Using arpeggios tastefully and musically

[jeremy_green]

I think Hockey has more : )

[RockViolin]

Lately I've been practicing a lot of arpeggios in my solo playing, swept or w/ string skipping, and they're sounding pretty fast and clean but now I want to focus on using them musically. I tend to fall into using them just technically and my band mates are starting to look at me like I'm a show off, but I can tell they're not really enjoying it. I'd like to blend them with a bluesy lick now and again and have them form part of my emotional language, rather than be like doing 100 pushups in three minutes.

 

 

I think you may as well ask, how do I tastefully use more zig zag lines in my paintings? How do I work the splits tastefully into my dance?

 

I think it depends a lot on context. It depends on what you played 20 seconds ago, 3 seconds ago, and what you plan to play after. Does the music you play call for arpeggios? I mean beg for them? If not, then don't.

 

Or can you put together such an arpeggiated tour de force that's art, on some level, cannot be denied?

 

I think some know instinctively, and some get there the long slow hard way. And that's OK. But I don't think anyone can say if you play an arpeggio here, just like this, it will be tasteful and musical.

[1001gear]

Good answer. Actually makes sense.









and one more for hockey.

[jeremy_green]

RockViolin, great answer (and good to hear from you) I completely agree.

 

I think with a lot of these types of discussions the same thinking applies. Any technique doesn't really "Cut & Paste" into your solo or piece and just work. You need to spend significant amount of time, listening to styles of music that use said technique a lot. So that you begin to hear organically. Even then, that technique will only really work when working on a song that lives in that feel range.

 

Now does this mean you shouldn't work on it? Of course not! But what it means is that when bringing new approaches into your playing, a certain patience is required. You need to constantly ask "Did that part help the solo? Was it pleasant for the listener?" Otherwise it is usually some ego thing, or desire to impress people. Do you even like music that features a lot of arpeggios? An honest question many never think to ask. It applies to modal discussions as well.

 

I say, follow what you like, learn it, then break it down and figure out what is happening. If you do this often enough before long you discover patterns. What was played? Over what chord? Which beats were the accents placed on? Answering these fairly simple questions will give you some clarity. THEN pursue THOSE areas. This seems like a better path as opposed to - "I hear all these people talk of arpeggios, so I am going to learn them"

 

Not insinuating anyone said this or meaning any disrespect to anyone here, just rappin.

[3shiftgtr]

 

I But I don't think anyone can say if you play an arpeggio here, just like this, it will be tasteful and musical.

 

 

This^^^^^^^ +1

[RockViolin]

Good answer. Actually makes sense. and one more for hockey.

Heh. Thanks!





And one for Bruce Lee.

[RockViolin]

RockViolin, great answer (and good to hear from you) I completely agree. I think with a lot of these types of discussions the same thinking applies. Any technique doesn't really "Cut & Paste" into your solo or piece and just work. You need to spend significant amount of time, listening to styles of music that use said technique a lot. So that you begin to hear organically. Even then, that technique will only really work when working on a song that lives in that feel range. Now does this mean you shouldn't work on it? Of course not! But what it means is that when bringing new approaches into your playing, a certain patience is required. You need to constantly ask "Did that part help the solo? Was it pleasant for the listener?" Otherwise it is usually some ego thing, or desire to impress people. Do you even like music that features a lot of arpeggios? An honest question many never think to ask. It applies to modal discussions as well. I say, follow what you like, learn it, then break it down and figure out what is happening. If you do this often enough before long you discover patterns. What was played? Over what chord? Which beats were the accents placed on? Answering these fairly simple questions will give you some clarity. THEN pursue THOSE areas. This seems like a better path as opposed to - "I hear all these people talk of arpeggios, so I am going to learn them" Not insinuating anyone said this or meaning any disrespect to anyone here, just rappin.

 

 

Thanks Jeremy. Yeah, I think the inspiration, the song, leads the technique a lot of the time. Except when it doesn't. LOL I'd think that anyone seeking to shred would be wise to be very well versed in arpeggios. They're a great way to connect going from one area of the neck to another. Also can be used as grace note follows, etc. etc. The etc. comes from just knowing, or tons of study, or both.

 

To the OP. Consult the masters. The classical violin literature is chock full of works that make use of arpeggios in one way or another. Bach and Paganini of course...also concertos by Mozart, Beethoven, Vivaldi, Correlli, Brahms, Tchaikovsky, Saint Saens, Weinawsky, Sibelius, to name a few. I'm pretty sure that Joe, Steve, Ingwie and others have already made a study of some of them. Listening is good, but learning to read it, so you can actually play it, exactly, might be a good idea.

[girevik]

I say, follow what you like, learn it, then break it down and figure out what is happening. If you do this often enough before long you discover patterns. What was played? Over what chord? Which beats were the accents placed on? Answering these fairly simple questions will give you some clarity. THEN pursue THOSE areas.

Early in my guitar learning experience, I believed in "magic" exercises that would make my arpeggios "musical" over any and all music. Over time I learned that the real "magic" is in doing the mental work mentioned by Jeremy in his excellent post. The physical work is not enough, not even if you learn a hundred new arpeggio exercises off of tab, without the corresponding mental work.

[Cornholio Farquarth III]

Starts at about :40 if Italian humor isn't your thing.

Good stuff!

[gennation]

The Baby Elephant Walk is full of arpeggio's, as is Yakkety Sax.

[1001gear]

The Baby Elephant Walk is full of arpeggio's, as is Yakkety Sax.

 

 

ha, I don't know how many decades since I've even thunk that song but I just now sang the melody verbatim.

[gennation]

 

ha, I don't know how many decades since I've even thunk that song but I just now sang the melody verbatim.

 

 

That's because it's used both tastefully and musically.