[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.24,0:00:11.97,Default,,0000,0000,0000,,Hi! How you doing? Justin here.
Dialogue: 0,0:00:11.97,0:00:14.11,Default,,0000,0000,0000,,In this lesson today, I'm going to do
Dialogue: 0,0:00:14.11,0:00:16.97,Default,,0000,0000,0000,,a beginner's guide to arpeggios.
Dialogue: 0,0:00:16.97,0:00:19.41,Default,,0000,0000,0000,,I've seen a lot of people pretty confused
Dialogue: 0,0:00:19.41,0:00:20.76,Default,,0000,0000,0000,,about what arpeggios are.
Dialogue: 0,0:00:20.76,0:00:21.35,Default,,0000,0000,0000,,How to use them, and how to
Dialogue: 0,0:00:21.35,0:00:23.08,Default,,0000,0000,0000,,get started using them.
Dialogue: 0,0:00:23.08,0:00:24.38,Default,,0000,0000,0000,,So, I want to explain a bit
Dialogue: 0,0:00:24.38,0:00:26.46,Default,,0000,0000,0000,,of the basics in this lesson today.
Dialogue: 0,0:00:26.46,0:00:29.04,Default,,0000,0000,0000,,So the first thing is what is an arpeggio?
Dialogue: 0,0:00:29.04,0:00:32.26,Default,,0000,0000,0000,,I tend to think of an arpeggio \Nas a liquid chord.
Dialogue: 0,0:00:32.26,0:00:33.60,Default,,0000,0000,0000,,Or you could think of a chord
Dialogue: 0,0:00:33.60,0:00:35.12,Default,,0000,0000,0000,,as a frozen arpeggio, I guess.
Dialogue: 0,0:00:35.12,0:00:37.76,Default,,0000,0000,0000,,And if we put that into practice right away
Dialogue: 0,0:00:37.76,0:00:40.46,Default,,0000,0000,0000,,a good way of understanding it is to think
Dialogue: 0,0:00:40.46,0:00:41.60,Default,,0000,0000,0000,,of an open G chord.
Dialogue: 0,0:00:41.60,0:00:43.56,Default,,0000,0000,0000,,If you play a regular open G
Dialogue: 0,0:00:43.56,0:00:45.37,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:45.37,0:00:46.92,Default,,0000,0000,0000,,The notes that you are playing
Dialogue: 0,0:00:46.92,0:00:48.16,Default,,0000,0000,0000,,G
Dialogue: 0,0:00:48.16,0:00:49.10,Default,,0000,0000,0000,,B
Dialogue: 0,0:00:49.10,0:00:49.92,Default,,0000,0000,0000,,D
Dialogue: 0,0:00:49.92,0:00:50.88,Default,,0000,0000,0000,,G
Dialogue: 0,0:00:50.88,0:00:51.81,Default,,0000,0000,0000,,B
Dialogue: 0,0:00:51.81,0:00:53.33,Default,,0000,0000,0000,,and G again.
Dialogue: 0,0:00:53.33,0:00:54.72,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:00:54.72,0:00:56.09,Default,,0000,0000,0000,,And if we play those notes
Dialogue: 0,0:00:56.09,0:00:58.97,Default,,0000,0000,0000,,one at a time we are playing an arpeggio.
Dialogue: 0,0:00:58.97,0:01:04.57,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:04.57,0:01:05.20,Default,,0000,0000,0000,,G
Dialogue: 0,0:01:05.20,0:01:05.87,Default,,0000,0000,0000,,B
Dialogue: 0,0:01:05.87,0:01:06.62,Default,,0000,0000,0000,,D
Dialogue: 0,0:01:06.62,0:01:07.32,Default,,0000,0000,0000,,G
Dialogue: 0,0:01:07.32,0:01:07.97,Default,,0000,0000,0000,,B
Dialogue: 0,0:01:07.97,0:01:08.62,Default,,0000,0000,0000,,D
Dialogue: 0,0:01:08.62,0:01:09.32,Default,,0000,0000,0000,,G
Dialogue: 0,0:01:09.32,0:01:13.32,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:13.32,0:01:15.07,Default,,0000,0000,0000,,Now to get a little thing \Nout of the way here
Dialogue: 0,0:01:15.07,0:01:17.21,Default,,0000,0000,0000,,some people find it a little confusing
Dialogue: 0,0:01:17.21,0:01:20.63,Default,,0000,0000,0000,,this commonly used term in guitar language
Dialogue: 0,0:01:20.63,0:01:24.54,Default,,0000,0000,0000,,arpeggiating, or arpegiated.
