0:00:10.243,0:00:11.973 Hi! How you doing? Justin here. 0:00:11.973,0:00:14.108 In this lesson today, I'm going to do 0:00:14.108,0:00:16.970 a beginner's guide to arpeggios. 0:00:16.970,0:00:19.408 I've seen a lot of people pretty confused 0:00:19.408,0:00:20.762 about what arpeggios are. 0:00:20.762,0:00:21.352 How to use them, and how to 0:00:21.352,0:00:23.083 get started using them. 0:00:23.083,0:00:24.383 So, I want to explain a bit 0:00:24.383,0:00:26.465 of the basics in this lesson today. 0:00:26.465,0:00:29.037 So the first thing is what is an arpeggio? 0:00:29.037,0:00:32.264 I tend to think of an arpeggio [br]as a liquid chord. 0:00:32.264,0:00:33.595 Or you could think of a chord 0:00:33.595,0:00:35.122 as a frozen arpeggio, I guess. 0:00:35.122,0:00:37.760 And if we put that into practice right away 0:00:37.760,0:00:40.458 a good way of understanding it is to think 0:00:40.458,0:00:41.598 of an open G chord. 0:00:41.598,0:00:43.564 If you play a regular open G 0:00:43.564,0:00:45.373 . . . 0:00:45.373,0:00:46.920 The notes that you are playing 0:00:46.920,0:00:48.157 G 0:00:48.157,0:00:49.104 B 0:00:49.104,0:00:49.923 D 0:00:49.923,0:00:50.881 G 0:00:50.881,0:00:51.808 B 0:00:51.808,0:00:53.328 and G again. 0:00:53.328,0:00:54.721 . . . 0:00:54.721,0:00:56.091 And if we play those notes 0:00:56.091,0:00:58.966 one at a time we are playing an arpeggio. 0:00:58.966,0:01:04.566 . . . 0:01:04.566,0:01:05.200 G 0:01:05.200,0:01:05.868 B 0:01:05.868,0:01:06.621 D 0:01:06.621,0:01:07.318 G 0:01:07.318,0:01:07.967 B 0:01:07.967,0:01:08.617 D 0:01:08.617,0:01:09.315 G 0:01:09.315,0:01:13.325 . . . 0:01:13.325,0:01:15.073 Now to get a little thing [br]out of the way here 0:01:15.073,0:01:17.214 some people find it a little confusing 0:01:17.214,0:01:20.628 this commonly used term in guitar language 0:01:20.628,0:01:24.538 arpeggiating, or arpegiated. 0:01:24.538,0:01:27.180 What this commonly means is 0:01:27.180,0:01:29.365 when somebody holds down a chord 0:01:29.365,0:01:31.054 and picks notes out from the chord. 0:01:31.054,0:01:32.071 So 0:01:32.071,0:01:37.123 . . . 0:01:37.123,0:01:38.702 That kind of thing, is kind of 0:01:38.702,0:01:42.412 referred to as arpegiated [br]or arpegiating a chord. 0:01:42.412,0:01:45.227 It is kind of I guess playing an arpegio, 0:01:45.227,0:01:46.673 because you are playing one note 0:01:46.673,0:01:48.218 at a time from the chord. 0:01:48.218,0:01:50.013 But it's not playing an arpeggio 0:01:50.013,0:01:51.100 in the real sense that we're 0:01:51.100,0:01:52.729 talking about using them now. 0:01:52.729,0:01:54.031 What I'm talking about is more of a 0:01:54.031,0:01:55.987 kind of a lead guitar thing 0:01:55.987,0:01:57.659 than a rhythm guitar thing. 0:01:57.659,0:01:59.155 So, don't let that term confuse you. 0:01:59.155,0:02:01.052 What we're talking about is arpeggios, 0:02:01.052,0:02:03.123 ie; lead guitar and that would be, 0:02:03.123,0:02:06.259 arpeggiating or arpeggiated. 0:02:06.259,0:02:09.046 Which is kind of a rhythm [br]guitar technique. 0:02:09.046,0:02:12.487 So, scales versus arpeggios, 0:02:12.487,0:02:14.252 a lot of people a bit confused about 0:02:14.252,0:02:15.006 what the difference is between 0:02:15.006,0:02:16.901 the scale and an arpeggio. 0:02:16.901,0:02:20.184 With a scale, you tend to learn one scale 0:02:20.184,0:02:23.220 that's played over a group [br]of chords in a key. 0:02:23.220,0:02:25.262 You can think of it like in a blues, 0:02:25.262,0:02:28.285 you've got, say a blues in G 0:02:28.285,0:02:30.970 has the chords, [br]G, C7, and D7, 0:02:30.970,0:02:33.047 or G7, C7 and D7. 