Unleash the power of shreddy subdivisions.
- Understand how to work different rhythmic subdivisions into a rock groove.
- Combine related arpeggios all over the fretboard.
- Learn how to combine pentatonic sounds with arpeggio-based lines.
In my experience, constructing lines has always been about texture and structure. Developing ideas for soloing and writing melodies takes a keen sense of harmonic and rhythmic context. It’s about seducing the listener and delivering a ride that’s hard to forget—a ride that caters to the listener. Of course, it’s important to write for yourself and from the heart, but also remember that if your heart’s intent is to inspire others, then you’re on the right track for the long haul. And this is where melody comes in.
Melody deserves a certain level of priority in relation to harmony and rhythm. In this lesson, I’m going to show you a quick way to start improving your lines. The good news is music knows no bounds and music doesn’t care what level you’re at. Harmony and rhythm need to help each other tell your story.
In Ex. 1 we’ll be playing the Em7 arpeggio (E–G–B–D) in two positions. Don’t worry, we won’t get into too much theory, just remember these shapes can be transposed into any key. The top one starts in 10th position and shifts up the neck, while the bottom one starts in 5th position. Getting these under your fingers will help map out quite a bit of the fretboard. I try to only visualize one octave at a time, and then take that shape and move it wherever I need to chase the melodic and rhythmic ideas that inspire me.
Ex. 2 follows the same idea, but this time using a Gmaj7 arpeggio (G–B–D–F#). I’ve chosen E minor and G major because they are closely related key centers. When learning these arpeggios, focus on the string pairs that occur in each octave. In the extended arpeggio that ascends from the 2nd fret, notice how the patterns recur in each octave. That’s not always the case, as you’ll see in the second arpeggio that ascends from the 9th fret.
Next, we’re going to use the first Gmaj7 arpeggio—the one with the recurring pattern—to practice running through a sequence. Think of Ex. 3 in groups of five. When practicing such lines, I like to use drum grooves instead of a metronome. Now here’s the twist: To progressively challenge my technique, I keep changing the subdivision of the meter I’m using. For example, we’re in 4/4 time here. As I develop the sequence, I’ll increase the subdivision from quarter-notes, to quarter-note triplets, to eighth-notes, to eighth-note triplets, then 16th-notes, and finally 16th-note triplets. That not only increases my speed but it also forces me to be rhythmically aware, thus giving me both speed and accuracy. It gives me full control. Take your time with this example because we’ll apply the same shifting-subdivision concept to the next one.
We revisit the Em7 arpeggio pattern at the 12th fret for Ex. 4. Let’s take a moment to talk about picking. Please use whatever technique you feel most comfortable with, but if you must know, in the corresponding audio clip I’m using as much legato technique as I can. For those not familiar with this term, it means I’m using hammer-ons and pull-offs to sound many of the notes, as indicated in the notation and tab. But there’s no need to get hung up in the picking technique. If you want to pick every note using alternate or economy picking, then do so with style. If you want to hybrid pick, go for it. The point is to increase your rhythmic knowledge and execute some creative ideas.
Now it’s time to step up the subdivisions. In Ex. 5 and Ex. 6, we’re using the same arpeggios we mapped out earlier, only this time we’re playing 16th-notes. If this is something you haven’t done before, don’t be alarmed. Just think of it as a slight increase in speed. Learning to shift subdivisions with seamless control is a great way to expand your ability to develop lines.
Enough with the exercises—let’s make some music. Ex. 7 starts out by traversing the Em7 arpeggio with 16th-notes, then transitions into the next octave using 16th-note triplets. Then for variety, we mix in some pentatonic lyricism. That brings me to a side note: Always step away for a moment from using only arpeggios by mixing in some pentatonic or scalar lyricism to your lines. A line composed of only arpeggios can sound stiff and redundant. One way to avoid this is to sprinkle some scale tones into the phrase.