Dialogue: 0,0:01:24.54,0:01:27.18,Default,,0000,0000,0000,,What this commonly means is
Dialogue: 0,0:01:27.18,0:01:29.36,Default,,0000,0000,0000,,when somebody holds down a chord
Dialogue: 0,0:01:29.36,0:01:31.05,Default,,0000,0000,0000,,and picks notes out from the chord.
Dialogue: 0,0:01:31.05,0:01:32.07,Default,,0000,0000,0000,,So
Dialogue: 0,0:01:32.07,0:01:37.12,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:01:37.12,0:01:38.70,Default,,0000,0000,0000,,That kind of thing, is kind of
Dialogue: 0,0:01:38.70,0:01:42.41,Default,,0000,0000,0000,,referred to as arpegiated \Nor arpegiating a chord.
Dialogue: 0,0:01:42.41,0:01:45.23,Default,,0000,0000,0000,,It is kind of I guess playing an arpegio,
Dialogue: 0,0:01:45.23,0:01:46.67,Default,,0000,0000,0000,,because you are playing one note
Dialogue: 0,0:01:46.67,0:01:48.22,Default,,0000,0000,0000,,at a time from the chord.
Dialogue: 0,0:01:48.22,0:01:50.01,Default,,0000,0000,0000,,But it's not playing an arpeggio
Dialogue: 0,0:01:50.01,0:01:51.10,Default,,0000,0000,0000,,in the real sense that we're
Dialogue: 0,0:01:51.10,0:01:52.73,Default,,0000,0000,0000,,talking about using them now.
Dialogue: 0,0:01:52.73,0:01:54.03,Default,,0000,0000,0000,,What I'm talking about is more of a
Dialogue: 0,0:01:54.03,0:01:55.99,Default,,0000,0000,0000,,kind of a lead guitar thing
Dialogue: 0,0:01:55.99,0:01:57.66,Default,,0000,0000,0000,,than a rhythm guitar thing.
Dialogue: 0,0:01:57.66,0:01:59.16,Default,,0000,0000,0000,,So, don't let that term confuse you.
Dialogue: 0,0:01:59.16,0:02:01.05,Default,,0000,0000,0000,,What we're talking about is arpeggios,
Dialogue: 0,0:02:01.05,0:02:03.12,Default,,0000,0000,0000,,ie; lead guitar and that would be,
Dialogue: 0,0:02:03.12,0:02:06.26,Default,,0000,0000,0000,,arpeggiating or arpeggiated.
Dialogue: 0,0:02:06.26,0:02:09.05,Default,,0000,0000,0000,,Which is kind of a rhythm \Nguitar technique.
Dialogue: 0,0:02:09.05,0:02:12.49,Default,,0000,0000,0000,,So, scales versus arpeggios,
Dialogue: 0,0:02:12.49,0:02:14.25,Default,,0000,0000,0000,,a lot of people a bit confused about
Dialogue: 0,0:02:14.25,0:02:15.01,Default,,0000,0000,0000,,what the difference is between
Dialogue: 0,0:02:15.01,0:02:16.90,Default,,0000,0000,0000,,the scale and an arpeggio.
Dialogue: 0,0:02:16.90,0:02:20.18,Default,,0000,0000,0000,,With a scale, you tend to learn one scale
Dialogue: 0,0:02:20.18,0:02:23.22,Default,,0000,0000,0000,,that's played over a group \Nof chords in a key.
Dialogue: 0,0:02:23.22,0:02:25.26,Default,,0000,0000,0000,,You can think of it like in a blues,
Dialogue: 0,0:02:25.26,0:02:28.28,Default,,0000,0000,0000,,you've got, say a blues in G
Dialogue: 0,0:02:28.28,0:02:30.97,Default,,0000,0000,0000,,has the chords, \NG, C7, and D7,
Dialogue: 0,0:02:30.97,0:02:33.05,Default,,0000,0000,0000,,or G7, C7 and D7.
