Intermediate
Intermediate
- 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.
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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.
Rig Rundown - Olivia Jean
While Olivia Jean used a Fender Player Jaguar for recording most of 2019’s Night Owl, this lovely, pink-sparkle Fender Parallel Universe Volume II Maverick Dorado will do the road work when touring returns. The gifted reissue features a custom paint job—mirroring the Night Owl cover—was done by Fender’s Jay Nelson and the build was overseen by Chip Ellis at the Fender Custom Shop. And she calls this beauty the “Holly Grail.” (The original run of the Fender Electric XII-esque oddball was limited to 1969 and it was then referred as the Fender Custom.)
She plays in standard tuning, uses Ernie Ball Regular Slinkys (.010–.046) on all her guitars, and plucks with Dunlop Nylon 1mm picks.
Talk about weird, here’s the Maverick Dorado headstock that shadows the Electric XII silhouette sporting just six tuners.
“Betty” is a Gretsch G6128T-GH George Harrison Signature Duo Jet Electric that was a gift from Jack White. He gave her and bassist Ruby Rogers (Thunder Jet Bass) matching instruments before the band toured in support of 2011’s The Black Belles. She asserts it has a beefier, bassy sound than the Maverick Dorado.
This Fender Hot Rod DeVille 2x12 has been a staple in her touring rig for years.
Olivia is singing and playing throughout the set, so tap dancing on her pedalboard isn’t an option. However, her simplistic stomp station serves up plenty of flavorings. Her two always-on pedals are the Electro-Harmonix Holy Grail and MXR Sugar Drive. The Third Man Bumble Fuzz (a gift from White) stings for soloing and is accompanied with the Boss NS-2 Noise Suppressor for lowing the buzz. The pair of tools she has on the board is the TC Helicon Mic Mechanic (allowing her to control reverb levels on her vocals) and TC Electronic Wiretap (for recording ideas/riffs). Everything is powered by the T-Rex Fuel Tank Classic and her guitars are kept in check with a Korg Pitchblack Chromatic Tuner.