Soloing Basics II

Soloing Basics II. Part 1 - The Basicsauthor: plikk date: 07/19/2004 category: soloing

rating: 6.5 / votes: 29

We've all been there: you're jammin' with some dudes and in the middle of the tune the bass player gives you the nod to take your solo. What do you do? Every moment you wait makes you look like more of an amateur. Quick, what key am I in? What are the chord changes? What scale? What mode? What's my name? What's the capital of South Dakota? Well, let's make sure this never happens by preparing ourselves with today's lesson: soloing basics. A few notes before we start. If you have not mastered the art of note bending, slides, pull-offs and hammer-ons, you will probably have a difficult time with some of the topics discussed here. But read on anyway. I happen to have a personal disdain for the pentatonic scale. So while I will not dissuade anyone from using it nor dispute its usefulness, I will not be discussing it here. Let's say that your makeshift band is jammin' on a simple three chord warm up progression, Dm-C-Bb-C. It's your turn to solo and what are you going to do? Based on the chord progression, we'll pick D minor as our soloing key of choice. I have always had luck memorizing a particular pattern and moving it around depending on the key. Here is the one that I use most and can use in any key major or minor. Here it is in our Dm position:Pattern 1:E---l---l---l---l-x-l-x-l---l-x-l---l-r-lB---l---l---l---l-x-l-R-l---l-x-l---l---lG---l---l---l---l-x-l---l-r-l---l---l---lD---l---l---l---l-x-l---l-x-l-x-l---l---lA---l---l---l---l-r-l---l-x-l-R-l---l---lE---l---l---l---l-x-l-x-l---l-x-l---l---l 1 2 3 4 5 6 7 8 9 10The RR'sS represent the root of the major key (F) and the Rr'sS represent the root in the minor key (D). Technically I suppose you could call this an F major scale in phrygian mode (beginning on the third, A). But I really don't. It's just a particular set of finger placements that are comfortable and reliable for soloing. Since when I solo I will be stressing the notes of the major and minor, the A phrygian is just a coincidence. Ok. Now we've got a scale to use. Notice that this scale contains all the notes of the chords being played. Like so:D minor scaleD-E-F-G-A-Bb-CDm chordD-F-AC chordC-E-GBb chordBb-D-FNow when we solo (which you will remember is supposed to be a story within a story, not just a bunch of licks) we can really play any note in the scale and it will fit. It won't always sound good, but it will fit in some way. Here are two more positions of the same scale.Pattern 2(F major scale)E---l---l-x-l---l-x-l-x-l---l---l---l---lB---l---l-r-l---l-x-l-R-l---l---l---l---lG---l-x-l-x-l---l-x-l---l---l---l---l---lD---l-x-l-R-l---l-x-l---l---l---l---l---lA-x-l---l-x-l---l-r-l---l---l---l---l---lE-R-l---l-x-l---l-x-l---l---l---l---l---l 1 2 3 4 5 6 7 8 9 10

Pattern 3(D minor scale)

E---l---l---l(x)l---l-x-l-R-l---l-x-l---lB---l---l---l(x)l-x-l---l-x-l---l-r-l---lG---l---l---l-R-l---l-x-l---l-x-l---l---lD---l---l---l-x-l---l-r-l---l-x-l---l---lA---l---l---l-x-l---l-x-l-x-l---l---l---lE---l---l---l-r-l---l-x-l-R-l---l---l---l 7 8 9 10 11 12 13 14 15 16(x) alternative fingerings to use if you want to stay in one position. Notice that this is the D minor scale and that the D minor pentatonic scale is contained within this scale. Where did you think the pentatonic it came from? If you link patterns 1, 2 and 3 together starting with the F on the E string 1st fret (pattern 2) you can move up and down the fretboard all the way to the 24th fret (if you have one) without leaving the patterns. Like this:E------------------------------------8-10-12--lB---------------------------5-6-8/10----------lG-------------------2/3-5-7-------------------lD-------------2-3-5---------------------------lA-------1-3-5---------------------------------lE-1-3-5---------------------------------------l

E-13-12-10----------------------------13-15-17/18-lB----------13-11-10----------13-15-17-------------lG-------------------10-12-14----------------------lD-------------------------------------------------lA-------------------------------------------------lE-------------------------------------------------l

