I wrote the song’s main theme by adding a melodic element to an arpeggio idea I was exploring, borrowed from guitarists Steve Morse and Eric Johnson. The idea is to arpeggiate barre chords whose roots are on the fifth string, but only play the root, fifth and third — leaving out the octave.
So you’ve spent time learning some arpeggio shapes. Now what? Arpeggios are a great musical tool that allow you to make melodic statements using harmonic (chordal) information. When playing over chord changes, using arpeggios is the quickest way to navigate your way around them.
I had taught at this annual workshop a number of times and always looked forward to my week there, not only because I was able to teach a class of students who really wanted to learn guitar, but also for more selfish reasons. I liked meeting and learning from some of the other instructors and clinicians.
This lesson takes the same ideas discussed in my last lesson, "Increase Left-Hand Strength and Produce Great-Sounding Sequences,” and applies them to the diatonic major and minor three-note-per-string scales. It will help you get the seven positions of the major scale memorized, increase your left-hand strength, solidify your alternate picking and deliver some great-sounding sequences.
It’s good to mix things up a bit. In this lesson, I’m going to show you a pentatonic scale workout that helps you get the five positions of the pentatonic scale memorized and under your fingers, increases left-hand strength, delivers some great-sounding sequences and even includes some string skipping.
Melodic instrumental rock guitarist Adrian Galysh will release a new album, Tone Poet, December 3. The album includes 12 tracks featuring vocal rock songs, instrumentals with world music influences and sweeping orchestral works.