Example SOLO STUDY
[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.