As always a more long term solution to fretboard navigation is to see scales as INTERVAL shapes rather than note names - as these are universal to all scales, arpeggios and chords rather than specific to one particular root note - with this in mind the intervals for the C major scale are detailed below in the CAGED octaves manner:-
When I first heard about economy picking, the simplicity intrigued me. The concept is relatively straightforward: After a downstroke, if you're moving to a higher string, you make another downstroke. If you travel to a lower string, that requires an upstroke. Many beginners often intuitively do this. It wasn't until a bit later that I adopted a regimen of strict alternate picking for scales and sweep picking for arpeggios. But the idea of economy picking echoed in my mind. Wouldn't it be wonderful to have one picking style that could fluidly transition from arpeggios to scales? As time went on, I explored players like Django Reinhardt, Frank Gambale, and George Bellas, and economy picking naturally found its way into more of my technique.
Frank Gambale Arpeggios Pdf 12
Jason Becker is an absolute sweep-picking legend and Ex. 5 is heavily influenced by his work. It's mostly the same triplet pattern of Ex. 1, but we're moving through different diatonic arpeggios in the key of D. Jason's trademark sweeps move through different inversions of the same arpeggio to create a sequenced or cascading sound. He often outlines specific triads on the top strings to create different harmonies. Here, I added an A major triad over the D chord in measure 1 and a D major triad over G to create movement.
As you can see I already added the arpeggios in the example. All arpeggios are in the 6th position which is a good place to start for a Bb rhythm change in terms of having fairly simple arpeggio and scale fingerings.
Since the Bbmaj7 and the F7 arpeggios have two common notes (F and A) it is a bit difficult more difficult to improvise clearly through the progression only using the arpeggios, because it is harder to pick a note to play that makes it easy to hear the chord change. In my lesson on soloing over a blues the difference between the chords is bigger and this is a lot easier.
That said it is still worth while to do this and work on it since it is going to develop you ability to make clear melodies in situations like that with diatonic harmony, and most tunes are tonal so this applies to most songs. I give an example of a solo only using arpeggios in the video.
Since this lesson is on rhythm changes which is a bit more complex progression than a 12 bar blues I assume that you already know the scales and the basic arpeggios, otherwise you can check out and download charts here: Arpeggios and Scale charts
The lines are for the most part using the arpeggios and a few times also using some of the scale notes as diatonic passing notes. For the first 2 bar phrase I am using the motif of a third, on the Bb, the major 3rd and the root and on developing this on the F7 using first the 5th and 3rd and then later the root. The line then continues to use the root and 7th to create some tension that is resolved to the 3rd(D) of Bb on the 4 and.
Playing stacked 4ths requires a lot of string changing for the right hand which is a bit difficult and for the left hand you need to bar with different fingers to be able to play the them which can also be a bit demanding. Frank Gambale has a few good left hand exercises for this in one of his books. As for the right hand I generally alternate pick the arpeggios as you can see in the video, mostly because I like the sound of that sort of picking better than sweeps or economy when I play these arpeggios.
The 2nd example is first chaining to stack of 4th arpeggios on the Cm7, one from F and one from D. Then I play a sort of cliché F#m melody which is followed by an F#mMaj7 arpeggio that resolves to F the 5th of Bb major.
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