E--20-18-17----------------------------18-20-22/24lB-----------20-18-17----------18-20-22------------lG--------------------19-17-19---------------------lD-------------------------------------------------lA-------------------------------------------------lE-------------------------------------------------l

Try playing this slowly and smoothly hammering-on each ascending note, pulling-off each descending note, and sliding where notated. Stop at 20 if you don't have the upper frets, or if you get tired. Now, the nice thing about remembering patterns is that the pattern works for any key; just change the position. Pattern 1 above starts on the third of the major scale. (remember it's only a pattern, not a phrygian scale). So the starting points on the low E string that I remember are:C major/A minoropenD major/B minor2nd fretE major/C# minor4th fretF major/D minor5th fret (as above)G major/E minor7th fretA major/F# minor9th fret

We can find a few licks within each pattern that we can use to augment our solos. Like these:DmE-----5-6-8-6-5---5-------l-8-----5--8-----5-8-10-lB----6---------8-6--8-6-5-l--6---6----6---6-------lG---7---------------------l---5-7------5-7--------lD-------------------------l-----------------------lA-------------------------l-----------------------lE-------------------------l-----------------------l

E---------------------------5---5-6-5-6-8-6-8/10--lB----------5--5-6-5-6-8-6-8---8-------------------lG----7-5-7--7-------------------------------------lD-------------------------------------------------lA-------------------------------------------------lE-------------------------------------------------lAlso notice as we put the patterns together and complete the major scale up the neck that the chords for the tune we're playing become available for licks. Like this:DmE-5--------13-10-----lB--6-------------10--lG---7----------------lD----7---------------lA-----5--------------lE--------------------l

CE-8--------15-12-----lB--8-------------13--lG---9----------------lD----10--------------lA-----10-------------lE-------8------------l

BbE-10-------13-10-----lB--11------------11--lG---10---------------lD-----8--------------lA--------------------lE--------------------lWe can use these triads in our solos to really accentuate the chords and pull-off the triads in kind of a "Hotel California" "Sultans of Swing" solo kind of thing. Find a pattern that you like and that feels comfortable for your fingers and playing style. Then play it a thousand times. Have a friend play the chords over and over and try it out. Or play along with a tune in each key. Well, this should get you started.

Soloing Basics II. Part 2 - Resolutionsauthor: plikk date: 07/19/2004 category: soloing


Ok, for those who missed Part 1 we discussed soloing in major and minor keys and used a Dm-C-Bb-C progression as a starting point. Let's delve into this enigma of soloing a little more and find out how to do it, shall we? The easiest solo: The easiest solo is one note, that's it. Now, a one note solo may state a particular emotion that fits the tune, but it does not state an awful lot. I suppose the second easiest solo would be two notes, followed by more notes. By the way the solo to "I wanna be sedated" by the Ramones is just eighth notes of one tone. And hey, it works. But if you have a chord change under your one tone (eighth notes or whatever) now you have developed an implied note change even though you are still playing the same note. Let's see why. In the Ramones tune the chord changes are E-A-B in quarter note strums, each chord being one measure (real fast tempo though). The solo is eighth note open high E's. When the solo starts it is playing the tonic (E) which gives a particular consonant sound when played with the chord E. When the chord changes to the A, the solo is now

