I am back to learning arpeggios again, this time I'm focusing on just learning 4-note arpeggios, trying to "anchor" them to the diatonic 'boxes' I am thoroughly familiar with. I'm practicing solos by quickly finding these arpeggios with each chord change and also visualizing the corresponding mode shape learned through the 'CAGED' method.
| bite-sized_arpeggios.pdf |
For songs with faster changes, there isn't time to play a two-octave arpeggio, so learning these 'bite-sized' versions let me nibble at a change before it's gone.
I'm using 'iiR5' to connote where the root of the 'ii' falls on the fifth string within the diatonic boxes I've memorized. The box 'r6 Mixolydian' is a scale shape I visualize, a 'box' which is equivalent to the Mixolydian mode where the root is on the sixth string. I know the 'boxes' for Ionian, Dorian, Phrygian, Mixolydian and Aeolian modes with a sixth-string root. I learned these boxes through the CAGED method.
Part of my practice is playing an arpeggio and finding a corresponding mode 'box'. As minor chords can either be the ii, iii or vi -- they correspond to different modes, and different 'anchors' on the diatonic boxes.
Another part of the practice is staying within a box and finding the ii and it's corresponding arpeggio. Then find the V and I.
I'm using 'iiR5' to connote where the root of the 'ii' falls on the fifth string within the diatonic boxes I've memorized. The box 'r6 Mixolydian' is a scale shape I visualize, a 'box' which is equivalent to the Mixolydian mode where the root is on the sixth string. I know the 'boxes' for Ionian, Dorian, Phrygian, Mixolydian and Aeolian modes with a sixth-string root. I learned these boxes through the CAGED method.
Part of my practice is playing an arpeggio and finding a corresponding mode 'box'. As minor chords can either be the ii, iii or vi -- they correspond to different modes, and different 'anchors' on the diatonic boxes.
Another part of the practice is staying within a box and finding the ii and it's corresponding arpeggio. Then find the V and I.
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