Dialogue: 0,0:02:33.05,0:02:34.50,Default,,0000,0000,0000,,And you would often play over that
Dialogue: 0,0:02:34.50,0:02:36.42,Default,,0000,0000,0000,,a G minor pentatonic scale,
Dialogue: 0,0:02:36.42,0:02:37.88,Default,,0000,0000,0000,,over the whole thing.
Dialogue: 0,0:02:37.88,0:02:39.34,Default,,0000,0000,0000,,That's kind of playing in a key,
Dialogue: 0,0:02:39.34,0:02:41.45,Default,,0000,0000,0000,,you're learning a scale to play in a key.
Dialogue: 0,0:02:41.45,0:02:44.37,Default,,0000,0000,0000,,This also works, of course, \Nwith the major scale.
Dialogue: 0,0:02:44.37,0:02:46.36,Default,,0000,0000,0000,,The chords in the key of G
Dialogue: 0,0:02:46.36,0:02:49.40,Default,,0000,0000,0000,,would be G major, A minor, B minor,
Dialogue: 0,0:02:49.40,0:02:52.21,Default,,0000,0000,0000,,C major, D major, E minor,
Dialogue: 0,0:02:52.21,0:02:54.67,Default,,0000,0000,0000,,F sharp half diminished, \Nor F sharp minor 7 flat 5,
Dialogue: 0,0:02:54.67,0:02:55.81,Default,,0000,0000,0000,,which a chord no one uses,
Dialogue: 0,0:02:55.81,0:02:57.96,Default,,0000,0000,0000,,so don't worry about it, and G.
Dialogue: 0,0:02:57.96,0:03:00.81,Default,,0000,0000,0000,,A good song example is Wish You Were Here,
Dialogue: 0,0:03:00.81,0:03:01.75,Default,,0000,0000,0000,,and Wonderful Tonight.
Dialogue: 0,0:03:01.75,0:03:04.82,Default,,0000,0000,0000,,There's lots of songs in the key of G.
Dialogue: 0,0:03:04.82,0:03:06.83,Default,,0000,0000,0000,,If you were soloing you might play
Dialogue: 0,0:03:06.83,0:03:09.42,Default,,0000,0000,0000,,the G major scale over the whole thing.
Dialogue: 0,0:03:09.42,0:03:10.63,Default,,0000,0000,0000,,You wouldn't have to be thinking about
Dialogue: 0,0:03:10.63,0:03:12.33,Default,,0000,0000,0000,,the chords too much, you just tend
Dialogue: 0,0:03:12.33,0:03:13.80,Default,,0000,0000,0000,,to think about the scale.
Dialogue: 0,0:03:13.80,0:03:16.06,Default,,0000,0000,0000,,And that fits over all of the chords.
Dialogue: 0,0:03:16.06,0:03:19.30,Default,,0000,0000,0000,,But there comes a point where \Nthat's not enough anymore,
Dialogue: 0,0:03:19.30,0:03:21.55,Default,,0000,0000,0000,,where it's not right \Njust to play the scale
Dialogue: 0,0:03:21.55,0:03:23.34,Default,,0000,0000,0000,,over a whole bunch of chords.
Dialogue: 0,0:03:23.34,0:03:25.24,Default,,0000,0000,0000,,Because really you \Nwant to be a little more
Dialogue: 0,0:03:25.24,0:03:26.21,Default,,0000,0000,0000,,specific than that.
Dialogue: 0,0:03:26.21,0:03:28.99,Default,,0000,0000,0000,,I often think of it like \Nif you're playing in a band,
Dialogue: 0,0:03:28.99,0:03:32.67,Default,,0000,0000,0000,,if the soloist is thinking of a scale \Ninstead of the chords,
Dialogue: 0,0:03:32.67,0:03:34.40,Default,,0000,0000,0000,,he's kind of talking without listening
Dialogue: 0,0:03:34.40,0:03:36.68,Default,,0000,0000,0000,,to what the rest of the band \Nis talking about.
Dialogue: 0,0:03:36.68,0:03:38.57,Default,,0000,0000,0000,,So the band can be doing \Nwhatever they like,
Dialogue: 0,0:03:38.57,0:03:40.61,Default,,0000,0000,0000,,and he's just away in his \Nlittle scale world,
Dialogue: 0,0:03:40.61,0:03:43.52,Default,,0000,0000,0000,,where when you start thinking of chords,
Dialogue: 0,0:03:43.52,0:03:44.91,Default,,0000,0000,0000,,you're playing with the band.
