and implementing arpeggio shapes, and there are various options.
I wrote 10 melodies with and without arpeggios, and I'll explain the implementation a bit, and give you advice on how you could approach to this yourself. The goal is to eventually be able to spontaneously play melodies that get more colorful and alive by being blended with arpeggio runs.
The core of melody remained the same. Arpeggios just spiced up the passage from what I call a question melody (measure 1 & 2), and answer melody (measure 3 & 4). There are also arpeggios on the end of fourth measure, which act as a resolve, because they are descending. If I wanted to repeat the melody again after those 4 measure, I could make an arpeggio on 4th measure that could lead to the first note of 5th measure, to act as a passage. Try playing this, and implement it in some melodies you might already know.
The melody got simply arpeggiated. If you sometimes worked with a synth or on some music composing program, you might have ran into arpeggiator samples. They do exact same thing, but maybe on different intervals. These kind of arpeggiations often work really great with delay.
This is an example of how to use arpeggios to make your melodies sound more progressive, meaning they don't get repeatative. Arpeggios don't change the dynamic of melody, but surely make it more interesting.
Arpeggio in 5th measure of this example is more like 'raked' notes (slightly muted, tough rakes usually don't have pitch. They are notated as x on tabs). This arpeggios form an intro to melody. Arpeggio in 6th measure is made by using different interval, while keeping the note lenght same. This is really great thing to work out. Take some of your favorite melodies, and implement this kind of approach. Arpeggio on 8th measure sort of 'cuts' the whole note that stood here before.
Ascending arpeggios in 4th measure simply make the intro to the 'pinnacle' of melody make more dramatic.
Somewhat similar to arpeggios on 8th measure of fourth example, these arpeggios also 'cut' the melody, and make it sound more... wave-like. They are simple ascending triads on 4th, and descending triads on 5th measure.
Arpeggios in this example had a changing impact on melody. It's nature is now more dynamic and lot more colorful. This type of arpeggio usage may not always work, since complicated may not be always better. But sometimes, they just give that something extra.
Mixing triplets with sixteenth notes may sound great in other type of licks, not just arpeggios, and try to work with this. In this particular case, I repeat same shape 3 times (in first 3 measures) to keep the tension up, and resolve it in fourth measure with ascending arpeggio.
I explained these kind of arpeggiation in last article, so take a look at it. In this case, they just make the passage from one point of melody to other more expressive.
This is simple arpeggiation that goes along with the flow of melody. It doesn't change the dynamic nature of melody, nor it's ambience.
Download the 'Including Arpeggios In Melodies. Part 2' Guitar Pro files.
As I said. Take a deeper look in all of these examples, and take a deeper look in all melodies you already know to play. Think of what arpeggios could you use where, and experiment and work out until implementation becomes natural to you. You could also do the opposite. Take some melodies that contain arpeggios, and try to remove the arpeggios while the melody keeps it's core. Total analyze is good way to progress.
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