It is possible to create some cool licks from these simple shapes - try following a chord sequence using these arpeggios. Here is an example of such a lick:

A t the end of the last repetition of the lick, I just threw in an A minor Arpeggio like in one of our earlier lessons (ending at the 12th fret of the A String). Remember this shape?

T his next shape is slightly out of place here as it is a dmin7 arpeggio rather than just a simple triad arpeggio - however I have included it as I use it a lot with the above patterns. Note that the lowest note on the e string is at the 9th fret - it looks a bit like an 8 in the tablature. : o)

O ne of the coolest things about this arpeggio is that the shape can be repeated every four frets up the fretboard (creates a different inversion of the notes). This is illustrated in my final lick below. This lick demonstrates the use of the dim7 arpeggio shape that I introduced above, and it is a very common lick heard in many neo-classical songs. It starts very simply with a series of a minor diminished 7th arpeggios in different inversions up the neck (notice how the shape is simply repeated every four frets) and is finished of with a A minor arpeggio (a cut-down version of the first shape we will cover in another lesson).

The shapes below should show you a couple of different ways of playing arpeggios than we have already covered. These shapes are great for fast position changes and can get us away from sticking to strictly scalar type licks.

Minor Shape

The following is a simple minor arpeggio shape that I use a lot, and when combined with other similar shapes can be a very efficient and effective way of playing very fast arpeggio sequences.

Major Shape

This is the major equivalent of the above minor shape:

I t is possible to create some cool licks from these simple shapes - try following a chord sequence using these arpeggios. Here is an example of such a lick:

A t the end of the last repetition of the lick, I just threw in an A minor Arpeggio like in one of our earlier lessons (ending at the 12th fret of the A String). Remember this shape?

This next shape is slightly out of place here as it is a dmin7 arpeggio rather than just a simple triad arpeggio - however I have included it as I use it a lot with the above patterns. Note that the lowest note on the e string is at the 9th fret - it looks a bit like an 8 in the tablature. :o)

One of the coolest things about this arpeggio is that the shape can be repeated every four frets up the fretboard (creates a different inversion of the notes). This is illustrated in my final lick below.

This lick demonstrates the use of the dim7 arpeggio shape that I introduced above, and it is a very common lick heard in many neo-classical songs. It starts very simply with a series of a minor diminished 7th arpeggios in different inversions up the neck (notice how the shape is simply repeated every four frets) and is finished of with an A minor arpeggio (a cut-down version of the first shape we will cover in another lesson).

Two Handed Tapping I

We all have probably heard "Eruption" - Eddie Van Halen's 1978 Solo Guitar piece - like most of us we have used that technique of hammer-ons with the right hand at sometime or another. In this lesson, I would like to show a couple of ways of using this technique that are a little different.

Integrating with hammer-ons and pull-offs

I often just use tapped notes quickly as an extension to hammer-ons and pull-offs, in these cases I use the right hand middle finger to execute the taps.

This next example is an expansion of the idea above, using the middle finger of the right hand and the third finger of the right hand to tap notes. The tough bit about this lick is probably keeping the middle finger on while tapping the third finger down, keep at it and in time it will realise what it is supposed to do!.

As you can hear, these techniques add quite a few possibilities for adding some life to some old legato licks. Have fun with these and if you create some real cool licks of your own then send them to me. To finish this lesson I would like to show you a lick in the style of a favourite player of mine (as far as two handed playing goes) Jeff Watson.

Some Jeff Watson (Night Ranger) Type Licks

This first part of the lick is reasonably straightforward and uses the right hand 1 and 2 fingers to play the notes on the 12 and 13 fret. Ditch the pick !!!! you wont need it in these licks, just pluck the first note with your finger and then hammer away!.

This lick can be expanded simply by changing the highest note in each repetition of the sequence, in this case the highest notes are played by the 2nd finger (13 fret), 3rd finger (15 fret) and finally the little right hand finger (17 fret).This creates a pretty wide tonal grouping and makes for an interesting sounding lick.

Well I hope that this has helped to give you a couple of new ideas as far as the two handed tapping technique are concerned. Come back for the next instalment very soon. Feedback.....(not on the guitar)....I need it, please send me an email if you have read these lessons, I am quite willing to answer any queries that you may have. Until next time keep on playing....

Pedal Tones