Dialogue: 0,0:03:44.91,0:03:47.69,Default,,0000,0000,0000,,Because the band all are saying, G7,
Dialogue: 0,0:03:47.69,0:03:50.69,Default,,0000,0000,0000,,and you're saying, G7. \NYou're saying the same thing.
Dialogue: 0,0:03:50.69,0:03:52.71,Default,,0000,0000,0000,,That kind of makes it stronger.
Dialogue: 0,0:03:52.71,0:03:54.72,Default,,0000,0000,0000,,One thing that you'll find \Nwith arpeggios
Dialogue: 0,0:03:54.72,0:03:57.75,Default,,0000,0000,0000,,the more that you study them is, \Nthey're used all the time.
Dialogue: 0,0:03:57.75,0:04:00.44,Default,,0000,0000,0000,,Nearly all the great guitar players \Nare using arpeggios.
Dialogue: 0,0:04:00.44,0:04:04.53,Default,,0000,0000,0000,,Maybe not as much as they \Npractice their arpeggios,
Dialogue: 0,0:04:04.53,0:04:06.38,Default,,0000,0000,0000,,and they're using them, but they're using
Dialogue: 0,0:04:06.38,0:04:09.90,Default,,0000,0000,0000,,the strong chord tones, the notes \Nthat come from the chords.
Dialogue: 0,0:04:09.90,0:04:12.62,Default,,0000,0000,0000,,Even a lot of the old Blues guys, \Nwho I'm really certain
Dialogue: 0,0:04:12.62,0:04:16.49,Default,,0000,0000,0000,,never studied their arpeggios, \Nlike BB King, or Albert King,
Dialogue: 0,0:04:16.49,0:04:19.60,Default,,0000,0000,0000,,They tend to use the strong notes from
Dialogue: 0,0:04:19.60,0:04:21.19,Default,,0000,0000,0000,,the chords, the arpeggio notes.
Dialogue: 0,0:04:21.19,0:04:26.44,Default,,0000,0000,0000,,They kind of selected the notes from \Nthe minor pentatonic scale
Dialogue: 0,0:04:26.44,0:04:28.33,Default,,0000,0000,0000,,that worked best with that chord.
Dialogue: 0,0:04:28.33,0:04:31.18,Default,,0000,0000,0000,,So they're in affect using arpeggios too.
Dialogue: 0,0:04:31.18,0:04:33.98,Default,,0000,0000,0000,,So the big difference between \Nscales and arpeggios
Dialogue: 0,0:04:33.98,0:04:37.69,Default,,0000,0000,0000,,is that with arpeggios you \Nthink of an individual chord.
Dialogue: 0,0:04:37.69,0:04:40.46,Default,,0000,0000,0000,,If we were playing a \Nblues in the key of A,
Dialogue: 0,0:04:40.46,0:04:44.37,Default,,0000,0000,0000,,you wouldn't any longer be \Nthinking of say the A minor pentatonic scale
Dialogue: 0,0:04:44.37,0:04:47.48,Default,,0000,0000,0000,,over the whole A Blues progression.
Dialogue: 0,0:04:47.48,0:04:51.63,Default,,0000,0000,0000,,You'd be thinking of A7 arpeggio, \Nwhen there's an A7 chord.
Dialogue: 0,0:04:51.63,0:04:53.61,Default,,0000,0000,0000,,And when the chord changes to D7,
Dialogue: 0,0:04:53.61,0:04:56.58,Default,,0000,0000,0000,,you'd be playing a D7 arpeggio.
Dialogue: 0,0:04:56.58,0:04:59.40,Default,,0000,0000,0000,,This sounds really cool, \Nit's pretty complicated.
Dialogue: 0,0:04:59.40,0:05:01.44,Default,,0000,0000,0000,,And I still remember \Nthe first time I tried
Dialogue: 0,0:05:01.44,0:05:03.85,Default,,0000,0000,0000,,to do this sitting on the floor
Dialogue: 0,0:05:03.85,0:05:05.23,Default,,0000,0000,0000,,in my lounge room back in Tazmania,
Dialogue: 0,0:05:05.23,0:05:06.79,Default,,0000,0000,0000,,with my mate Andy.
