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.
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.
The Global Scale?
The major pentatonic scale, (Ex. 1), is regularly cited as one of the most ancient and commonly used scales in the world. But is it true? While I have found several examples that highlight the use of the major pentatonic in music across the globe, there are fewer than I imagined. Much more common is the use of various hexatonic, or six-note, scales.
Conceivably, my research for this lesson may have been too limited. Or maybe it's the lack of non-Western music transcribed in standard notation that was a pitfall? If so, I welcome correspondence from readers remedying my shortcomings. But for now, let's investigate a few of the melodies that prove the claim true (if more limited than I thought when taking on this lesson).
China
The first destination on our global journey is China and the 18th-century folk song “Jasmine Flower" aka “Mo Li Hua." This song has lyrics, but it is also performed as an instrumental. As with all the examples in this lesson, the first performance, shown in Ex. 2, features a stylized version of the melody. In this case, I have recorded it on an electric guitar using volume knob swells and an exaggerated vibrato, doing my best to emulate an Erhu, a two-string bowed instrument akin to a violin. This first version uses the G major pentatonic scale (G–A–B–D–E). The second version, (Ex. 3), is a simplified performance using the C major pentatonic scale (C–D–E–G–A).
Click here for Ex. 2
Click here for Ex. 3
Thailand
Up next on our world tour is Thailand and the traditional song “Ngam Sang Duan," which is used for a Thai dance. This melody is typically sung with lyrics, accompanied by xylophone. Ex. 4 features tremolo picking, using the Eb major pentatonic scale (Eb–F–G–Bb–C), imitating a xylophone performance. Ex. 5 is a basic rendition using the C major pentatonic scale.
Click here for Ex. 4
Click here for Ex. 5
India
And we're off to India, playing “Vara Vina" aka “Vara Veena" a Geetam, the simplest form in Carnatic music, one of the two subgenres of Indian classical music. Like the previous melodies, this one is both sung and performed instrumentally. To honor traditional sitar technique, Ex. 6 is performed on one string (still using the pentatonic scale, though that may be difficult to discern), with exaggerated vibrato, plentiful slides, and an A drone accompaniment. Ex. 7 is a rudimentary interpretation using the C major pentatonic.
Click here for Ex. 6
Click here for Ex. 7
Ireland
The closing stop on our international expedition brings us to Ireland and “Peg Ryan's Polka," a jaunty little dance tune (Ex. 8). The D major pentatonic (D–E–F#–A–B) includes a few ornamental 16th-note flourishes and unexpected syncopations, whereas Ex. 9 is a plainer, though nonetheless sprightly, reading out of C major pentatonic.
Click here for Ex. 8
Click here for Ex. 9
As you can see, the major pentatonic does indeed span the globe. Nevertheless, I was surprised to find that it's not the major pentatonic per se but variations, including the minor pentatonic, the so-called Japanese pentatonic, Dorian pentatonic, the Ambassel scale of Ethiopia, a few pentatonic scales that don't conform to the Western tuning system (Javanese in particular), and the aforementioned hexatonic scales that appear to be more prevalent. That realization, rather than discouraging this lesson, led me to be as transparent as possible regarding my research findings. And, more importantly, it fed my interest in learning more about different cultures and their music. I hope you'll continue to explore as well. Bon voyage!
Chops: Intermediate Theory: Intermediater Lesson Overview: • Learn different ways to arrange scales. • Combine various sequences to create more intersting lines. • Solidify your technique by practicing unusual groupings of notes. Click here to download a printable PDF of this lesson's notation. |