Starting to see and use the relationship between chords, scales and arpeggios is key to use the full variety of options on the guitar. Notice the relationship with the A minor pentatonic scale and how the chord tones of the A7 arpeggio are adding color to the overall feel of the lick. We are using the first position of the A minor pentatonic scale as show here:Ī minor pentatonic scale in first positionĪs you can see, this lick is build around the A7 chord, since it uses notes of the A7 arpeggio. The next lick combines the minor pentatonic with notes of the A7 chord. This could be accomplished by using one note of the arpeggio and sliding towards that note from the A minor pentatonic. The key here is to make this arpeggio create something musically. In the example of the 4th fret on the A string we are playing the C# note, which is being played on the G string in the chord. Take note that some of the frets we play when using the arpeggio are not being played on the exact same position in the chord (such as the 4th fret on the A string), but nonetheless these notes are included in the chord as well. The term arpeggio simply means that we are playing the tones of a chord one by one, not all of the notes at the same time (as you would play if you strum a chord). You will be able to spell out the notes of the underlying chords in your solos. Learning these relationships will increase your options for soloing (note choice) immensely. So what is the trick in using chord tones to start creating more melodic solos?Įvery scale pattern on the guitar is related to its own chord and arpeggio. That was about the time I learned how to solo over the chords in the progression, as opposed to playing one scale over the entire chord progression. Some of my solos sounded quite similar to other solos and I knew my phrasing sometimes lacked a kind of melodicness. I Wanted To Go Further And Deeper – And Learning Arpeggios And Scales That Fit The Chords Was Just What I Needed!īut I knew there was something more out there. After a while I was able to improvise my own solos. Yes, it did feel as great as I dreamed it would be! I became quite good with this and I started figuring out blues and rock songs and solos by ear, until I could improvise my own version of these. I started studying guitar with a couple of good guitar teachers, studied music theory, and basically read everything I could get my hands on, until it all made more sense. I used to think to myself "what a great feeling it must be to not only give the music my own interpretation, but to make up my own music on the spot!” Whenever I heard someone play an improvised solo I was in a state of total impression. To have the ability to create music on the spot, without any thought beforehand, was very appealing to me. When I started playing guitar I was fascinated by the art of improvising solos. I know because at one time in my guitar playing life learning this seemed like an impossible task. How To Best Use Arpeggios In Your Blues Guitar Solosĭid you know that every scale pattern on the guitar relates to its own chord and arpeggio and that learning these connections is key in mastering the guitar? A lot of guitarists get stuck learning these relationships.
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