playing the 5th of the chord (still an E) which is another harmonious, albeit different tonal relationship from the first note. Now the chord changes to B and the solo is playing the 4th of the chord (still E), another consonant tone. The note E is not in the B major chord (B-D-F#), but the perfect 4th is still effective. So what we have found is that your solo is a relationship between the solo notes you are playing and the chords that the rest of the band is playing. Hmmm... now you really don't want to be playing just a bunch of licks. What about speed players? They can't sit around and wait for the rest of the band to catch up with their solo notes, so they must analyze specific notes or groups of notes in relation to the underlying chords. One way is to think about only the first and last note of a scalar passage, however long it is. Assuming we're playing in the proper key the notes will be alright, but if we're playing pretty fast the listener can't really discern them anyway, but they will the last note. This note is where you were going with that scalar run; your destination. How you got there (fast or slow) is not important, this is the statement you wanted to make. This brings us to: Resolutions: When listening to a piece of music, the ear always wants to return to a stable place. This place is either the tonic (root) of the piece, or the tonic of the underlying chord. This "return" is called its resolution. A flurry of notes that don't adequately resolve, while technically impressive, leave the listener uncomfortably misdirected. In our previous example using a Dm-C-Bb-C chord progression, the listener's ear will always want the solo sequence to return to the D note. Not only that, the return (or resolution) should be on the beat. There is also resolution to the underlying chord. So if you resolve to the C when the C major chord is playing, there is resolution. However when the chord then changes to he Bb, the resolution is lost. Playing in a minor pentatonic scale over a I-IV-V progression yields many opportunities for resolution. This is because of the notes in the scale, (root, m3, p4, p5, m7) three of them resolve to the underlying chords, and the others resolve with a small bend. This is one of the reasons the pentatonic scale is so easy to use. Now that we have established that rule. Break it. Play a little solo melody and leave it unresolved. Go ahead, rules are meant to be broken. Resolve to the "C" while the tune is still on the Dm, but hold it until the band catches up. Let's get really wild and play notes that are not in the scale! Let's add passing tones to our scales like this: Play real fast in Dm Pick the asterisked notes and pull-off the rest. * * * * * *E--8-6-5-6-5---6-------------------------B------------8---8-6-8-6-5-6-5---5-------G------------------------------7---7-6-5-D----------------------------------------A----------------------------------------E----------------------------------------Notice the passing tone inserted between the "D" and the final "C" note? This lick resolves to the C, however, if you hold the C for a moment and then hammer-on or slide to the D at the seventh fret, we have a nice resolution to the tonic. Remember that your main goals in soloing are: 01. Entertain the listener 02. Add to the song 03. Take the song someplace that the lyrics can't 04. Reinforce the melody or chord structure Listen to some of your favorite solos and pick out the resolutions. They will be very obvious as you listen to each tune. Listen also to those spots where resolution is delayed, or not there. If you have a recording of Yngwie's first album with Alcatrazz, check out the way he incorporates speed with resolution. For kicks also listen to "The Four Seasons" by Vivaldi and pick out the resolutions in the melody, or try "La Gazza ladra" (The Thieving Magpie) by Rossini. For blues scale resolution, check out David Gilmour's solo in Comfortably Numb from The Wall. Ok, that resolves that. I hope this helps in your melody writing and soloing.

Soloing Basics II. Part 3 - Harmonizingauthor: plikk date: 07/19/2004 category: soloing


I'm sure you are all tearing up the fretboard now and are in no need of any more instruction, however since this is a free Internet I will submit today's lesson on: Dum-da-da-dum... Harmonizing: One of the things that is a side effect of the shredding movement is the single note solo thing. Don't feel bad. Almost all my live solos are single note runs and I seem to get along fine. However when I do plan ahead a little and add some harmony (either with another guitarist or myself or a prerecorded track) my solos and melodies really evolve. Let's look at what harmony is. The dictionary says that harmony is "... a combination of musical sounds considered to be pleasing." So what we get from this is that to have harmony we must have more than one sound. Well, we already have that, because the rest of the band is playing stuff that we are harmonizing with, well hopefully, but I'm not considering that. I'm talking about harmonized melody lines. The easiest type of harmony to do between two guitarists (or vocalists or whatever) is in unison. Each instrument plays the same melody in the same pitch. This can be a really nice effect, especially if the two instruments have complimentary tones. A chorus effect pedal kind of does this. The next type of harmony would be octaves. Each instrument plays the same melody but one plays it an octave higher. Octave divider pedals can do this too. However it usually sounds better when two separate instruments perform it. When harmonizing in octaves (or fourths or fifths) the melody stays exactly the same because the intervals are all perfect (neither major nor minor). The real type of harmonizing I'm getting at is harmonizing in thirds. When harmonizing in thirds the melody changes because of the changing major and minor intervals in the melody. Just to get started let me run through a quick example: Here I am harmonizing a descending A-minor scale in thirds:Root (Am)

A G F E D C B A G F E D C B AE------------------------------------B-10-8-6-----------------------------G---------9-7-5----------------------D----------------9-7-5---------------A-----------------------8-7-5--------E------------------------------8-7-5-

Up a third (C)

C B A G F E D C B A G F E D CE--8-7-5-----------------------------B---------8-6-5----------------------G----------------7-5-4---------------D-----------------------7-5-3--------A------------------------------7-5-3-E------------------------------------

