After having seen the arpeggios in sweep picking in the major and the minor modes, and the relative possibilities of use combined with the ligatures, we will now see how to develop arpeggio models in sweep picking on more advanced harmonies. This is to create various harmonic possibilities that can then be applied to various situations. Also in these examples the scales are fictitious, just transpose the fingerings around the fretboard to get other scales, and the first note will always be the root that identifies that same scale. Keep this in mind when you want to transpose in other scales.
Diminished arpeggios
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In the diminished arpeggio every note can be identified as a root, and therefore in our examples the fingerings are in diminished A, diminished C, diminished Eb and diminished F#. These diminished arpeggios can be played with the same identical fingerings, at third minor intervals: this means that every diminished fingering is found every three frets. An example? In the first case, that is developed on the first three strings in the second position, we can transport the fingering to the fifth, eighth, eleventh, fourteenth or seventeenth position. The notes, even if in different order, will make room for a diminished arpeggio in the scale of A, C, Eb and F#. In many cases it is possible to move identical fingerings one scale, getting interesting sounds, both from a melodic and technical point of view. |
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To complete the picture of the diminished arpeggios in sweep picking, we can see in the example below the development on the fifth, fourth and third strings in measure 1, and on the sixth, fifth and fourth strings in measure 2. This fingering is a bit more tiresome in comparison to the previous examples above. The fact remains that if you find a different fingerings from those indicated that is better, please use it. For instance, the third finger used for playing the C note on the third string at the fifth fret (measure 1) can be replaced by the fourth finger. What is important in the choice, is the comfort and practicality of the execution with respect to the final result.
Arpeggios with the ninth addition
The extension of the arpeggios, either major or minor, with the use of the ninth addition gives a very open, modern and interesting sound from a melody aspect, because the fingerings are adaptable to many types of chords. In example 1, in A major, we can see how this procedure is developed on the bass strings. In example 2, the 3rd of the chord is not present and this causes the arpeggio to be used indifferently from a major or minor context.
In example 3 a minor arpeggio with the ninth addition, while example 4 is another way to play a major ninth arpeggio.
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