0:02:33.047,0:02:34.502 And you would often play over that 0:02:34.502,0:02:36.424 a G minor pentatonic scale, 0:02:36.424,0:02:37.877 over the whole thing. 0:02:37.877,0:02:39.339 That's kind of playing in a key, 0:02:39.339,0:02:41.446 you're learning a scale to play in a key. 0:02:41.446,0:02:44.372 This also works, of course, [br]with the major scale. 0:02:44.372,0:02:46.363 The chords in the key of G 0:02:46.363,0:02:49.405 would be G major, A minor, B minor, 0:02:49.405,0:02:52.207 C major, D major, E minor, 0:02:52.207,0:02:54.671 F sharp half diminished, [br]or F sharp minor 7 flat 5, 0:02:54.671,0:02:55.811 which a chord no one uses, 0:02:55.811,0:02:57.958 so don't worry about it, and G. 0:02:57.958,0:03:00.810 A good song example is Wish You Were Here, 0:03:00.810,0:03:01.747 and Wonderful Tonight. 0:03:01.747,0:03:04.821 There's lots of songs in the key of G. 0:03:04.821,0:03:06.832 If you were soloing you might play 0:03:06.832,0:03:09.418 the G major scale over the whole thing. 0:03:09.418,0:03:10.631 You wouldn't have to be thinking about 0:03:10.631,0:03:12.326 the chords too much, you just tend 0:03:12.326,0:03:13.797 to think about the scale. 0:03:13.797,0:03:16.056 And that fits over all of the chords. 0:03:16.056,0:03:19.300 But there comes a point where [br]that's not enough anymore, 0:03:19.300,0:03:21.550 where it's not right [br]just to play the scale 0:03:21.550,0:03:23.342 over a whole bunch of chords. 0:03:23.342,0:03:25.237 Because really you [br]want to be a little more 0:03:25.237,0:03:26.206 specific than that. 0:03:26.206,0:03:28.989 I often think of it like [br]if you're playing in a band, 0:03:28.989,0:03:32.668 if the soloist is thinking of a scale [br]instead of the chords, 0:03:32.668,0:03:34.402 he's kind of talking without listening 0:03:34.402,0:03:36.677 to what the rest of the band [br]is talking about. 0:03:36.677,0:03:38.568 So the band can be doing [br]whatever they like, 0:03:38.568,0:03:40.608 and he's just away in his [br]little scale world, 0:03:40.608,0:03:43.516 where when you start thinking of chords, 0:03:43.516,0:03:44.913 you're playing with the band. 0:03:44.913,0:03:47.691 Because the band all are saying, G7, 0:03:47.691,0:03:50.690 and you're saying, G7. [br]You're saying the same thing. 0:03:50.690,0:03:52.710 That kind of makes it stronger. 0:03:52.710,0:03:54.720 One thing that you'll find [br]with arpeggios 0:03:54.720,0:03:57.747 the more that you study them is, [br]they're used all the time. 0:03:57.747,0:04:00.444 Nearly all the great guitar players [br]are using arpeggios. 0:04:00.444,0:04:04.528 Maybe not as much as they [br]practice their arpeggios, 0:04:04.528,0:04:06.375 and they're using them, but they're using 0:04:06.375,0:04:09.896 the strong chord tones, the notes [br]that come from the chords. 0:04:09.896,0:04:12.625 Even a lot of the old Blues guys, [br]who I'm really certain 0:04:12.625,0:04:16.490 never studied their arpeggios, [br]like BB King, or Albert King, 0:04:16.490,0:04:19.602 They tend to use the strong notes from 0:04:19.602,0:04:21.193 the chords, the arpeggio notes. 0:04:21.193,0:04:26.444 They kind of selected the notes from [br]the minor pentatonic scale 0:04:26.444,0:04:28.333 that worked best with that chord. 0:04:28.333,0:04:31.178 So they're in affect using arpeggios too. 0:04:31.178,0:04:33.979 So the big difference between [br]scales and arpeggios 0:04:33.979,0:04:37.687 is that with arpeggios you [br]think of an individual chord. 0:04:37.687,0:04:40.465 If we were playing a [br]blues in the key of A, 0:04:40.465,0:04:44.367 you wouldn't any longer be [br]thinking of say the A minor pentatonic scale 0:04:44.367,0:04:47.479 over the whole A Blues progression. 0:04:47.479,0:04:51.626 You'd be thinking of A7 arpeggio, [br]when there's an A7 chord. 