Harmonized

E--8-7-5------------------------------B-10-8-6--8-6-5-----------------------G---------9-7-5--7-5-4----------------D----------------9-7-5--7-5-3---------A-----------------------8-7-5--7-5-3--

E------------------------------8-7-5--Notice how the intervals change? This is the tricky part of harmonizing in thirds. In the above example the intervals are:A-Cm3B-Dm3C-EM3D-Fm3E-Gm3G-BM3So how did I figure this out you ask? Well, let's take a look. Admittedly harmonizing in Am is pretty easy; no accidentals to worry about. But we'll use it to get started. We know what a third is, right? It is an interval of either three semitones (minor third, 3 frets) or four semitones (Major third, 4 frets). Thirds are very instrumental in chord construction, as you know from the other lessons we have been through (did we all do our homework?) We know that the interval between two adjacent strings on the guitar is a fourth, or a M3 between the G and B strings. So to find the third up from a note on the low E string (say A at the fifth fret)... we go to the next string (A string) one fret back (4th fret... C#). This gives us our major third. One more fret back (3rd fret... C) gives us our minor third. Like this:E---]---]---]---]---]---]---B---]---]---]---]---]---]---G---]---]---]---]---]---]---D---]---]---]---]---]---]---A---]---]-C-]-C#]---]---]---E---]---]---]---]-A-]---]--- ^ ^ ^ m3 M3 R

Also:E---]---]---]---]---]---]---B-C-]-C#]---]---]---]---]---G---]-A-]---]---]---]---]---D---]---]---]---]---]---]---A---]---]---]---]---]---]---E---]---]---]---]---]---]---So, to figure out what the harmony is, just count up three notes in the scale to find the third. In keys other than C-Am we have to make sure that the proper notes are sharped and or flatted. If you have two guitarists it will take a while to work out the proper harmony lines, but it is well worth the effort. Another trick is to slowly play a scale and have another guitarist play the same scale but start on the first note when when you get to the third note. Try this with a digital delay too. Here is a descending D major scale with the harmony up a third:E-14--12--10--9---7--5--3--2--0----B-15--14--12--10--8--7--5--3--2--3-G--------------------------------4-D----------------------------------A----------------------------------E----------------------------------Another way to harmonize is to play harmonizing melodies. Two different melodies that share common tones. Try playing an ascending A minor scale at a slow tempo, and have another guitarist play a descending A minor scale. This will give the following harmonic intervals:A-AOctaveB-Gm6C-FP4D-EM2E-Dm7 (inverted)F-CP5 (inverted)G-BM3 (inverted)

A-AOctaveAs you dick around with these things you will find a lot of Allman Brothers, Night Ranger, Queensryche, Eagles, Thin Lizzy, Bach, Mozart, Vivaldi etc. If you have two guitarists try this lick. Or try recording part A and playing part B over it. The lick is a two-hand-tapped triad. Part A is a G major (G-B-D-G) and Part B is up a third Bm (B-D-F#-B). Hammer on the first three notes and tap the fourth note at the 12th fret.Part A (G major)E------------------------B------------------------G--0--4--7--12--7--4--0--D------------------------A------------------------E------------------------

Part B (Bm)E------------------------B--0--3--7--12--7--3--0--G------------------------D------------------------A------------------------E------------------------Play this a few times then change to Gmaj7 and Bm7Part A (Gmaj7)E------------------------B------------------------G--0--4--7--11--7--4--0--D------------------------A------------------------E------------------------

Part B (Bm7)E------------------------B--0--3--7--10--7--3--0--G------------------------D------------------------A------------------------E------------------------

Or to Em and G major

Part A (Em)E------------------------B------------------------G--0--4--9--12--9--4--0--D------------------------A------------------------E------------------------

Part B (G major)E------------------------B--0--3--8--12--8--3--0--G------------------------D------------------------A------------------------E------------------------Whee! Fun stuff. So the trick to harmonizing is knowing your scales and key signatures. After that it's a snap to harmonize. I do recommend typing up a fretboard graphic just to make sure that you have the notes right, it saves a lot of time. Here's one. 1 2 3 4 5 6 7 8 9 10 11 12 13 14E--F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]