In Ex. 8, we’re using Em7 arpeggios again, but the position conveniently gives us a full three octaves to work with. Instead of sticking exclusively to the basic shape, I also included some pentatonic moves. Notice how mixing 16th-notes and 16th-note triplets add color to the line. The key to sounding like a professional player is to make sure your playing offers the listener variety in rhythm and note choice.
We head back to the Gmaj7 shape for Ex. 9. It starts out in the lowest octave, which is at the 2nd fret, and once again mixes in that good ol’ E minor pentatonic (E–G–A–B–D) tonality. We repeat the same thing an octave higher, but because we run out of real estate, we need to slide up before finishing off the line in a G major tonality.
In our final example (Ex. 10), we return to the Gmaj7 arpeggio in its higher position, though we’re treating it a bit more lyrically this time around. No sequences, just playing bits and pieces of the arpeggio.
- Shred Mike Campese Dorian Diminished Scales Exercise Tab ... ›
- Diminished Rock ›
- Future Rock: Shred Those Sequences ›
Kick off the holiday season by shopping for the guitar player in your life at Guitar Center! Now through December 24th 2022, save on exclusive instruments, accessories, apparel, and more with hundreds of items at their lowest prices of the year.
We’ve compiled this year’s best deals in the 2022 Holiday Gift Guide presented by Guitar Center.
Sporting custom artwork etched onto the covers, the Railhammer Billy Corgan Z-One Humcutters are designed to offer a fat midrange and a smooth top end.
Billy Corgan was looking for something for heavier Smashing Pumpkins songs, so Joe Naylor designed the Railhammer Billy Corgan Z-One pickup. Sporting custom artwork etched onto the covers, the Railhammer Billy Corgan Z-One Humcutters have a fat midrange and a smooth top end. This pickup combines the drive and sustain of a humbucker with the percussive attack and string clarity of a P90. Get beefy P90 tone plus amp-pummeling output with the Railhammer Billy Corgan Z-One.
Patented Railhammer Pickups take passive guitar pickups to a new level with rails under the wound strings lead to tighter lows, and poles under the plain strings offer fatter heights. With increased clarity, the passive pickup’s tone is never sterile.
Railhammer Billy Corgan Signature Z-One Pickup Demo
For more information, please visit railhammer.com.
Designed for utmost comfort and performance, the Vertigo Ultra Bass is Mono’s answer to those who seek the ultimate gigging experience.
Complete with a range of game-changing design features, such as the patent-pending attachable FREERIDE Wheel System, premium water-resistant and reflective materials, shockproof shell structure and improved ergonomic features, the Vertigo Ultra Bass takes gear protection to the next level.
The Vertigo Ultra Bass features:
- Patent-pending FREERIDE Wheel System that allows for wheels to be attached on the case in no time, giving you the option to travel with it seamlessly
- Upgraded materials, including a water-resistant 1680D Ballistic Nylon outer shell, plush inner lining and new reflective trim for maximum backstage and night visibility
- Enhanced protection with a shockproof shell structure and heavy-duty water-resistant YKK zippers for protection from the elements
- Improved ergonomics and functionality including added back support and load-lifting detachable shoulder straps with side release buckles
- Flexible storage options with added space for touring essentials
The Generation Collection of acoustic guitars features the exclusive Gibson Player Port designed to offer a unique and immersive sonic experience.
The G-Bird, the newest addition to the Generation Collection--represents the glorious legacy of the Gibson Hummingbird colliding with modern sonic enhancement through the Gibson Player Port to add a new dimension to the G-Bird sound. The Gibson Player Port allows players to hear more of themselves as the audience hears it. With a tone that is crisp and resonant, all of the Gibson Generation Collection acoustics are designed to be comfortable to hold and play for long periods of time. All Generation Collection guitars feature the Gibson Player Port, slim, lightweight bodies, a flatter fingerboard radius, Walnut back and sides, Sitka spruce tops, and a stunning Natural finish. Additionally, the new G-Bird, and the G-200 and G-Writer are equipped with LR Baggs™ Element Bronze pickup systems which amplify deep bass and crystal-clear highs.
