By looking into the four dim7 and four 7th chords that are built from this scale, you can expand your 7b9 diminished soloing ideas without having to study anything beyond these two common arpeggio shapes. Let’s dig in and check out how you can use harmonic arpeggios to build interesting lines when using a 7b9 diminished scale in your soloing ideas.
Usually you hear hybrid picking associated with country guitar or all things Eric Johnson. It's not a particularly aggressive technique, so it's rare in hard rock and metal. Hybrid picking in a Metallica song? Probably not. But Metallica is Metallica — and you're you.
This is a fast 16th-note alternate picking run in C# minor that starts out on the high E string and moves across the neck, staying pretty much in the ninth through seventh positions and ending with a whole-step pull bend and vibrato on the low E string.
I tap with my middle finger and begin this lick by flicking the string with the finger to get the sound going, doing a "phantom" pull-off to the A note at the fifth fret. I then play a sequence that goes "hammer, tap, pull" and repeats as I move across the strings, initiating the first note on each lower string with a "hammer-on from nowhere."
What we’re going to be doing today is drawing on this knowledge to learn how to combine the minor and major pentatonic scales to create patterns that give us a very unique and interesting sound. For this example let’s start off by running through the first position of A minor pentatonic starting on the fifth fret of the sixth string.
If you treat each note of a chord as a different voice, paying attention to how each note transitions to the notes of the next chord, your playing will take on a new maturity. This is known as voice leading. Think of it as directing a choir on your fretboard rather than playing a series of shapes.
I start in the seventh-position B minor pentatonic box pattern with some string skipping and hybrid picking, using my pick-hand middle finger in conjunction with the pick. I hit the first note, on the low E string, with a down-stroke, hammer-on the second note, then pluck the third note, on the D string, with the middle finger, followed by another hammer-on.
On beat three of bar 2, I flip my fret hand over the neck and perform the arpeggios on top of the fretboard. Here, I use my thumb [indicated by the t in the finger prompts below the tab] to fret the low E [sixth string, 12th fret] so I can make the fret-hand transition over the neck without skipping a beat.
Welcome to part 6 of "Learning Mozart's 25th Symphony in G Minor." We are getting close to finishing this piece, which might sound surprising considering we have only learned four minutes out of the full 10-minute piece. However, don't worry, because there's going to be a lot of repetition between now and the end.