Guitar Lab: The Golden Arp

Consult example one to see which scales the Add 9 arpeggio is a subset of. As you can see, 1 2 3 5 is a subset of four different scales. The Ionian 1 2 3 4 5 6 7 , the Lydian 1 2 3 #4 5 6 7, the mixolydian 1 2 3 4 5 6 b7. What this means is that everything you learn in this group of lessons can be used when dealing with these four scales. You may add other notes from the prevailing tonality to color the Add 9 arpeggio to convey the harmonic color of your choice.

By thinking in terms of note subsets, you can then thoroughly research all applications of note groups. Be sure to apply this principle to everything you learn.

Let's observe the intervals: between the root and 2nd (9th) there will always be a major second interval (one whole step, 2 frets); between the 2 and 3 there will always be another major second interval; between the 3 and 5 there will always be a minor third interval (one and a half steps, 3 frets) and between the 5 and root there will always be a perfect fourth interval (2 and a half steps, 5 frets). Memorize these intervals as you will be able to apply them in all the various string layouts of the add 9 arpeggio.

This is a layout of a root position Add 9 arpeggio where the root is an open string and the form is 4 notes-per-string.

Example two shows all six arpeggios where the open string is the root. Not only can you play this 4 notes-per-string form with slurs and tapping but you will see demonstrations of how to apply legato slides and bending to this arpeggio form.

In traditional theory, a major triad is said to be in 1st inversion if the 3rd of the chord is the lowest voice. I will be changing that definition to accommodate the condensed Add 9 arpeggio formula 1 2 3 5. 1 2 3 5 is root position, 2 3 5 1 is 1st inv, 3 5 1 2 is 2nd inversion and 5 1 2 3 will be 3rd inversion.

You will see in example 3 that the intervals remain consistent as described in lesson 2. You are just starting on the 2nd instead of the root. Try to "see" the entire Add 9 arpeggio along the string axis.

This 4 notes-per-string layout of the 2nd inversion Add 9 arpeggio will always be as follows: The open string will be the 3, the 5th fret will be the 5, the 8th fret will be the root and the 10th fret will be the 9(2). Again try to see the complete Add 9 arpeggio in terms of a shifting along the string axis of the original root pos. form.

This form is very useful as the open string is the 5. The 5 is a great pickup note in a melodic line. Also from a technical standpoint, this form is less demanding on your fretting hand than the other three inversions.

I will demonstrate utilizing open drone strings to create textures when playing these 4 notes-per-string Add 9 arpeggios in 3rd inv. For example, if you are playing the arpeggio on the 3rd string, the chord is CAdd 9. You could use the 1st string open as a drone which would be functioning as the 3 of the chord. Be sure to explore this concept on your own.

Look at example 6. Measure one shows the root position EAdd 9 arpeggio on the 6th and 5th strings. Notice how all we have done is move the 5 (from example 2) over to the 5th string.

Measure two mirrors measure one because it is just one octave higher. Next notice measures 3 and 4 in example 6. The fingering never changes because you're always playing on strings tuned a perfect fourth apart (5 frets). That's because the 3rd and 2nd strings are tuned a major third apart. Keep this principle in mind as it will serve you in all your studies.