1 Simple Trick, Endless Killer Licks! - How To Solo With Arpeggios

Looking to make better use of arpeggios in your solos? You have GOT to watch this video!!!!
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This lesson unlocks a treasure trove of killer guitar soloing ideas using one simple trick... combining relative major and minor 7th arpeggios! We'll dive deep into the theory behind these powerful arpeggios (think Cmaj7 & Am7) and show you how they work together in the context of the relative major and minor key. You'll learn a variety of arpeggio shapes, from tight 4-note patterns to fretboard-spanning monsters, giving you maximum flexibility in your playing. But theory is just the beginning! We'll show you 5 awesome guitar lick examples that put these concepts into action. Get ready to create smooth, soulful, and tension-building phrases that will impress your audience.
Here's what you'll learn in this lesson:
The magic of relative major and minor 7th arpeggios
Multiple arpeggio shapes for maximum versatility
5 killer guitar licks you can use today
How to target specific chords within a progression
Tips for smooth phrasing and creating tension
Whether you're a beginner or a seasoned player, this lesson will take your soloing to the next level. Grab your guitar and get ready to rock!
0:00 - 0:44 Intro
0:45 - 1:06 Playthrough Example
1:07 - 4:40 Theory behind the lesson
4:41 - 6:57 Lick 1 - Shapes and playthrough
6:58 - 10:12 Lick 2 - Shapes and playthrough
10:13 - 12:25 Lick 3 - Shapes and playthrough
12:26 - 15:10 Lick 4 - Shapes and playthrough
15:11 - 19:12 Lick 5 - Shapes and playthrough
19:13 - 19:39 Final thoughts

[@marLamaDeo]

I’ve wasted a week collating the knowledge of multiple (albeit great) KZbin arpeggio guides into something that would’ve been summed up fine with just this one video ahah. Oh well. There’s a lot of great guitar teachers on KZbin and you’re definitely one of the most underrated

[@CharlieLongGuitar]

Thanks so much for the kind words!!! Doing my best to build this thing up!!

[@user-wl7ky9dp8p]

I don't understand why they love wasting our time with useless information when it can be summed up with 2/3 interchangeable's just like the triad's this one instructor horizontal sum's up maj/min/and sus on that one position uncanny instead of trying to figure skate thru all the other garbel.

[@James-zs2lo]

Thanks Charlie for making my practice fun and informative in my quest to learn the fretboard.

[@CharlieLongGuitar]

Thanks for watching and commenting!! 🎸🎶🔥🎶🎸

[@lawrencetaylor4101]

Very well structured.

[@Web4Panama]

That’s a great lesson. Cheers

[@CharlieLongGuitar]

Cheers!! Rock on! 🎸🔥🎶🔥🎸

[@SRHMusic012]

Rrally nice lesson. Yeah, this is a fun way to use arps and come up with new sounds. The combination of two reminds me of triad pairs, by the way. It opens the door to exploring other combinations, too. For one, we can use Cmaj7 over Am, for that nice add9. Then, really, any arp from the key is available. Frank Gamble explored a lot of combinations in his Technique Book 1.

[@CharlieLongGuitar]

Cool comment…I’ve done videos on triad pairs and more elaborate videos on superimposing. Love the 2 Gambale books! 🎸🎶🔥🎶🎸

[@ScoobyDoo-kt9pv]

I’m at 6:39 - I absolutely love switching the scales while in a solo it adds a lot of feeling. I often just go completely to a different scale type like a total scale switch. I do and don’t understand what I’m doing when I do it - like many guitarists. You are using modes within the scale I believe to describe the changes in feeling of chords using appregios and add 7, and if you added a chord to them or a pedal note it changes the feeling and what they mean. I’m only at 6:39. Anyway - cool I understand it. I like the feeling of switching scales. However if you use your pentatonic or major minor you can not clash. It’s all good.

