G Form C major arpeggio (5th position) fingering possibilities: be

mindful of the separation of notes, try out different fingerings to

avoid playing three notes in a row with the same finger. In this study
we’re staying in position, but you can also combine positions to
make it one note per string by borrowing from the “A” form or avoid
those three notes on the same fret by borrowing the first inversion
triad from the top of the E form.

To really know your arpeggios, you have to be able to play them in

many different ways. A good way to practice is using one finger
(practice with all four fingers in turn–first with index only, then with
2nd finger only, etc.), naming each note and its scale degree as you
go.

Experiment with different kinds of picking: alternate, hybrid,

economy, etc.

Melodic Patterns for Arpeggios

1. Descending from the upper chord tone, ascending

2. Ascending from the lower chord tone, descending

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3. Ascending every other chord tone, ascending

4. Ascending every other chord tone, descending

5. Ascend two notes from each chord tone, ascending

6. Ascend two notes from each chord tone, descending

7. Descend two notes from each chord tone, ascending

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8. Descending two notes from each chord tone, descending

9. Up one back down from each chord tone, ascending

10. Up one back down from each chord tone, descending

11. Up 3 notes from each chord tone, ascending

14. Up 3 notes from each chord tone, descending

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15. Down three notes from each chord tone, descending

16. Down three notes from each chord tone, ascending

17. Adjacent up, skip up from each chord tone, ascending

18. Adjacent up, skip up from each chord tone, descending

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19. Skip up, adjacent up from each chord tone, ascending

20. Skip up, adjacent up from each chord tone, descending

21. Skip skip from each chord tone, ascending

Pentatonic Scale Melodic Patterns

Brad divides the scale into low and high sections. On the 5th
position A minor pentatonic, the notes on the 5th fret are the low
section and the notes on the 7th and 8th frets are the high section.
We normally play it low high low high ascending and high low high
low descending. The patterns are derived from juggling this concept
of low-high. This low-high principle can be applied to any two note
per string scale or arpeggio.

Try twisting and turning and permutating every pattern.

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1. High low high low, ascending

2. Ascending Low-high low-high, descending

3. Ascending Low-low high-high, ascending

4. Ascending High-high low low, descending

5. Descending high high low low, descending

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6. Descending low low high high, ascending

7. Ascending low low descending high high, ascending

8. Ascending high high descending low low, descending

9. Descending low low ascending high high, ascending

10. Descending high high ascending low low, descending

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11. Ascending low low low high high high, ascending

12. Ascending high high high low low low, descending

13. Descending low low low high high high, ascending

14. Descending high high high low low low, descending

15. Ascending low low low descending high high high, ascending

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16. Root as pedal tone, ascending up the scale

17. Up one note and back, ascending up the scale

18. Three consecutive notes up the scale

19. Four consecutive notes up the scale

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Major Scale Melodic Patterns

Can apply to all the modes. End your lines on chord tones. Some of
these patterns lay very well on one string or two adjacent strings.

1. Ascending in ascending thirds

2. Descending in descending thirds

3. Ascending in descending thirds

4. Descending in ascending thirds

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5. Up a third and back ascending up the scale

6. Down a third and back descending the scale

7. Down a third and back ascending the scale

8. Up a third and back descending the scale

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9. Three ascending consecutive scale tones ascending the scale
(can also be seen as connecting thirds with a middle note to create
3-note groups)

10. Three descending consecutive scale tones descending the

scale

11. Three descending consecutive scale tones ascending the scale

12. Three ascending consecutive scale tones descending the scale

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13. Four-note ascending and back pattern, ascending the scale

14. Four-note descending and back pattern, descending the scale

15. Four note descending and back pattern ascending the scale

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16. Four-note ascending and back, descending the scale

17. 4-note skip up a 5th and back down pattern, ascending

18. 4-note skip down a 5th and back up pattern, descending

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19. Up a third then two more consecutive scale tones, ascending

You can also apply the above ideas to chordal playing.

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