Guitar Nine Records - Guest Column: Arpeggio Combinations, Part 2

Vol. 17, No. 2: Feb.-Mar. 2012

G9 BackStage!

Arpeggio Combinations, Part 2

by Francesco Fareri

Page added in April, 2001

About The Author

Francesco Fareri is an Italian guitarist who was profiled on the December, 1999 Undiscovered Artists page on the Guitar Nine Records site.

His latest instrumental CD is entitled "Secrets Within".

Visit Fareri's web site.

Send comments or questions to Francesco Fareri.

© Francesco Fareri

Sponsored Links

Print This Column

Click here for a printer-friendly version of "Arpeggio Combinations, Part 2".

Hi and welcome for the second time. I would like to introduce to you how to combine the arpeggio technique with other techniques such as tapping, alternate picking, legato, string skipping, etc. I really use these figures in my style because I like the effect that they create together.

1. A major
|--------------------------------------------------|
|--------------------------------------------------|
|--------6-9-14-9-6---------------6-9-14-9-6-------|
|------7------T-----7-----------7------T-----7-----|
|----7----------------7-------7----------------7---|
|5-9--------------------9-5-9--------------------9-|

2. A minor
|--------------------------------------------------|
|--------------------------------------------------|
|--------5-9-14-9-5---------------5-9-14-9-5-------|
|------7------T-----7-----------7------T-----7-----|
|----7----------------7-------7----------------7---|
|5-8--------------------8-5-8--------------------8-|

These are some simple examples just to develop this technique, and when you are at ease with it you can start to create new and longer sequences like these

3. A major
|-----------------------5/9-5-------5-9-12-9-5-9-5--------------|
|------2-5-14-5-2---2-5-------5---5------T-----T---5-10-5-------|
|----2------T-----2-------------6---------------------T---6-----|
|--2--------------------------------------------------------7---|
|4------------------------------------------------------------7-|
|---------------------------------------------------------------|

|------------------12-17/21\17-12-------------------------------|
|---------------14-----T----------14----------------------------|
|----------9/14----------------------14----------------14-------|
|-------11------------------------------14----------14----14----|
|--7-12------------------------------------16-12-16----------16-|
|9--------------------------------------------------------------|

You can also try to combine arpeggios with tapping and alternate picking.

4. B minor
|------------------------7/10-19-14-------------------------------|
|----------------------7-------T----15----------------------------|
|---------7-11-16-11-7-----------------16-14-12----------------11-|
|-------9-------T-------------------------------16-14-12\11-12----|
|-----9-----------------------------------------------------------|
|7-10-------------------------------------------------------------|

|---10-14-17-15-14--------------------------------------------------|
|12----------------17-15-14-----------------------------------------|
|---------------------------16-14-12-11-----------------------------|
|----------------------------T----------16-14-12-11-----------------|
|----------------------------------------T----------14-12-10-9------|
|----------------------------------------------------T---------10-7-|

This is an example with arpeggios, legato, and alternate picking.

5. D minor
|22-20p18p17----------------------------13-17-13-------------------|
|-T----------22-20p18p17-------------15----------15----------------|
|-------------T----------19-17p15p14----------------14\10p14-19-14-|
|-------------------------T-----------------------------------T----|
|------------------------------------------------------------------|
|------------------------------------------------------------------|

|------------------------------------------------------------------|
|------------------------------------------------------------------|
|10-------------------------------------------------------12-14-15-|
|---12-------------------------12-14-15----------12-14-15----------|
|------12-------------10-12-13----------10-12-13-------------------|
|---------13-10-12-13----------------------------------------------|

|------------------------17-22-17----------------------------------|
|---------------------18----------18-------------------------------|
|---------12-14-15/19----------------19\14-------------------------|
|12-14-15----------------------------------15----------------------|
|---------------------------------------------17-12----------------|
|---------------------------------------------------13-10----------|

This one shows the possibilities when combining arpeggios with string skipping.

6. B minor
|14-10----------------------14-19-14----------14-10----------------|
|------------------------15----------15----15----------------------|
|------14-11----11-14/16----------------16----------14-11----11-14-|
|------------12-------------------------------------------12-------|
|------------------------------------------------------------------|
|------------------------------------------------------------------|

|---------------------------------------------------19---22--------|
|------------------------------------------------19----------------|
|11----------14-11----------11/16----------16-19-------------------|
|-------12-9-------12----12-------16----16-------------------------|
|--14-9---------------14-------------17----------------------------|
|------------------------------------------------------------------|

This last example is a concentration of "arpeggio combinations" with the other techniques that I'm more at ease with. I've written these exercises just to show how many possibilties there are to combine the techniques and to create something new. Now you can start to create new licks and phrases, and start to imagine new directions for your guitar playing. I hope that instrumental music will be more appreciated and in the future it provides a lot of emotion! Hoping that this lesson with be interesting, I want to thank everyone who contacted me - thanks for your support! For more information check out my official web site.

7. B minor
|---------------------10-14/19-14------------------------------------|
|------------------12-------------15---------------------------------|
|---------------11-------------------16-11---------11h16-19-16p11----|
|-------9h12h16---------------------------12----12--------T-------12-|
|--------------------------------------------14----------------------|
|7h10h14-------------------------------------------------------------|

|---------------------------------------------7-10-7-----------7-10--|
|-------------------------------------------7--------7-------7-------|
|-----------------------------------------7------------7---7---------|
|--------------------9-12-9-------------9----------------9-----------|
|14-12-10----------9--------9---------9------------------------------|
|---------14-12-10------------10-7-10--------------------------------|

|14-19-14-10-14-10---------------------------------------------------|
|----T--------T---h12-15-12------------------------------------------|
|----------------------T---h11-16-11h12h14-16-14p12p11---------------|
|-------------------------------T-----------T----------16-14p12p11---|
|-------------------------------------------------------T----------14|
|--------------------------------------------------------------------|

|---------10-14-10----------10-14/19-14------------------10-14-10----|
|------12----------12----12-------------15---------------------------|
|---11----------------11-------------------16-11---11-14----------14-|
|12---------------------------------------------12-------------------|
|--------------------------------------------------------------------|
|--------------------------------------------------------------------|

|------------10-14-10------------------------------------------------|
|--------------------------------------------------------------------|
|11----11-14----------14-11------------------------------------------|
|---12----------------------12-----------9-12-9---------------------9|
|------------------------------14-9----9--------9-----------7-9-10---|
|-----------------------------------10------------10-7-9-10----------|

|--------------------------------------------------------------------|
|------------------------------------12-14-15----------------12-14-15|
|------9-11-12---------------9-11-12-----------------9-11-12---------|
|11-12---------------9-11-12-----------------9-11-12-----------------|
|-------------7-9-10-------------------------------------------------|
|--------------------------------------------------------------------|

|12-14-15-14-10----------------------------------------------7-10----|
|---------------12-----------------------------------------7---------|
|------------------11----------------------------------4-7-----------|
|---------------------12-----------------------------4---------------|
|------------------------14-9----9-14-17-14-9------5-----------------|
|-----------------------------10-------T------10-7-------------------|

Additional Columns by Francesco Fareri

Double Arpeggios, Part 2 (2002)

Double Arpeggios (2001)

About "Suspension" (2001)

Arpeggio Combinations (2001)

Additional Guitar Technique Columns

The Musical Margin: Why Technique = Musicality by Jamie Andreas (2012)

And 445 more in the Guest Columnists category, view the index

Any redistribution of information found at this site is prohibited

Use of this web site constitutes acceptance of the Guitar Nine Records Terms of Use. To read our Privacy Policy, click here.