Dialogue: 0,0:05:06.79,0:05:08.26,Default,,0000,0000,0000,,We were trying to play a Miles Davis
Dialogue: 0,0:05:08.26,0:05:09.91,Default,,0000,0000,0000,,song called Freddy Freeloader.
Dialogue: 0,0:05:09.91,0:05:12.25,Default,,0000,0000,0000,,And neither of us could believe \Nthe idea that we
Dialogue: 0,0:05:12.25,0:05:14.81,Default,,0000,0000,0000,,had to change arpeggios \Neach time the chord changed.
Dialogue: 0,0:05:14.81,0:05:18.25,Default,,0000,0000,0000,,It just seemed impossible, but after maybe
Dialogue: 0,0:05:18.25,0:05:19.41,Default,,0000,0000,0000,,a few weeks, or it might have been
Dialogue: 0,0:05:19.41,0:05:21.16,Default,,0000,0000,0000,,a couple months thinking about it,
Dialogue: 0,0:05:21.16,0:05:23.06,Default,,0000,0000,0000,,we managed to get it together and we could
Dialogue: 0,0:05:23.06,0:05:24.41,Default,,0000,0000,0000,,play through that song.
Dialogue: 0,0:05:24.41,0:05:27.28,Default,,0000,0000,0000,,It was just the Blues, \Nbut it's a bit tricky
Dialogue: 0,0:05:27.28,0:05:30.39,Default,,0000,0000,0000,,when you're used to playing \Na scale all of the way through,
Dialogue: 0,0:05:30.39,0:05:32.21,Default,,0000,0000,0000,,and then suddenly you have to think of
Dialogue: 0,0:05:32.21,0:05:34.48,Default,,0000,0000,0000,,you're listening to the band to find when
Dialogue: 0,0:05:34.48,0:05:35.88,Default,,0000,0000,0000,,the chord changes, \Nand when the chord changes,
Dialogue: 0,0:05:35.88,0:05:37.45,Default,,0000,0000,0000,,you have to remember what the chord is,
Dialogue: 0,0:05:37.45,0:05:41.72,Default,,0000,0000,0000,,and then play suitable notes \Nfrom the arpeggios.
Dialogue: 0,0:05:41.72,0:05:44.29,Default,,0000,0000,0000,,All that makes it sound a little bit more
Dialogue: 0,0:05:44.29,0:05:46.18,Default,,0000,0000,0000,,complicated than it really is, \Nto tell the truth.
Dialogue: 0,0:05:46.18,0:05:48.14,Default,,0000,0000,0000,,Because after you've learned them you tend
Dialogue: 0,0:05:48.14,0:05:49.74,Default,,0000,0000,0000,,to forget about them and just let
Dialogue: 0,0:05:49.74,0:05:51.66,Default,,0000,0000,0000,,your fingers and your ears do the walking.
Dialogue: 0,0:05:51.66,0:05:53.77,Default,,0000,0000,0000,,It's not really an intellectual exercise,
Dialogue: 0,0:05:53.77,0:05:55.12,Default,,0000,0000,0000,,but at the beginning it is.
Dialogue: 0,0:05:55.12,0:05:57.43,Default,,0000,0000,0000,,When you first learn these arpeggios and
Dialogue: 0,0:05:57.43,0:06:01.10,Default,,0000,0000,0000,,you start to use them, \Nyou will find it pretty complicated.
Dialogue: 0,0:06:01.10,0:06:02.86,Default,,0000,0000,0000,,Now there's another really good reason
Dialogue: 0,0:06:02.86,0:06:04.71,Default,,0000,0000,0000,,to learn arpeggios and that is when
Dialogue: 0,0:06:04.71,0:06:07.09,Default,,0000,0000,0000,,you're playing in a key \Nvery often you'll find
Dialogue: 0,0:06:07.09,0:06:10.19,Default,,0000,0000,0000,,one chord, that doesn't fit with \Nthe whole key.
Dialogue: 0,0:06:10.19,0:06:11.87,Default,,0000,0000,0000,,And a lot of people get a bit bummed out
Dialogue: 0,0:06:11.87,0:06:14.96,Default,,0000,0000,0000,,with that, they don't know what\Nthey're going to play.
Dialogue: 0,0:06:14.96,0:06:16.96,Default,,0000,0000,0000,,We were talking about Wish You Were Here \Nand stuff before.