0:04:51.626,0:04:53.609 And when the chord changes to D7, 0:04:53.609,0:04:56.582 you'd be playing a D7 arpeggio. 0:04:56.582,0:04:59.399 This sounds really cool, [br]it's pretty complicated. 0:04:59.399,0:05:01.442 And I still remember [br]the first time I tried 0:05:01.442,0:05:03.849 to do this sitting on the floor 0:05:03.849,0:05:05.233 in my lounge room back in Tazmania, 0:05:05.233,0:05:06.792 with my mate Andy. 0:05:06.792,0:05:08.262 We were trying to play a Miles Davis 0:05:08.262,0:05:09.913 song called Freddy Freeloader. 0:05:09.913,0:05:12.250 And neither of us could believe [br]the idea that we 0:05:12.250,0:05:14.808 had to change arpeggios [br]each time the chord changed. 0:05:14.808,0:05:18.254 It just seemed impossible, but after maybe 0:05:18.254,0:05:19.412 a few weeks, or it might have been 0:05:19.412,0:05:21.163 a couple months thinking about it, 0:05:21.163,0:05:23.060 we managed to get it together and we could 0:05:23.060,0:05:24.406 play through that song. 0:05:24.406,0:05:27.278 It was just the Blues, [br]but it's a bit tricky 0:05:27.278,0:05:30.389 when you're used to playing [br]a scale all of the way through, 0:05:30.389,0:05:32.213 and then suddenly you have to think of 0:05:32.213,0:05:34.476 you're listening to the band to find when 0:05:34.476,0:05:35.875 the chord changes, [br]and when the chord changes, 0:05:35.875,0:05:37.451 you have to remember what the chord is, 0:05:37.451,0:05:41.721 and then play suitable notes [br]from the arpeggios. 0:05:41.721,0:05:44.286 All that makes it sound a little bit more 0:05:44.286,0:05:46.175 complicated than it really is, [br]to tell the truth. 0:05:46.175,0:05:48.141 Because after you've learned them you tend 0:05:48.141,0:05:49.735 to forget about them and just let 0:05:49.735,0:05:51.655 your fingers and your ears do the walking. 0:05:51.655,0:05:53.767 It's not really an intellectual exercise, 0:05:53.767,0:05:55.115 but at the beginning it is. 0:05:55.115,0:05:57.433 When you first learn these arpeggios and 0:05:57.433,0:06:01.105 you start to use them, [br]you will find it pretty complicated. 0:06:01.105,0:06:02.860 Now there's another really good reason 0:06:02.860,0:06:04.711 to learn arpeggios and that is when 0:06:04.711,0:06:07.086 you're playing in a key [br]very often you'll find 0:06:07.086,0:06:10.193 one chord, that doesn't fit with [br]the whole key. 0:06:10.193,0:06:11.868 And a lot of people get a bit bummed out 0:06:11.868,0:06:14.962 with that, they don't know what[br]they're going to play. 0:06:14.962,0:06:16.958 We were talking about Wish You Were Here [br]and stuff before. 0:06:16.958,0:06:20.669 All of those chords are in the same key, [br]so you can just 0:06:20.669,0:06:23.962 play that one scale over the whole song, [br]and it sounds great. 0:06:23.962,0:06:26.515 You also find very often a chord that 0:06:26.515,0:06:28.638 will just sneak in, that's not in the key. 0:06:28.638,0:06:32.859 A really common one would be [br]in the key of G. 0:06:32.859,0:06:35.203 You have a chord sequence that goes 0:06:35.203,0:06:36.835 G 0:06:36.835,0:06:39.158 to C 0:06:39.158,0:06:42.638 to B7 0:06:42.638,0:06:45.048 to Em 0:06:45.048,0:06:48.252 Now the chords G, C and Em are all found 0:06:48.252,0:06:50.029 in the key of G, so they're no problem. 0:06:50.029,0:06:52.009 But when it comes to that B7 0:06:52.009,0:06:53.530 . . . 0:06:53.530,0:06:58.678 particularly it's got one note here, [br]a D sharp. 0:06:58.678,0:07:00.198 That D sharp, that would [br]sound really funny 0:07:00.198,0:07:02.628 if you played a D or an E [br]over the top or it. 0:07:02.628,0:07:04.630 ie; you just stick to your G Major scale. 