B--C-]-C#]-D-]-D#]-E-]-F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]G--G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]-G-]-G#]-A-]D--D#]-E-]-F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]A--A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#]-G-]-G#]-A-]-A#]-B-]E--F-]-F#]-G-]-G#]-A-]-A#]-B-]-C-]-C#]-D-]-D#]-E-]-F-]-F#] 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Today's lesson revolves around of the misunderstood entity known as the arpeggio. The first quesion that pops into everyone's mind at the mention of this enigmatic term is, "What's an arpeggio?" The fact that it sounds like a type of pasta does not diminish in the least its tremendous usefullness in the world of soloing. What's an arpeggio? An arpeggio is essentially a chord that is played one note at a time. Simple as that. See, this isn't so tough. If we analyze this to the ninth degree we can say that a strum is also a chord played one note at a time. Just with very little time between each note. My response to this is that if the time interval between the notes does not fall to within a quantized amount (16th note, 32nd note, 64th note etc) then we call it a strum. You can differ on that point if you like, but let's continue. Let's start with some examples of easy arpeggios to get a better idea of what one is. Here are a few in TAB form: D major

E--2-------B----3-----G------2---D--------0-A----------E----------

A minor

E--0----------B----1--------G------2------D--------2----A----------0--E-------------

Bm7

E--2---------B----3-------G------2-----D--------4---A----------2-E------------

E major

E---------4-B-------5---G-----4-----D---6-------A-7---------E-----------

Em7/11 (I didn't say they had to difficult)

E-----------0--B---------0----G-------0------

D-----0--------A---0----------E-0------------

Am13

E-------------7-B---------5-6---G-------5-------D-----5---------A---5-----------E-5-------------The current shredding movement has made the use of arpeggios seem a daunting task. What with full 6 and 7 note arpeggios played with a single sweep at blazing speed. But we needn't think of arpeggios in these terms. Arpeggios can be played slowly and deliberately to make a wonderful statement and outline the underlying chords. Arpeggios can also be just a few notes. A simple triad arpeggiated during a solo can be most effective and can really help soloists get away from the diatonic or pentatonic scale runs. Compare two descending runs: Fast descending pentatonic run (triplets over eighth notes) Am E 1 + 2 + 3 + 4 + 1E--8-5---5-----------------------------------------]---B------8---8-5-8-5---5-----------------------------]---G------------------7---7-5-7-5---5-----------------]---D------------------------------7---7-5-7-5---5-----]---A------------------------------------------7---7-5-]-7-E--------------------------------------------------]---

Apeggiated Chords

Am Am7 Amsus4 E 1 2 + 3 + 4 + 1E---8----8--5--------------------------------]----B--------------5-----8--5--------------------]----G-----------------5--------5-----7--5--------]----D-----------------------------7--------7-----]----A-----------------------------------------5--]-7--E--------------------------------------------]---- C C A E C G E C A D C A D ENow both these examples are totally useful. Each starts high on the third of the scale (C) and ends on the fifth (E). The first one has been heard in a thousand tunes and is in every blues/rock players repertoire. It makes a statement of speed and destination... "I'm up, and I'm showing you how fast I can get down... " The second example uses an arpeggiated A minor chord with a few variations. It is played more slowly so that the sound of the underlying A minor chord may be heard, and therefore complimented. Notice how an arpeggio is just a scale with some of the notes missing? Hey... good for you. Just like a chord is made up of selected notes from the scale (Root, third, fifth, seventh etc). So an arpeggio will just be selected notes from a scale too. In fact look at the example of the arpeggio for the Am13 chord above. Can you see the scale for that chord? That's right it's: A--B--C--D---E--F---Gr--9--3--11--5--13--7 (2) (4) (6) remember that 9=2, 11=4 & 13=6. So just playing an A minor scale is arpeggiating an Am13 chord! Let's look at a few more arpeggios. An obvious arpeggio sequence would be the opening chords to Stairway to Heaven. We all know it but I'll write it out anyway for example. (Actually I stole from the net this morning): Am *Am C Bm7 Fmaj7E-------5-7-----7-|-8-----8-2-----2-|-0---------0-----|-----------------|B-----5-----5-----|---5-------3-----|---1---1-----1---|-0-1-1-----------|

