Learn the four most important arpeggios in all shapes!
Instead of using modes as you improvise using the concept of new chord = new scale, you can play arpeggios. This makes it easier to solo over complex progressions, sax players, for example, do this a lot.
Rather than finding exactly what roman numeral a chord has and then build the perfect mode, the arpeggio is quicker and more importantly, all notes sound really good, very melodic.
There are only four different arpeggios to learn, in five shapes each, but still only four arpeggios.
You’ll need plenty of music examples and variations to the exercises to learn these to perfection. You get all this when you take the advanced course.
Usually, this happens over the V chord but other chords get modified into dom7 as well so there is plenty of opportunities to play a dom7 arpeggio.
To learn all dom7 shapes, you must put yourself through a series of exercises. The first step is to learn all five shapes individually.
Go to dom7 arpeggios to preview the video lesson.
Should it be a maj9, maj7#11 or a maj13, the maj7 arpeggio will still work.
Just like with the dom7 Arpeggios, there are five shapes to learn.
Go to maj7 arpeggios to preview the video lessons.
Even if the chord is a min9, min11 or min13, you could still just use the min7 arpeggio.
The min7 arpeggio shapes are the easiest to learn as you just remove one note from the Minor Pentatonic, more on this in the course.
Go to min7 arpeggios to preview all shapes.
The mode for chord VII is Locrian, a very difficult mode to phrase with. The min7b5 arpeggio can come to the rescue whenever chord VII appear, it’ll actually sound better than Locrian.
You won’t find a min7b5 chord in every song but don’t worry, you could also use the min7b5 shape when you arpeggio substitute. More on this when you take the advanced course.
To preview all five shapes, go to min7b5 arpeggios.
You must learn the arpeggios to complete your understanding of the fret board!
By learning the chords, the pentatonic scales, the modes and now finally the arpeggios you are set on a path of non-thinking, just playing. All you need will soon be at your disposal, anywhere on the neck, in whatever key.
Without this sense of completeness, you will not be able to let go, you’ll be too busy looking at how to cram in your favourite lick, rather than surrender to the music and just take part.
For many, this is the ultimate goal for a musician. You can only reach this goal if you train your hands to fluently speak the language of music.
The four arpeggios are a huge part of this language. The advanced guitar course will paint the full picture and step by step get you there.