Please watch video above for detailed info:
Hi Guys,
Today, a look at picking arpeggio inversions on the guitar. This is in the more recent style of Al Di Meola’s nylon string guitar playing/composing.
Okay, Let’s get started!
The main guitar picking pattern is “Down Down Up” and the variations of this naturally occur form the music itself.
Here is the basic pattern:
This simple “Down Down Up” patten means that the final upstroke makes it easy to pluck the next downstroke on the lower strings.
Arpeggio inversions:
To begin with lets play a simple F Major arpeggio in the root, 1st inversion and 2nd inversion:
As you can see and hear the “Down Down Up” works smoothly with the basic F major arpeggio inversions.
CHORD SEQUENCE
Now, let’s pick a chord sequence and vary the picking set up and pattern:
Basic Down Down Up: F root, E7 1st inversion, Am root:
Now, we will add an open E string for a syncopated rhythmic off beat set up,
You will also notice the two upstrokes on the high B and C notes. This makes it easy to descend with the pick/pattern whilst anticipating the next chord:
This time we will employ the 1st open E string and do the same thing:
EXTENDING THE HARMONIC CHORD SEQUENCE
We will now extend this chord sequence with more arpeggio inversions to outline the chord sequence.
So, G7 1st inversion, C Major root, A7 1st inversion to D minor root:
Let’s extend this some more.
C7 1st inversion, F Major root, D13 1st inversion:
We now have
Here is the Full Sequence:
With Open Strings added:
A couple of variations:
This example makes use of triple upstroke picked to create beautiful melodic movement:
Finally, we will exploit A augmented 1st inversion going to D minor root: Also, notice the single note melodic rise of the high notes.
IN CONCLUSION
In conclusion, these are just a few examples of the beauty and fluidity of following arpeggio inversions for melodic composing and performing at the guitar.
This way of playing smoothly through the inversions works really well with the guitar pick, and as you can see in the examples the inversions can be manipulated rhythmically with anticipation/syncopation.
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