playaxeman11th December 2014Very good learning stuff
Kristofer Dahl11th December 2014Not only is this awesome sounding - but arpeggios and string skipping are two techniques that effectively prevent you from sounding like a stereotype guitarist. This is because the fingering/picking can feel unnatural (in the beginning), compared to a typical guitar scale.
I highly recommend this kind of practicing to broaden your horizons, and although I still struggle with these techniques they have improved my playing and inspiration. Thanks Guido!
Monica Gheorghevici11th December 2014Awesome lesson, I love it!!!!!!!
Javier Aviles11th December 2014I love 3x4 for my Compositions. Very well built the transition between arpeggios and solos.
Hajduk11th December 2014such a cool Lesson Guido
Love it
Guido Bungenstock12th December 2014Many thx for your nice comments, guys! I'm really happy to hear that you like my lesson! ;-)
myhandyman12th December 2014i like this ty
Ben Higgins12th December 2014OMG that tone
How do you do it, Meister Bungenstock ??- Guido Bungenstock12th December 2014
THX Master Ben!! But are serious? Just a SM57, nothing more! :-D
Blister14th December 2014Great lesson. I love your style, Guido & look forward to each of your lessons. Thanks so much!
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Hi guys!
This time I chose a song that maybe reminds you of Joe Satriani's "Always with me, always with you" because of the ¾ time signature. It contains a lot of nice sounding arpeggios combined with some melody.
I use a few different types of arpeggios:
String skipping arpeggios that are based on wide triads (Minor and Major) built like this : 1st, 5th and the 3rd of the next octave. As you see there's always a little jump between each interval. Another interesting thing is that I start with an ascending arpeggio with the string skipping technique but descending with a normal arpeggio triad without string skipping by keeping the same bass note. Every descending arpeggio is based on the 5th chord of every individual ascending triad! This way the two different arpeggios work as two layers and form a new chord. For example C#m combined with G#m result in a C#m79 chord!
3 notes arpeggio forms that are mostly based on 5th intervals combined with shifting accents. Guthrie Govan's "Waves" inspired me here a lot too.
In the solo section I go a little further and use a string skipping arpeggio based on 1st, 3th, 7th, the octave, the fifth (of the next octave), the 7th (of the next octave) and the 9th (of the following octave). Carl Verheyen uses this concept a lot.
Let's go thru the A & B sections of the song:
A SECTION (ex. 0:00-0:25)
C#m | G#m/C# | C#m | G#m/C# |
B | F#m/B | A | E/A |
C#m | G#m/C# | C#m | G#m/C# |
B | F#m/B | A | E/A |
C#m | G#m/C# | C#m | G#m/C# |
B | F#m/B | A | E/A |
C#m | G#m/C# | C#m | G#m/C# |
B | F#m/B | A | B |
B SECTION (ex. 0:25-0:47)
E| B/E | E| B/E |
Aadd#4| E/A |A | E/A |
F#m| F#m/E |F#m| F#m/E |
B | % |B | % |
REPEAT ALL SECTIONS!
And this time the clean arpeggio guitar stays underneath the solo guitar.
The song ends with the last chord C#m.
A typical chord progression in C#m and E Major. So I'm only using only the C# Minor and E Major scales.
Final words
This lesson is a good example on how easy it is to use good sounding arpeggios without remembering complicated fingerings or shapes. I tried to transcribe as close as possible. Specially in the Guitar Pro 5 you'll find all this little extras!
Have fun with it!
Cheers - Guido
Technical specifications
Guitar: Music Man Luke II
Strings: D'Addario NYXL 09/42
Amp: Peavey JSX Top with Marshall 2x12" V30
Effects: T.c. electronic G-Major
Sound-deflection system by DEEFLEXX
Mics: Shure SM57
Audio Interface: Focusrite Saffire PRO 24
Recording SW: Logic 9, several plugins
Standard tuning: E, A, D, G, B, E
Tempo: 130 BPM
Time signature: 3/4
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