So you’ve nailed all the arps in your A Minor position and you drop two frets down. You’re in a well-worn pentatonic box, but you’re also in G Mixolydian, which has the nice feature of connecting the two tried and true pentatonics. Having the underlying arpeggios at hand makes navigating across the fretboard more comfortable, and it allows you to explore all of the upper structure sounds (Cmaj7 over Am [3,5,7,9] for instance) that let you colorfully solo without even touching the root.
Working out the 7th arpeggios by position is proving quite useful. Let’s kick off with Aeolian using A for simplicity’s sake.
I’ve always found Phrygian difficult to use, but using the characteristic flat second in the context of a minor arpeggio rounds off some of the edges. These tend to look a bit scale-like, but really you find the main pinky-ring-index motion up the core of the arpeggio remains the same, and you just have the extra ♭2 to color the sound.
Minor sister to Lydian. I’ve found this to be a good way to highlight the key tones of the Dorian mode. Outside of the major sixth, there’s no difference between this and natural minor.
I’ve been struggling with ways to highlight modal sounds lately and figured I should try and work out characteristic arpeggios. I don’t know if this is an accepted concept or not, but I’ve found it useful, so figured I’d throw them out there. The first one is a Lydian arpeggio, which is just the major 7 with an added #4/#11.
Pedal On 