![]() The first follows a scheme of a dotted-quarter note and two 16th notes (measure 3), while the second exploits a grouping of an eighth note and two 16th notes (measure 4). The groups-of-three theme is maintained but camouflaged by two rhythmic motifs. In measure 3, F Lydian (F-G-A-B-C-D-E) is dispatched to mark the arrival of the bVI chord (F). Notice how the rhythmic variation - half note, eighth-note rest and tied eighth notes - and the staccato accents break up the predictability of the sequence. ![]() The solo opens with a groups-of-three sequence that descends the A minor scale (A-B-C-D-E-F-G) from C to G. Both start with a i–bVI-iv (Am-F-Dm) passage, but the first section ends on a i-bVII (Am-G) turnaround, whereas the second goes out on a V7-i (E7-Am) cadence. Written in the key of A minor, it’s a 16-bar progression constructed from two similar eight-bar sections. The style for this solo ( FIGURE 9) is hard-driving rock. ![]() Other patterns that lend themselves well to arpeggios are the groups-of-four ( FIGURES 1A-B) and groups-of-three ( FIGURES 2A-B) sequences. Inspired by the diatonic 3rds sequence in FIGURE 4A, it skips every other note as it gradually climbs the arpeggio. ![]()
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