G---5---------5---|-----5-------2---|-----2---------2-|-0-2-2-----------|D-7-------6-------|-5-------4-------|-3---------------|-----------------|A-----------------|-----------------|-----------------|-2-0-0---0--/8-7-|E-----------------|-----------------|-----------------|-----------------|*Am= Am/maj7add9A good soloing example is in David Gilmour's solo in "Mother" from "The Wall". The final line of the solo is a Gsus4 kind of arpeggio that goes: E--8-7-8-7---------------B----------8-------------G------------7-----------D--------------10-9------A-------------------10---E------------------------ C B C B G D C B GAnother example is in Mark Knopfler's first solo in Sultans of Swing (selected arpeggios). A Dm CE-------5--9--12b(13)--]--10-----------]-/13-12--------------------]B-----5----------------]-----10--------]--------13-----------13-13-]G---6------------------]--------10-----]-----------12--14p12-------]D-7--------------------]-----------12--]---------------------------]A----------------------]---------------]---------------------------]E----------------------]---------------]---------------------------]

Bb CE----------------]---------------]B-----3--6--3----]-----5--6/8-6--]G---3------------]---5-----------]D-3--------------]-5-------------]A----------------]---------------]E----------------]---------------]And of course his arpeggios from the outro solo Dm Bb CE--13p10----10--]--13p10----10--]--15p12----12--]B--------10-----]--------11-----]--------13-----]G---------------]---------------]---------------]D---------------]---------------]---------------]A---------------]---------------]---------------]E---------------]---------------]---------------]Here are a few more examples of arpeggiated chords. () = an optional note Dm7 (D-F-A-C)

E----------5--8--5-----------B--------6---------6---------G--(5)-7--------------7-(5)--D----------------------------A----------------------------E----------------------------

Emaj7 (E-G#-B-D#) tpE----------4--(7)--(12)--B--------4---------------G------4-----------------D----6-------------------A--7---------------------E------------------------

Asus4 (A-C#-E-D) or (Aadd11)

E-----------------

B--15p14----------G--------14-------D-----------14----A--------------12-E-----------------

Dadd9 (D-F#-A-E) tpE---------5--(10)--B-------7----------G-----9------------D---7--------------A-5----------------E------------------

D minor (D-F-A) (play Bb as grace note)

E--5h6p5---------B--------6-------G----------5/7---D----------------A----------------E----------------Arpeggios don't have to be played on different strings. In fact a good example of single string arpeggios would be the final tapping sequence in Eruption. Here Eddie just plays a series of arpeggiated triads: C# minor A major D#dim B majorE---------]----------]----------]----------]B--2^5^9--]--2^5^10--]--4^7^10--]--4^7^12--]G---------]----------]----------]----------]D---------]----------]----------]----------]A---------]----------]----------]----------]E---------]----------]----------]----------] C# E G# C# E A D# F# A D# F# B

E major C major Em7 D majorE-----------]----------]----------]----------]--B--5^9^12---]--5^8^13--]--5^8^15--]--7^10^15-]--G-----------]----------]----------]----------]--D-----------]----------]----------]----------]--A-----------]----------]----------]----------]--E-----------]----------]----------]----------]-- E G# B E G C E G D F# A

F#m7 E major Em7E-----------]----------]----------]----------]--B--7^10^17--]-9^12^17--]-12^15^17-]-..etc...-]--G-----------]----------]----------]----------]--D-----------]----------]----------]----------]--A-----------]----------]----------]----------]--E-----------]----------]----------]----------]-- F# A E G# B E B D EAs your playing gets more complex, so too can more intricate arpeggios be worked into your solos. Here are a few: (Try playing them forwards and backwards) (Try modifying them with altered notes to make new chords). AmE---------------------8-12--]B-----------------10--------]G-----------5--9------------]D---------7-----------------]A-------7-------------------]

E-0-5-8---------------------] E A C E A C E A C E

E7E------------11-]B--------12-----]G---------------]D---------------]A----11---------]E-12------------] E G# B D

C6/9b5E----------------]B----------10-12-]G-------11-------]D----14----------]A-15-------------]E----------------] C E Gb A B

E9E----------------]B----------3--7--]G-------4--------]D----6-----------]A-7--------------]E----------------]So there you have it. See, that wasn't such a chore. Notice that we haven't even touched the myriad of arpeggios available in classical music. But check them out for your own research. Figure out your own arpeggios and try them. Just take the chord formula that you want to arpeggiate and figure out a way to finger it

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Soloing Basics II