On the subject of soloing by using major scales, try these ideas I put together. The first example is a G dominant 7/9 pattern. Try this pattern and compare it to a dom9th arpeggio and a dom7th arpeggio. The second line of tablature is also in the key of G. The first segment is a Gmaj7 stacked arpeggio. The second segment is a Gmaj7 4 string arp that connects to the first segment. The third line below is a Cmaj7 arp which “connects” and serves as the 4th of G in the key of G major and the second segment of that line is the 5th, or the Ddom7 arpeggio that sits just next to the Cmaj7 as a brother. These connect nicely from the Gmaj runs and that is how I discovered them aside from having a slight knowledge of basic major scale harmony.
——————————–9-10-12-
————————-7-8-10———
——————-6-7-9—————-
————-4-5-7———————–
——-4-5-7——————————
-2-3-5————————————
———————7-10-|————-
—————–7-8——|——-3-7-8-
————-4-7———-|—–4——-
———4-5————–|-4-5———
—–2-5——————|————-
-2-3———————-|————-
-6-7——————-|-10———————
—–7-8—————|—-10——————
———8————-|——-11—————
———–10-9——–|———-12-10———
—————-10-7—|—————-12-9—-
———————8-|———————10-
This next section starts with a D major 7/9 pattern I believe (I could be wrong). This pattern is “stacked” and similar to the first pattern I mentioned above. The second segment is a regular Dmaj7 arpeggio. Try playing somehing in D major, like Daphne, and connecting these arps. The final line below contains the VERY important small major arp which is “essential” when playing Daphne (as shown) and Douce Ambience (in that case it is Fmaj then F#maj in the bridge). The second segment of that last line is the D Dorian arpeggio used for Swing42 in the key of C major.
————————–7-9-10-|———-10-13-14-
——————-7-8-10——–|——-11———-
————-6-7-9—————|—-10————-
——-4-5-7———————|-12—————-
-4-5-7—————————|——————-
———————————|——————-
———————-|———————–
—————–9-10-|———————–
————9-11——|—————9-10-12-
—-9-11-12———–|——-9-10-12———
-12——————-|-10-12—————–
———————-|———————–
As a bonus, try playing a standard Dmaj7 arpeggio starting on the last note of the first D major pattern that I show above and end it on the 10th fret of the low E string (i cover this arpeggios in http://djangology.net/archives/000101.html). Of course, all of these patterns also fit with my earlier weblog entry concerning the “maj7 circle pattern” but you have to transpose the movable arp.