Dialogue: 0,0:06:16.96,0:06:20.67,Default,,0000,0000,0000,,All of those chords are in the same key, \Nso you can just
Dialogue: 0,0:06:20.67,0:06:23.96,Default,,0000,0000,0000,,play that one scale over the whole song, \Nand it sounds great.
Dialogue: 0,0:06:23.96,0:06:26.52,Default,,0000,0000,0000,,You also find very often a chord that
Dialogue: 0,0:06:26.52,0:06:28.64,Default,,0000,0000,0000,,will just sneak in, that's not in the key.
Dialogue: 0,0:06:28.64,0:06:32.86,Default,,0000,0000,0000,,A really common one would be \Nin the key of G.
Dialogue: 0,0:06:32.86,0:06:35.20,Default,,0000,0000,0000,,You have a chord sequence that goes
Dialogue: 0,0:06:35.20,0:06:36.84,Default,,0000,0000,0000,,G
Dialogue: 0,0:06:36.84,0:06:39.16,Default,,0000,0000,0000,,to C
Dialogue: 0,0:06:39.16,0:06:42.64,Default,,0000,0000,0000,,to B7
Dialogue: 0,0:06:42.64,0:06:45.05,Default,,0000,0000,0000,,to Em
Dialogue: 0,0:06:45.05,0:06:48.25,Default,,0000,0000,0000,,Now the chords G, C and Em are all found
Dialogue: 0,0:06:48.25,0:06:50.03,Default,,0000,0000,0000,,in the key of G, so they're no problem.
Dialogue: 0,0:06:50.03,0:06:52.01,Default,,0000,0000,0000,,But when it comes to that B7
Dialogue: 0,0:06:52.01,0:06:53.53,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:06:53.53,0:06:58.68,Default,,0000,0000,0000,,particularly it's got one note here, \Na D sharp.
Dialogue: 0,0:06:58.68,0:07:00.20,Default,,0000,0000,0000,,That D sharp, that would \Nsound really funny
Dialogue: 0,0:07:00.20,0:07:02.63,Default,,0000,0000,0000,,if you played a D or an E \Nover the top or it.
Dialogue: 0,0:07:02.63,0:07:04.63,Default,,0000,0000,0000,,ie; you just stick to your G Major scale.
Dialogue: 0,0:07:04.63,0:07:07.01,Default,,0000,0000,0000,,So at that point you would change.
Dialogue: 0,0:07:07.01,0:07:08.95,Default,,0000,0000,0000,,You'd be playing a G Major scale.
Dialogue: 0,0:07:08.95,0:07:11.66,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:07:11.66,0:07:12.66,Default,,0000,0000,0000,,Still G Major.
Dialogue: 0,0:07:12.66,0:07:14.00,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:07:14.00,0:07:14.90,Default,,0000,0000,0000,,B7
Dialogue: 0,0:07:14.90,0:07:17.15,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:07:17.15,0:07:18.56,Default,,0000,0000,0000,,Em
Dialogue: 0,0:07:18.56,0:07:20.13,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:07:20.13,0:07:22.65,Default,,0000,0000,0000,,At that point, just where it \Ngoes to the B7.
Dialogue: 0,0:07:22.65,0:07:25.45,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:07:25.45,0:07:27.71,Default,,0000,0000,0000,,You'd have to run up your B7 arpeggio.
Dialogue: 0,0:07:27.71,0:07:32.48,Default,,0000,0000,0000,,So it's a very useful thing to be able \Nto learn your arpeggio shapes.
Dialogue: 0,0:07:32.48,0:07:34.78,Default,,0000,0000,0000,,So that when you come across a chord
Dialogue: 0,0:07:34.78,0:07:37.84,Default,,0000,0000,0000,,that's not diatonic, \Ni.e. it's not in the key,
Dialogue: 0,0:07:37.84,0:07:39.33,Default,,0000,0000,0000,,that you know how to handle it,
Dialogue: 0,0:07:39.33,0:07:41.23,Default,,0000,0000,0000,,that you can keep playing through that.
Dialogue: 0,0:07:41.23,0:07:42.85,Default,,0000,0000,0000,,A lot of people just think of the shapes
Dialogue: 0,0:07:42.85,0:07:44.36,Default,,0000,0000,0000,,on the guitar to be honest and just
Dialogue: 0,0:07:44.36,0:07:47.39,Default,,0000,0000,0000,,pick one or two of the notes directly
Dialogue: 0,0:07:47.39,0:07:49.65,Default,,0000,0000,0000,,from the chord shape that \Nthey might play.