0:07:04.630,0:07:07.008 So at that point you would change. 0:07:07.008,0:07:08.950 You'd be playing a G Major scale. 0:07:08.950,0:07:11.656 . . . 0:07:11.656,0:07:12.657 Still G Major. 0:07:12.657,0:07:14.001 . . . 0:07:14.001,0:07:14.897 B7 0:07:14.897,0:07:17.152 . . . 0:07:17.152,0:07:18.555 Em 0:07:18.555,0:07:20.128 . . . 0:07:20.128,0:07:22.650 At that point, just where it [br]goes to the B7. 0:07:22.650,0:07:25.450 . . . 0:07:25.450,0:07:27.712 You'd have to run up your B7 arpeggio. 0:07:27.712,0:07:32.478 So it's a very useful thing to be able [br]to learn your arpeggio shapes. 0:07:32.478,0:07:34.783 So that when you come across a chord 0:07:34.783,0:07:37.836 that's not diatonic, [br]i.e. it's not in the key, 0:07:37.836,0:07:39.333 that you know how to handle it, 0:07:39.333,0:07:41.226 that you can keep playing through that. 0:07:41.226,0:07:42.851 A lot of people just think of the shapes 0:07:42.851,0:07:44.359 on the guitar to be honest and just 0:07:44.359,0:07:47.390 pick one or two of the notes directly 0:07:47.390,0:07:49.654 from the chord shape that [br]they might play. 0:07:49.654,0:07:50.890 Which works, it's kind of the same 0:07:50.890,0:07:52.626 as using an arpeggio, but you're 0:07:52.626,0:07:55.383 better off using your arpeggio shapes. 0:07:55.383,0:07:58.018 Now as well as that, [br]you could use the arpeggios 0:07:58.018,0:08:00.974 even when it doesn't change key, [br]if you like. 0:08:00.974,0:08:03.208 Because then it just sounds again stronger 0:08:03.208,0:08:05.089 the way I explained with the blues. 0:08:05.089,0:08:07.056 If you had a chord progression that went 0:08:07.056,0:08:11.683 G, D, C, G again, you could play, [br]of course, 0:08:11.683,0:08:14.082 G Major scale all over that. 0:08:14.082,0:08:15.775 But if I played the arpeggio notes, 0:08:15.775,0:08:17.161 I'm just going to give a funny example 0:08:17.161,0:08:18.886 moving up and down the [br]neck so you can hear. 0:08:18.886,0:08:21.827 But you'll hear the chord changes in there 0:08:21.827,0:08:23.722 even though I'm only playing [br]single lines now. 0:08:23.722,0:08:26.034 So if I went 0:08:26.034,0:08:33.184 . . . 0:08:33.184,0:08:36.696 You can hear quite clearly the [br]chord changes. 0:08:36.696,0:08:38.989 I deliberately moved around the [br]neck so you 0:08:38.989,0:08:40.752 could see where the changes were. 0:08:40.752,0:08:45.177 That's a really strong way of playing, [br] 0:08:45.177,0:08:46.743 playing out of the chords. 0:08:46.743,0:08:48.770 Mark Knopfler is a fantastic example 0:08:48.770,0:08:51.204 of a guy that plays out of the [br]chords all the time. 0:08:51.204,0:08:52.696 If you transcribe any of his songs, 0:08:52.696,0:08:54.309 or if you learn any of his songs then 0:08:54.309,0:08:57.198 you know what the chords [br]are underneath the solo, 0:08:57.198,0:08:59.810 and you compare what notes [br]he's playing in the solo 0:08:59.810,0:09:01.490 with the chord his playing over. 0:09:01.490,0:09:03.138 It's very, very chord based. 0:09:03.138,0:09:04.770 Which is fantastic, [br]and it's one of the things 0:09:04.770,0:09:07.681 that makes his guitar [br]playing sound so great. 0:09:07.681,0:09:10.095 Not saying that you have to, [br]but most of the guys 0:09:10.095,0:09:12.760 that are good do use this technique. 0:09:12.760,0:09:15.476 So, where do you start? 0:09:15.476,0:09:17.233 Because there's a whole lot of different [br]arpeggios, if you go 0:09:17.233,0:09:19.158 on my site, you'll find [br]there's five different 0:09:19.158,0:09:21.873 arpeggios shapes for four [br]different chord types. 0:09:21.873,0:09:23.645 So, that's a lot of stuff. 