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Antonio Vivaldi - Winter Arpeggios

by Cosmin Lupu

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  • Hello GMC!

    Since I love Antonio Vivaldi very much, I decided to share some of my ideas regarding note choices in building arpeggios over a harmonic progression suggested by intervals and I came up with it by ear, trying to explain it to myself after learning how to play it.

    This approach was necessary due to the fact that I didn't want to play a simple riff along the intervals which the strings were playing, thus the arpeggios came to life!

    This lesson will help your develop:
    - alternate picking skills
    - experimenting with note choices in accordance with the harmony by using modes
    - developing your classical music vocabulary.

    The chord progressions are:

    - Fm Bbm C7 Abmaj Bb7 Ebmaj C7 Fm G7 Cm Bbm C7 for the arpeggios
    - alternating between Fm and C7 for the pedal lick.

    These chords are underlined by intervals only, but behind the each interval shift lies a different chord and arpeggio, based on a different mode, which we shall discuss in the following lesson parts.

    If you want to get more acquainted with the sounds, you should listen to all of Antonio Vivaldi's 'Seasons'. He sprinkles ideas such as the ones presented in this lesson, so give his work a go!

    Tuning: Standard (E A D G B E)

    Meter: 4/4

    Tempo: 130 BPM

    Tonality: F minor

    Scales:

    Harmonic minor: 1 2 b3 4 5 b6 7

    Pentadorian (Blues mode with an added 6th and 2nd): 1 2 b3 4 b5 5 6 b7

    Hindu (Mixolydian b6): 1 2 3 4 5 b6 b7

    Lydian: 1 2 3 #4 5 6 7

    Mixolydian: 1 2 3 4 5 6 b7

    Ionian: 1 2 3 4 5 6 7

    Aeolian: 1 2 b3 4 5 b6 7

    Tone settings: Bass – 10 o’clock, Mids – 10 o’clock, Highs – 1 o’clock, Gain – 2 o’clock, using the clean channel of my AMT ss20 Pre-amp, boosted with a Suhr Shiba Drive for a pinch of overdrive.

    I would recommend the following lessons for the fans of guitar based classical music:

    Paganini Romanza
    Combining Arpeggios and Scales
    Bach's Bourree
    Romance Anonyme

















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