Dialogue: 0,0:07:49.65,0:07:50.89,Default,,0000,0000,0000,,Which works, it's kind of the same
Dialogue: 0,0:07:50.89,0:07:52.63,Default,,0000,0000,0000,,as using an arpeggio, but you're
Dialogue: 0,0:07:52.63,0:07:55.38,Default,,0000,0000,0000,,better off using your arpeggio shapes.
Dialogue: 0,0:07:55.38,0:07:58.02,Default,,0000,0000,0000,,Now as well as that, \Nyou could use the arpeggios
Dialogue: 0,0:07:58.02,0:08:00.97,Default,,0000,0000,0000,,even when it doesn't change key, \Nif you like.
Dialogue: 0,0:08:00.97,0:08:03.21,Default,,0000,0000,0000,,Because then it just sounds again stronger
Dialogue: 0,0:08:03.21,0:08:05.09,Default,,0000,0000,0000,,the way I explained with the blues.
Dialogue: 0,0:08:05.09,0:08:07.06,Default,,0000,0000,0000,,If you had a chord progression that went
Dialogue: 0,0:08:07.06,0:08:11.68,Default,,0000,0000,0000,,G, D, C, G again, you could play, \Nof course,
Dialogue: 0,0:08:11.68,0:08:14.08,Default,,0000,0000,0000,,G Major scale all over that.
Dialogue: 0,0:08:14.08,0:08:15.78,Default,,0000,0000,0000,,But if I played the arpeggio notes,
Dialogue: 0,0:08:15.78,0:08:17.16,Default,,0000,0000,0000,,I'm just going to give a funny example
Dialogue: 0,0:08:17.16,0:08:18.89,Default,,0000,0000,0000,,moving up and down the \Nneck so you can hear.
Dialogue: 0,0:08:18.89,0:08:21.83,Default,,0000,0000,0000,,But you'll hear the chord changes in there
Dialogue: 0,0:08:21.83,0:08:23.72,Default,,0000,0000,0000,,even though I'm only playing \Nsingle lines now.
Dialogue: 0,0:08:23.72,0:08:26.03,Default,,0000,0000,0000,,So if I went
Dialogue: 0,0:08:26.03,0:08:33.18,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:08:33.18,0:08:36.70,Default,,0000,0000,0000,,You can hear quite clearly the \Nchord changes.
Dialogue: 0,0:08:36.70,0:08:38.99,Default,,0000,0000,0000,,I deliberately moved around the \Nneck so you
Dialogue: 0,0:08:38.99,0:08:40.75,Default,,0000,0000,0000,,could see where the changes were.
Dialogue: 0,0:08:40.75,0:08:45.18,Default,,0000,0000,0000,,That's a really strong way of playing, \N
Dialogue: 0,0:08:45.18,0:08:46.74,Default,,0000,0000,0000,,playing out of the chords.
Dialogue: 0,0:08:46.74,0:08:48.77,Default,,0000,0000,0000,,Mark Knopfler is a fantastic example
Dialogue: 0,0:08:48.77,0:08:51.20,Default,,0000,0000,0000,,of a guy that plays out of the \Nchords all the time.
Dialogue: 0,0:08:51.20,0:08:52.70,Default,,0000,0000,0000,,If you transcribe any of his songs,
Dialogue: 0,0:08:52.70,0:08:54.31,Default,,0000,0000,0000,,or if you learn any of his songs then
Dialogue: 0,0:08:54.31,0:08:57.20,Default,,0000,0000,0000,,you know what the chords \Nare underneath the solo,
Dialogue: 0,0:08:57.20,0:08:59.81,Default,,0000,0000,0000,,and you compare what notes \Nhe's playing in the solo
Dialogue: 0,0:08:59.81,0:09:01.49,Default,,0000,0000,0000,,with the chord his playing over.
Dialogue: 0,0:09:01.49,0:09:03.14,Default,,0000,0000,0000,,It's very, very chord based.
Dialogue: 0,0:09:03.14,0:09:04.77,Default,,0000,0000,0000,,Which is fantastic, \Nand it's one of the things
Dialogue: 0,0:09:04.77,0:09:07.68,Default,,0000,0000,0000,,that makes his guitar \Nplaying sound so great.
