• Hi, this is a special combo is the purchase of  everything that is included in the two lessons: ARPEGGIOS # 2 and LICKS 3 Hirajoshi pentatonic scale (1,9,b3,5,b6) Pelog hexatonic scale (1,b9,#9,3,5,b6)   The Hirajoshi and Pelog scales are also very versatile and nice scales. Hirajoshi works well over minor and lydian chords and the Pelog over Dominant chords. The use of both scales give a certain sense of tension/relax over the phrasing undoubtedly they give some “spice” to the language.
  • MORE INFO OF THE PRODUCT PLEASE CLICK HERE

    Hi, this lesson covers some licks I wrote applying some extended arpeggios of the lesson

    ARPEGGIOS # 2

    Hirajoshi pentatonic scale (1,9,b3,5,b6) Pelog hexatonic scale (1,b9,#9,3,5,b6)

     

    The Hirajoshi and Pelog scales are also very versatile and nice scales. Hirajoshi works well over minor and lydian chords and the Pelog over Dominant chords. The use of both scales give a certain sense of tension/relax over the phrasing undoubtedly they give some "spice" to the language.

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    Arpeggios #2

    $4.00
    For detailed information of this lesson please go to: https://juandarango.com/arpeggios2 Hi, this lesson covers a very nice aspect of my technique and playing. I think the use of “designed arpeggios” is a priceless tool in order to enrich the vocabulary in your playing and composition. I wrote some arpeggios on the past that have been very useful for me. Had a big influence in the desing of arpeggios following the “212” Tim Miller´s construction (Not always is the same patron, sometimes is “121”, sometimes more patrons). 212 refers on playing 2 notes on the 6th string (or lowest string), 1 note on the 5th string, 2 on the 4th string and so on. By this, on a 6 string guitar you´d have a 9 note arpeggio. This lead me to explore this type of playing having in mind the quantity of notes per string. Starting from this principle, I tried to design the arpeggios playing at least one time the third of the chord/scale. All the notes of the arpeggios are from the scale, In this particular lesson I listed 4 to 6 arpeggios for each of these modes with variations: Hirajoshi pentatonic scale (1,9,b3,5,b6) Pelog hexatonic scale (1,b9,#9,3,5,b6) Reductions adapted of some “Quadritonal arpeggios” of Nicolas Slonimsky

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