The G-Bird represents the glorious legacy of the Gibson Hummingbird with modern sonic enhancement through the Gibson Player Port adding a new dimension to the G-Bird’s sound. The G-Bird features a stunning solid Sitka spruce top and solid walnut back and sides for the ultimate in crisp, resonant tone. This square-shoulder dreadnought delivers all the rich low end and well-balanced mids and highs the original Hummingbird is famous for. The TUSQ nut and saddle, along with chrome Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning. The utile neck, with its easy-playing Advanced Response neck profile, is so comfortable you won’t want to put it down. The G-Bird also comes equipped with an LR Baggs Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird also comes equipped with an LR Baggs™ Element Bronze pickup system, so it will always sound as good to your audience as it does to you. The G-Bird is available in Natural finish. A gig bag is included.
Modeled after Gibson’s pioneering small-body parlor acoustic guitars from the 1930’s, the G-00 is a top choice for blues and fingerstyle guitar performances. Despite its more compact size, the G-00 achieves a full, balanced sound. The G-00 fills any room with rich tones-which players can hear like never before, with the exclusive Gibson Player Port. Like all models in the Gibson Generation Collection, the G-00 is handcrafted in Bozeman, Montana, by the same highly--skilled craftspeople who make all Gibson acoustic guitars. The G-00 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-00 parlor-sized body is exceptionally comfortable to hold and play. The TUSQ nut and saddle along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-00 is available in Natural finish. A gig bag is included.
The G-45, a round-shouldered jumbo, adds the Gibson Player Port to its famous “Workhorse” J-45 style body, which is Gibson’s best-selling acoustic guitar of all time. On the G-45, players can now hear more clearly than ever how this beloved guitar responds to every style and technique of playing. Powerful one moment and soft the next, the G-45 delivers all sounds with incredible dynamic range in an elegant, medium body size. The G-45 is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-45 features a slightly thinner round shoulder body is exceptionally comfortable to hold and play. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-45 is available in Natural finish. A gig bag is included.
Gibson’s impressive range of square-shouldered guitars have become an expressive standard for rock, pop, folk, and country artists. The G-Writer is known for its wide range of sounds, from gutsy and loud, to soft and sweet; they are superb for all styles and shine, whether strumming chords or fingering intricate solos. The G-Writer comes ready for the stage or studio with an LR Baggs Element Bronze pickup system and the ear-opening Gibson Player Port. The G-Writer is part of the Gibson Generation Collection and like all models in this collection, it is handcrafted in Bozeman, MT, by the same highly skilled craftspeople who make all Gibson acoustics. It features a solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The G-Writer features a slightly thinner cutaway body, is more comfortable to play and provides effortless access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners deliver solid tuning stability, so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-Writer is available in Natural finish. A gig bag is also included.
Gibson built its first “Super Jumbo” SJ-200 as a custom order for country and western singer and film star Ray Whitley, who desired a big, loud, and deep flat-top over which to croon. The SJ-200 quickly became a staple of cowboy singers and horseback troubadours, and then country music, 60’s folk stars, and onto every acoustic guitar genre that has followed. Ray would be proud to hear the booming sound from the Gibson Player Port on the new G-200, which comes ready for the stage or studio with a LR Baggs Element Bronze pickup system. Like all models in the Gibson Generation Collection, the G-200 is handcrafted in Bozeman, MT, by the same highly--skilled craftspeople who make all Gibson acoustics. The G-200 features a beautiful solid Sitka spruce top and solid Walnut back and sides for tone that sounds crisp and resonant. The slightly thinner G-200 cutaway jumbo body is exceptionally comfortable to hold and provides excellent access to the upper frets. The TUSQ nut and saddle, along with the Grover Mini Rotomatic tuners, deliver solid tuning stability so you can spend more time playing instead of tuning, and the utile neck with its easy-playing neck profile is so comfortable you won’t want to put it down. The G-200 is available in Natural finish. A gig bag is also included.
G-Bird | Generation Collection
For more information, please visit gibson.com.