Andrew Wasson. Graduated from Hollywood California's Guitar Institute of Technology. Operates Music School and CreativeGuitarStudio.com
Posted on Feb 28, 2013 12:45 pm
Proper study of arpeggio design and function relies on both finding a balance between good technical practice and upon knowing several options for how arpeggios can be applied. When we only apply an arpeggio upon the chord it is directly related to, (i.e., using G Major arpeggio on a G Major chord), we are losing out on all of the diatonic substitution possibilities that are available from arpeggios.
The process of constructing arpeggios from scales, and arpeggio relationships to chord voicings, so happens to be one of the most important connections we have to harmony when we're improvising, or composing any melodic line.
The key signature, (and thus the scale built from that), provides the foundational structure for the entire process. However, since chords interact through various diatonic substitution principles we actually have a lot more options available when it comes to using arpeggios. The most important element involves being able to apply an assortment of arpeggios that will relate well to the chords found inside any chord progression.
In the video I cover; some basic arpeggio theory, get acquainted with where arpeggios come from, how they're constructed, how they can be practiced, and how we can begin to notice all the options that we can have available when it comes to using arpeggios when soloing.
Watch the video to learn more:
Follow the link to My Website to download the FREE handout with all of the examples in TAB, as well as, a FREE MP3 Jam-Track.