0:09:23.645,0:09:25.971 What is it you should start with? 0:09:25.971,0:09:28.488 What I would really recommend [br]is that you start 0:09:28.488,0:09:30.936 with a dominant 7th arpeggios. 0:09:30.936,0:09:32.313 One, because you can use [br]them in the blues, 0:09:32.313,0:09:34.273 and it's a nice easy way to kind of get 0:09:34.273,0:09:38.535 the idea of using arpeggio playing. 0:09:38.535,0:09:41.663 Also, often when there's [br]one chord in a diatonic 0:09:41.663,0:09:43.815 sequence, like all the chords [br]are in the same key 0:09:43.815,0:09:44.976 except for one chord. 0:09:44.976,0:09:46.578 That one chord that's not in key is 0:09:46.578,0:09:49.430 very often a dominant 7th chord for 0:09:49.430,0:09:51.036 a reason I don't want to go into now. 0:09:51.036,0:09:52.557 --secondary dominants for you guys that 0:09:52.557,0:09:55.289 use or understand your music theory-- 0:09:55.289,0:09:59.073 there's another good reason [br]to start off with 0:09:59.073,0:10:01.226 the dominant arpeggios 0:10:01.226,0:10:02.731 What you would want to start off with is 0:10:02.731,0:10:05.243 learning the one based around the E shape. 0:10:05.243,0:10:07.674 Which is either the root [br]on the 6th string, 0:10:07.674,0:10:09.073 in the key of A, [br]which would sound like this. 0:10:09.073,0:10:13.770 . . . 0:10:13.770,0:10:15.603 That would be the first one to learn. 0:10:15.603,0:10:17.421 And then go about trying to play a blues, 0:10:17.421,0:10:20.188 just using that dominant 7th, [br]and move it literally 0:10:20.188,0:10:22.465 from the 5th fret 0:10:22.465,0:10:24.952 where the A is up to the D [br]at the 10th fret. 0:10:24.952,0:10:27.883 . . . 0:10:27.883,0:10:31.028 Try and play the 12 bar blues, [br]all the way through, 0:10:31.028,0:10:33.739 moving from A 0:10:33.739,0:10:36.373 D 0:10:36.373,0:10:39.978 A 0:10:39.978,0:10:43.610 D 0:10:43.610,0:10:46.813 A 0:10:46.814,0:10:49.048 E 0:10:49.048,0:10:51.062 D 0:10:51.062,0:10:54.223 A 0:10:54.223,0:10:56.685 E 0:10:56.685,0:10:58.866 And back to an A at the end. 0:10:58.866,0:10:59.984 But that idea is you just use that one 0:10:59.984,0:11:01.445 arpeggio shape, and you use it for 0:11:01.445,0:11:04.334 a whole blues, practice [br]using that one shape. 0:11:04.334,0:11:06.058 When you feel like you're [br]confident with that, 0:11:06.058,0:11:09.146 maybe learn the D7 shape. 0:11:09.146,0:11:12.779 . . . 0:11:12.779,0:11:15.543 Always starting and ending [br]on the root note, of course. 0:11:15.543,0:11:18.075 Which is kind of based around the A shape. 0:11:18.075,0:11:19.665 . . . 0:11:19.665,0:11:21.808 When I'm talking E shape and A shape I'm 0:11:21.808,0:11:23.804 referring to the caged system. 0:11:23.804,0:11:25.776 If you're not familiar with that you can 0:11:25.776,0:11:26.714 go and check out the caged system. 0:11:26.714,0:11:29.856 There's plenty of information [br]on the web site about that. 0:11:29.856,0:11:31.698 And then maybe what you [br]want to try doing is 0:11:31.698,0:11:34.485 changing between A7 and D7. 0:11:34.485,0:11:37.599 So if you had one bar of A7 0:11:37.599,0:11:39.157 one bar of D7 0:11:39.157,0:11:42.300 So you have A7 0:11:42.300,0:11:44.809 D7 0:11:44.809,0:11:46.898 A 0:11:46.898,0:11:49.049 D 0:11:49.049,0:11:51.250 A 0:11:51.250,0:11:53.321 D 0:11:53.321,0:11:55.567 A 0:11:55.567,0:11:57.534 D 0:11:57.534,0:11:59.141 A 0:11:59.141,0:12:01.217 And just try moving between one arpeggio 0:12:01.217,0:12:02.967 shape, and the other. 0:12:02.967,0:12:04.809 I've got a whole series [br]actually about this 0:12:04.809,0:12:07.382 very movement, [br]and playing using arpeggios. 0:12:07.382,0:12:09.794 It's called Jazz Up Your Blues, [br]because this 0:12:09.794,0:12:14.541 using arpeggios is very often the first 0:12:14.541,0:12:16.712 step into Jazz for a lot of people. 