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Frankenberry string skipping arpeggio lesson

I've always enjoyed playing music on the guitar that originated on other instruments. Many times, it will force me into a problem solving situation due to the differences of technique and perspective between instruments. An example of this type of problem solving took place when I decided to cover a popular classic rock tune by the Edgar Winter Group on my CD, Amplitude (track 5).

The second keyboard solo in this tune is quite memorable, and what I consider to be the high point. For this reason, I felt that I should make every effort to come up with a guitar solo that would, at the very least, capture the impression of the original. After quite a bit of experimentation with various techniques, I decided to use a string skipping motif for the flourishes in the first section. Among the advantages of using string skipping for these arpeggios are fluidity, stable rhythm and wide open voicings.

Click here for the Frankenberry sound clip.

Before attempting to work this example up to speed, you might just want to play through the entire example once or twice. Take notice that there are two basic patterns - a major 7 and a minor 7 shape. The two highest pitches change on the second rep of each pattern. Also notice that I've incorporated a pull-off to the open D string at the end of each measure. This allows for a smooth shift to the next position each time.

I haven't included any indication for the up and down pick strokes. After working with quite a few students on this, I finally realized that nobody likes to do it the way I do anyway. The main thing is to come up with something that feels comfortable and stay consistent. Make sure to observe all hammer-ons and pull-offs... they help it have a bit more keyboard-like fluidity.

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