this is from a forum thingie called thegearpage.net.
this ( i believe ) from either an interview or an assumed regiment that ben monder presents to his students.
while the upper 2/3 of the suggestions makes sense to me , there is a section at the end that suggests a method for organizing the study of arpeggi
with a table of cells prescribing how many notes per string (e.g.: 112 121 112 22 etc.. ) while i get what the cells means , i don't understand why they are restated . the description doesnt make it clear as to how to use this table.
basically, other than the individual cells cruising up a string set, i don't get the table - they seem like redundancies.
if anyone can better explain this that would be great. thank you.
A term for what you want is Chord Synonyms. Here's a page from Ben Monder that should keep you buy for a few years. It's what he sends people who ask him for lessons. I guess he's not so into teaching, so he offers this to people who ask. Pretty generous, I think:
"Be able to move a triad through the major, harmonic minor and melodic minor scales. Play triads in root position, 1st and 2nd inversion, and in close and open position on as many string groups as apply. Experiment with arpeggiating it in different note orders as well as playing the notes simultaneously. Then work on moving a triad through a set of chord changes, adjusting for the scale as needed.
C Major 7
CEGB EGBC GBCE BCEG
CGBE EBCG GCEB BEGC
CBEG ECGB GEBC BGCE
CGEB EBGC GCBE BECG
CEBG EGCB GBEC BCGE
CBGE ECBG GECB BGEC
Take all these voicings up and down through the major scale,
then practice voice leading them through different cycles
(5th, 3rd, etc). Mick Goodrick's voice leading almanac is good for this.
Write this chart out for all 7th chords:
Then, experiment with replacing different chord tones with other scale degrees, eg. the 2nd for the 3rd (CDGB, DGBC, etc.)
Limit yourself to one voicing type at a time, and work your way through a tune playing a different inversion on every beat. Cover all possible string groups that apply to each voicing. Make sure to go to the nearest available voicing when the harmony changes
Learn as many uses for each 7th chord (as a superimposition over a bass note) as you can.
Take each chord and make a list:
CMaj 7 = Dsus13 = Eb13b9#5 = FMaj9#11 = AbMaj7#9#5 = Amin9
CMaj7b5 = D13 = FMaj7#11b9 = F#ø11 = Ab7#9#5 = Amin13 = Bsusb9
CMaj7#5 = D13b5 = FminMaj7#11 = F#ø9/11 = AminMaj9 = BPhryg Natural 6
C7 = Db dim Maj7 = Dsus9b6 = Eb13b9 = FMaj9sus4 = F#7b9b5 = AbMaj9#5 = A7#9b9
C7b5 = D+9 = Eb13#9b9 = F#7b5 = Ab+9 = A13#9b9
C7#5 = D+9b5(can also be thought of as ø) = F#9b5 = Ab+9
C7sus4 = DbMaj6b5 = Dmin11b6 = Eb6/9 = F#Maj7b5b9 = AbMaj13 = APhryg(min7b9b6) = BMaj7b5#5b9(!?)
Cmin7 = Db Maj13b5 = DPhryg(min11b9b6) = Eb6 = EminMaj7b5b6 = Fsus9 = AbMaj9 = A7b5#9b9 = BMaj7#5b9
Cmin7b5 = D7b9#5 = Ebmin6 = EMaj9b5#5 = F7sus4b9 = Ab9 = BMaj7b9
CminMaj7 = Dsus13b9 = EminMaj7#5 = F9#11 = AbMaj7#9 = Aø9
Create chords out of consistent intervallic structures. For example, a four note chord built on the intervals 4th, 2nd, 5th, starting on F in the F mixolydian mode would be F Bb C G. Move that structure up to the next scale degree and the chord is G C D A, then A D Eb Bb, etc.
Use this idea to come up with a variety of structures built on 3 to 6 notes and take them through various scales.
Then practice voice leading between structures, and over moving harmony. Don't forget to apply melodic and harmonic minor, as well as other 7 note scales.
*Each number represents notes per string, each cell represents one octave. Always start on the 6th string, and start the second octave on the same string (in most cases, the 4th) you ended the first octave on.
For example, 112 means one note on the 6th string, one on the 5th, and two on the 4th.
112 112 121 112 211 112 22 112 1111 112
112 121 121 121 211 121 22 121 1111 121
112 211 121 211 211 211 22 211 1111 211
112 22 121 22 211 22 22 22 1111 22
112 1111 121 1111 211 1111 22 1111
As a warm up, play a scale with the metronome on 20 (or lower, even 10) and play one note per click. Do this through every position of the scale, trying to be as accurate as possible. Try to be even and legato (even though you are attacking every note). Then put the metronome on 5 or 10 and have that be the first beat of an 8 or 4 bar cycle. Improvise over a tune this way and see how accurate you can be."
I am not THE Steve Stevens.