Arpeggio Lesson – “As Many as Possible”
This months lesson is based on using minor 11th, Maj 11, and minor 9 arpeggios.
This months lesson is based on using minor 11th, Maj 11, and minor 9 arpeggios.
When not fulfilling his duties for Soulfly or Cavalera Conspiracy, guitarist Marc Rizzo was shuffling in and out of the recording studio to finish his latest solo effort Legionnaire. An eleven song guitar record that draws influences from metal, classical, flamenco, and South American music, with LegionnaireRizzo has created a solid instrumental record that fans of shred guitar and straight-up metal will appreciate.
To open the lesson I have transcribed an example of a “practical” use for the tapping techniques discussed thus far. Here for your delight is my version of “Flight of the Bumblebee” using multiple finger tapping. Have fun with this example before moving on to the second sets of examples, “Bumblefoot.”
Croatian guitarist Ivan Mihaljević officially hits the international guitar scene with the release of his CD Sandcastle. Joined by band mates Majkl Jagunic (bass) and Craig Devine (drums), Sandcastle is a solid collection of guitar rock that will send many guitarists back to the woodshed to reprioritize their practicing.
In this instalment I’ll present the five shapes required for the most extreme uses of the pentatonic scale. The lesson will provide you with the techniques you need to create long, flowing pentatonic lines in a fluid, legato fashion.
This article is intended to be an extension of the ideas we looked at in the two-hand tapping article (see link below), but also to help you use the techniques you already know in a more creative manner. Bidexteral tapping is a term I credit to Derryl Gabel for creating. It’s a technique, which as the name suggests, involves using fingers on both hands to execute fluid tapping ideas. You can find tapping of this nature a lot in the work of Ron “Bumblefoot” Thal, and in the chorus to “Sevens” by Guthrie Govan, to name a few examples.
