Fluid Soloing - Book 1: Arpegios for Lead Guitar (Mel Bay Guitar University) Paperback – 16 Dec 2008
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Fluid Soloing has an entirely different approach. Not only were most of these fingerings for arpeggios completely new to me, the way the author has you play them was a revelation. I consider myself a fairly advanced guitarist, so after an hour or two the concepts made sense and I was able to execute a few of the arpeggios in the way the author instructed. It opened up a whole new way of playing for me. However, continuing on in the book I pretty much got my butt kicked. I would say you would have to be at least an intermediate guitarist with some fair technique to really get the most from this book. I am about half way through it and I have shoved my other books aside until I get this stuff down.
This will improve your playing, whether you're a rock, jazz, blues, or whatever guitarist. I think even if you never even used these arpeggios, your finger strength and technique will become much better having gone through this. You will find yourself doing combinations of long stretches with hammer-ons that are not your usual licks. This book will really make you re-evaluate your playing.
If you want to make some real progress with your strength, technique and chord knowledge, this book is a must. But be forewarned, it will take some work, and it's not some lightweight guide that you will blow through in a few days. This will be months of work, at least. It will be worth it. I am really getting into this book, and look forward to his next offering.
Arpeggios to me represent a "safety net" for soloing - they always work. Since this book outlines arpeggios for pretty much every type of chord you will see (in every position), it gives you a safety net for every situation.
This safety net has allowed me to experiment more and play "outside the box" whenever I feel like stretching myself. If I lose myself or get out of control, I can always bring it back to an arpeggio to resolve the chaos. So I can practice new ideas in front of an audience without sounding horrible.
And here's the best thing... this book makes arpeggios sound COOL. The book shows you a "rapid fire" style of playing arpeggios, and that makes the arpeggios sound like really cool licks rather than boring patterns.
It's always tough to choose the right book because you know you will have to invest some time to get the most out of it. This book will be a valuable use of your time!
This book allowed me to really improve my playing, these arpeggios can be applied in any style you play.
The book is very well organised and well thought.
The only bad point is the lack of explanation on the theoric point of view (fonction of each note should be added: root 3 ,5 7 for instance for a Maj 7 arpeggio) and for each arpeggio a note is added to demonstrate how you outline an embellished chord but it s not explained, you have to find it by yourself.
I'm really waiting for the following books of the Fluid soloing serie from mel bay
The first section of the book presents each arpeggio type in seven different positions. The positions are as follows: fifth string starting with the root note on the first finger, sixth string starting with the root note on the first finger, fifth string starting with the root note on the fourth finger, sixth string starting with the root note on the fourth finger, fourth string starting with the root note on the first finger, sixth string starting with the root note on the second finger, fifth string starting with the root note on the second finger. That's a total of 56 different patterns! Oh yeah, shed-city.
The second section of the book connects the position-based arpeggios into full length of the neck arpeggios. Very nice indeed. There are three patterns for each of the eight arpeggio types. That's 24 more patterns for the shed. There are also some practice etudes that connect different arpeggios together into musical phrases. Again - nice.
Of course no book is perfect. The order in which the arpeggios are presented in each section is weird to me; Minor 7, then Dominant 7, then Major 7, Diminished 7th, Minor 7th b5, Minor 6th, Major Triad, Minor Triad. Way weird. Why not Major Triad, Major 7th, Dominant 7th, Minor Triad, Minor 7th, Minor 7th b5, Diminished 7th , then Minor 6th. That way you work your way through the flatted notes in an orderly manner (BTW - I suggest you practice the arpeggios in that order - and memorize which part of the chord each note you play represents).
And I find some of the fingerings a bit bizarre - the FIVE fret stretch on page 19 Example 37 is insane and can be replaced by playing two notes with your little finger one note per consecutive string. There isn't a lot of emphasis on how to use all this arpeggio knowledge, but that is perhaps the subject for another book.
But then, no book is perfect. This book, plus a good book on scales and modes (I haven't found one of those, so I made my own based on stuff I learned at Berklee), and you should know your way around the fingerboard in most impressive style.
I would whole-heartedly recommend this book for any guitarist, beginning to advanced (unless you already know EVERYTHING listed above), although obviously it will be a long slog for the beginner, but well worth it.