C Diatonic String Skip Arpeggio Tap Lick With Chris Zoupa

Trying to pick up girls? This lick won't help you but it looks and sounds awesome.

Ultimate Guitar
In my time I've learned many a solos and seen tapped arpeggios of this kind of nature in Symphony X's stuff and also in a few Arsis solos. But it wasn't until a few weeks ago that I actually explored it properly and turned it into an exercise.

Now I'm trying to make conscious efforts to implement arpeggios with these techniques and voicings into my playing to stop the demonic lure "oversweeping" and generally making arpeggios sound stale with overuse. The cool thing about these arpeggios is they have a nice use of 7ths (which helps add a bit of zazz to the ordinary 1, 3, 5 triads) and the attack of the taps make more of a keyboard sound rather than a picked arpeggio sound.

This exercise uses a basic ascending diatonic chord progression in C major/C Ionian.
i: Cmaj7
ii: Dm7
iii: Em7
iv: Fmaj7
v: G7 (Dominant)
vi: Am7
vii: Bdim7 (Usually a Bm7b5 or B1/2 diminished but I liked Bdim7 more)

Let's take a look at the lick! (See diagram below)

When putting this exercise together I had a really bad time with the G7 arpeggio as the dominant 7th makes for a pretty annoying fretting hand formation. This is a really interesting idea so try implement it into your playing for flavour and sass!

Good luck and happy shredding.


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By Chris Zoupa

7 comments sorted by best / new / date

    Right after I've gotten into arpeggios with tapping. This will help me a lot. Thanks for another awesome lesson as always Chris!
    SICK dude. I haven't had time to post videos lately been too busy with teaching the kids at school... Hope to hear from you soon man! Hope the fiancé is ok!
    First of all, great lesson which could help build a lot of ideas for solo guitars (with transposition and modulation of course). You are giving an excellent pedagogy for guitar students in a great way. Personally, i'm feeling inspired (as a trombone player who loves guitar). Just one note,Diatonically, isn't the VII degree in it's simpler form suppose to create an inversion of the V? like V4/3 if you'd like? I mean, the diminished is working well cause it evoked out of the V7 just with the added tension of a diminished note, but its simpler to end it up with a classical approach don't you think? Just buffing around with that thought in my head (theoretical over-thinker )Good luck mate and thank you for these lessons. It's a well made lesson routines.