0:12:16.712,0:12:18.476 Getting into Blues from Jazz you want 0:12:18.476,0:12:19.715 to learn your arpeggios. 0:12:19.715,0:12:22.887 In Jazz, you use arpeggios all the time. 0:12:22.887,0:12:26.029 You don't use scales [br]in the traditional sense. 0:12:26.029,0:12:29.212 You can, of course, but most of the time 0:12:29.212,0:12:31.081 you are thinking of chords individually, 0:12:31.081,0:12:33.052 because the keys are changing so rapidly, 0:12:33.052,0:12:35.378 that it doesn't tend to make sense. 0:12:35.378,0:12:37.476 For most songs, most of the time, [br]of course 0:12:37.476,0:12:39.394 not all of the songs, [br]before some people 0:12:39.394,0:12:40.558 have a go at me and say, 0:12:40.558,0:12:41.947 "Yeah, so what, it's only got one key." 0:12:41.947,0:12:45.365 One chord, one key, [br]actually two chords, two keys. 0:12:45.365,0:12:47.827 Now I'm getting pedantic on myself,[br]anyway... 0:12:47.827,0:12:51.496 I would recommend that you get into 0:12:51.496,0:12:55.410 learning E shape and [br]A shape dominant 7th chords 0:12:55.410,0:12:57.188 to start off with. 0:12:57.188,0:12:58.648 Get handy with them and learn to use 0:12:58.648,0:13:00.107 those over a blues. 0:13:00.107,0:13:02.390 The next step would be to learn E shape 0:13:02.390,0:13:05.872 and A shape, so two arpeggio shapes 0:13:05.872,0:13:09.637 for each chord, Major 7, [br]minor 7, dominant 7, 0:13:09.637,0:13:11.806 which you should have [br]learned already by now, 0:13:11.806,0:13:13.614 and minor 7 flat 5. 0:13:13.614,0:13:15.702 Now minor 7 flat 5 might seem a little 0:13:15.702,0:13:16.806 bit of an odd one to learn, because 0:13:16.806,0:13:18.201 I've already said once [br]earlier in this video, 0:13:18.201,0:13:21.629 that not many people use that chord shape. 0:13:21.629,0:13:24.280 But it comes into it's own [br]a little later on, 0:13:24.280,0:13:26.134 when you start to super impose it over 0:13:26.134,0:13:28.272 other chords, which I know sounds really 0:13:28.272,0:13:30.814 complicated, but it is something [br]you might get into, 0:13:30.814,0:13:32.650 and it is worth learning that [br]arpeggio shape, 0:13:32.650,0:13:33.456 while you're at it. 0:13:33.456,0:13:35.910 Even if it's for the sake of [br]being a completist, 0:13:35.910,0:13:38.349 learn two of each of the [br]major 7th, minor 7, 0:13:38.349,0:13:40.299 dominant 7, and minor 7th flat 5. 0:13:40.299,0:13:42.479 If you've got that down, you'll find that 0:13:42.479,0:13:45.623 really a great stepping point [br]into playing jazz, 0:13:45.623,0:13:48.213 You'll be able to handle almost [br]any chord you come to, 0:13:48.213,0:13:53.490 and that's how you kind of use arpeggios. 0:13:53.490,0:13:55.151 Hopefully that makes sense. 0:13:55.151,0:13:56.229 There's some more information about 0:13:56.229,0:13:58.710 using arpeggios on the web site, [br]of course. 0:13:58.710,0:14:01.491 And if you go and find this lesson [br]on the web site, 0:14:01.491,0:14:03.905 there'll be a link to a forum, [br]where if you've 0:14:03.905,0:14:06.846 got any questions about [br]this rambling long lesson, 0:14:06.846,0:14:08.824 I've done, where [br]there's lots of talking, 0:14:08.824,0:14:10.474 and it's probably a little bit confusing. 0:14:10.474,0:14:12.622 I'll try and answer as many [br]of your questions, 0:14:12.622,0:14:14.646 on the forum that I can. 0:14:14.646,0:14:17.634 I hope that makes sense to [br]some or all of you. 0:14:17.634,0:14:20.050 And I hope it's inspired [br]some of you to get 0:14:20.050,0:14:21.891 into your arpeggio playing. 0:14:21.891,0:14:25.066 Have fun. Take care. 0:14:25.066,0:14:26.087 Bye, bye.