[@ScoobyDoo-kt9pv]

I don’t know or really care who sees this and I wanted to elaborate on changing scales but sometimes guitarists don’t know what scale they are changing to So I can scale all over the neck But when I change scales, sometimes I just know it’s a piece of a different scale. Sometimes I know the scale sometimes I don’t know the scale. In general, there are notes that have a certain feeling associated to them in general So like a whole with another half step in between We know that kind of a tough feeling or a country feeling I have heard this KZbinr say it feels airy and light A half step has sort of a delicate feeling or if it ends on a distant note or starts with a chromatic note it has a really rock feeling or a really harsh feeling. A musician knows these things we already know that. So there are certain places in the pentatonic scale or in any scale where you can change the notes around and get a different feeling. In parts of a pentatonic scale, where there is a whole step and a half step, it relates to the major or minor scale where there would actually be a note in between If you change the note in a chromatic note, that’s usually done in jazz but they only do it for a second I like to just temporarily for the next little bit continue to have a permanent change in where that extra step is. Also, anytime there is a half step moving the half step down to Fretz or another words a whole step and just staying there so now it’s just the same thing but it’s too Fretz lower so it’s a whole step lower. That’s a sound that I like if I can get away with it depending on what’s happening in the song . So maybe you have a half step that is sort of in a D shape appregio Just move it down to Fretz sometimes if you move it down to Fretz, you’re in the same scale sometimes if you move it down or up to Fretz, you’ve just left the scale and I actually like to do that. So that’s changing the scale. I’m on a different scale then if I keep playing that scale, it will reveal that that is a completely different scale. It’s not even the same scale. It’s not the same notes. That’s a different scale. Another change in the scale that I like to use that off of scale is a whole step So anytime there’s a whole step. It’s next to other steps that’s how the musical scales generally work. Just as a musician hearing the notes sometimes I like to extend the whole step one more time even if a half step was next, and I think that can sound good in some instances. If I kept playing that scale till the end that would reveal, this is a different different scale. This is a totally different key or this has been changed. In addition to those, I also really like Dorian versions of scales .

[@ScoobyDoo-kt9pv]

So it might be cool to modulate, but sometimes it’s nice just to play. I don’t know. It’s kind of a modulation really that’s just something that I do.

[@ScoobyDoo-kt9pv]

It’s hard to know if that’s breaking rules or modulating it’s probably closer to breaking rules although changing to different scales isn’t really always breaking rules. It depends on what type of music that you’re playing. Sometimes you pentatonic scale sometimes you should follow the chords Sometimes you should just play major scale Sometimes I’m playing rock And in the rock, the rock is not in a particular key. It is in a distant key or the rock is in a key or a scale that has a different set of notes than the major or minor scale so it would not fit in normal music theory. So like those were a little bit more freedom to just switch the scale that I’m in and that’s a really good feeling when I’m able to just switch the scale while I’m playing the original song chords aren’t in one key. It’s kind of similar to if I was playing jazz and someone plays a diminished chord or some sort of changed cord that is not a major or minor or simple cord. It’s good that they did that because now it opens up the soloist to play a different type of arrangement that would describe that. So for me since ideally, I am playing rock and ideally the rock is not necessarily dissonant. I don’t play dissonant rock I play pretty rock, but it’s not on the major scale right the rock music that I’m playing is not on the major scale so therefore I have a little bit of freedom where I’m going to put the Pentatonix scale or where I’m going to put the major scale and I can change the position and that’s a really fun feeling for me.

[@ScoobyDoo-kt9pv]

I don’t know. I just thought I would describe it. Instead of just saying it, you know, I guess I gave details as to what I was talking about. I think a musician knows how the notes feel and so they can change the scale and the notes that they’re playing on by field and yes, it’s good to understand where the third is or where an augmented ninth is or the seventh or diminished is sometimes I have that in my head sometimes that’s not memorized. I do know it all of that means. Musician more than anything that you’ve heard it before with your ears you know what it is with your ears and you can kind of re-create different things on a scale if you musician and so I just do that by ear.

[@ScoobyDoo-kt9pv]

I’m not like a pro or anything I want to be a pro. I don’t want to stay home with a family right now even though I’m old I would prefer to have a family, but if I did have a family, I would rather travel I would like to be like a touring musician. I’m not addicted. I live a clean lifestyle. I just think that would be a nice purpose to have if I was ever able to do it so but I am a musician and I write songs and it sounds really good and I think the world deserves to hear the music it’s good music and it’s definitely different and it’s definitely good and the world deserves to hear it. I don’t think I’m special. I think I said something really weird so I thought I would explain what I meant so it just didn’t stay ambiguous.

[@anizato]

Hey prof!, so playing lead is awesome and all, but how do we approach the creativity and theory behind the backing track, for example of 'Lick 1' portion of the lesson? Thanks!

[@user-nx4pn7yn9o]

👍👍👍

[@CharlieLongGuitar]

🎸🔥🎶🔥🎸