I play guitar and slide, I used a similar method only it was ten minutes. Now I’m an not bad player. My initial technique to hammer down was finger picking for Rockabilly and Bluegrass styles, I spent just ten minutes on one exercise then another ten minutes on another then a further ten minutes on connecting the two techniques. So yes the sort of method works for almost any skill you are trying to master
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I’m in. Which arpeggios are we working on? I really like to practice (assuming C harp) Gm7, A7, Am7, D7, Dm7, C7. FM7 sometimes.
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I couldn’t tell you all the notes mate:grin:
I base my runs ( that’s what I call arpeggios) on sax solos and trumpet solos and play them backwards forward side ways back to front inside out and upside down I also steal guitar runs (bits of Eddie Van Halen, Hendrix, Satriani and others) and I play the exceedingly fast. In fact when it comes to theory I know very little and tbh I try not to get bogged down in it I improvise the hell out of stuff.
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@Hogie.Harmonica I used to do I VI II V arpeggio’s (so G7, E7, A7, D7.) More recently I’ve just been practicing D major (including the 5 ob.)
But after jamming at SPAH, I realized one muscle that I’ve been neglecting in my practice! I’ve been so focused on transcribing some stuff and working on new techniques (tongue-blocking and OB/OD’s) but I’ve been neglecting building my IMPROVISING muscle (except when on gigs - and that’s just a handful of songs.)
So now I’m trying to always put on a backing track every day and just let 'er rip!
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Nice! I love it when I realize something like that. I’m on the opposite end! Too much fundamentals and improvising. Need to build my repertoire!
I’ve blamed bad memory and a preference for composing and improvising. But reality is I’ve neglected repertoire building. Time to fix 
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