Ex­am­ple SOLO STUDY

Guitar Techniques - - Lesson: Creative Rock -

[Bars 23-24] These two bars are de­voted to dif­fer­ent ways of play­ing di­min­ished 7th arpeg­gios. [Bar 23] Rem­i­nis­cent of Vin­nie Moore, this ex­am­ple em­ploys wide stretches to ar­range the notes three to a string, with string skips, and achieves lat­eral shifts via slides, whereas bar 24 ex­pands on this by also adding a pick­ing­hand tap to cre­ate a four-notes-per-string ap­proach. [Bars 25-26] If one takes the four notes that Phry­gian Dom­i­nant has got in com­mon with the mi­nor pen­ta­tonic (1, 4, 5 and b7), it is pos­si­ble to play bluesy pen­ta­tonic-style licks and lines with a twist (by adding a b2, 3 and/or b6). This sec­tion does just that. Note the use of a di­min­ished 7th ar­peg­gio at the start of bar 26. [Bar 27] Here, the six-note mo­tif used in bars 5, 9 and 10 is adapted to cre­ate a re­peated lick that con­tains a wide stretch to a G# note: a real Yngwie Malm­steen favourite. [Bar 28] This de­scend­ing se­quence is used by Yngwie in songs like Tril­ogy Suite. It is based around a two-string scale shape (com­pris­ing G#-A- B- C and D- E- F) shifted sym­met­ri­cally (re­tain­ing the same fin­ger­ing) in oc­taves. [Bars 29–31] As in bar 7, this sec­tion is based around straight­for­ward E and F ma­jor arpeg­gios: in this case, dif­fer­ent in­ver­sions taken lat­er­ally up the fret­board. [Bar 32] Fi­nally, we fin­ish with a neat Malm­steen-style com­bi­na­tion that scrolls lat­er­ally through var­i­ous in­ver­sions of the same di­min­ished 7th ar­peg­gio, us­ing abridged (two-string) ver­sions of the sym­met­ri­cal shapes that we saw in bar 19.

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