Dialogue: 0,0:09:07.68,0:09:10.10,Default,,0000,0000,0000,,Not saying that you have to, \Nbut most of the guys
Dialogue: 0,0:09:10.10,0:09:12.76,Default,,0000,0000,0000,,that are good do use this technique.
Dialogue: 0,0:09:12.76,0:09:15.48,Default,,0000,0000,0000,,So, where do you start?
Dialogue: 0,0:09:15.48,0:09:17.23,Default,,0000,0000,0000,,Because there's a whole lot of different \Narpeggios, if you go
Dialogue: 0,0:09:17.23,0:09:19.16,Default,,0000,0000,0000,,on my site, you'll find \Nthere's five different
Dialogue: 0,0:09:19.16,0:09:21.87,Default,,0000,0000,0000,,arpeggios shapes for four \Ndifferent chord types.
Dialogue: 0,0:09:21.87,0:09:23.64,Default,,0000,0000,0000,,So, that's a lot of stuff.
Dialogue: 0,0:09:23.64,0:09:25.97,Default,,0000,0000,0000,,What is it you should start with?
Dialogue: 0,0:09:25.97,0:09:28.49,Default,,0000,0000,0000,,What I would really recommend \Nis that you start
Dialogue: 0,0:09:28.49,0:09:30.94,Default,,0000,0000,0000,,with a dominant 7th arpeggios.
Dialogue: 0,0:09:30.94,0:09:32.31,Default,,0000,0000,0000,,One, because you can use \Nthem in the blues,
Dialogue: 0,0:09:32.31,0:09:34.27,Default,,0000,0000,0000,,and it's a nice easy way to kind of get
Dialogue: 0,0:09:34.27,0:09:38.54,Default,,0000,0000,0000,,the idea of using arpeggio playing.
Dialogue: 0,0:09:38.54,0:09:41.66,Default,,0000,0000,0000,,Also, often when there's \None chord in a diatonic
Dialogue: 0,0:09:41.66,0:09:43.82,Default,,0000,0000,0000,,sequence, like all the chords \Nare in the same key
Dialogue: 0,0:09:43.82,0:09:44.98,Default,,0000,0000,0000,,except for one chord.
Dialogue: 0,0:09:44.98,0:09:46.58,Default,,0000,0000,0000,,That one chord that's not in key is
Dialogue: 0,0:09:46.58,0:09:49.43,Default,,0000,0000,0000,,very often a dominant 7th chord for
Dialogue: 0,0:09:49.43,0:09:51.04,Default,,0000,0000,0000,,a reason I don't want to go into now.
Dialogue: 0,0:09:51.04,0:09:52.56,Default,,0000,0000,0000,,--secondary dominants for you guys that
Dialogue: 0,0:09:52.56,0:09:55.29,Default,,0000,0000,0000,,use or understand your music theory--
Dialogue: 0,0:09:55.29,0:09:59.07,Default,,0000,0000,0000,,there's another good reason \Nto start off with
Dialogue: 0,0:09:59.07,0:10:01.23,Default,,0000,0000,0000,,the dominant arpeggios
Dialogue: 0,0:10:01.23,0:10:02.73,Default,,0000,0000,0000,,What you would want to start off with is
Dialogue: 0,0:10:02.73,0:10:05.24,Default,,0000,0000,0000,,learning the one based around the E shape.
Dialogue: 0,0:10:05.24,0:10:07.67,Default,,0000,0000,0000,,Which is either the root \Non the 6th string,
Dialogue: 0,0:10:07.67,0:10:09.07,Default,,0000,0000,0000,,in the key of A, \Nwhich would sound like this.
Dialogue: 0,0:10:09.07,0:10:13.77,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:10:13.77,0:10:15.60,Default,,0000,0000,0000,,That would be the first one to learn.
Dialogue: 0,0:10:15.60,0:10:17.42,Default,,0000,0000,0000,,And then go about trying to play a blues,
Dialogue: 0,0:10:17.42,0:10:20.19,Default,,0000,0000,0000,,just using that dominant 7th, \Nand move it literally
Dialogue: 0,0:10:20.19,0:10:22.46,Default,,0000,0000,0000,,from the 5th fret
Dialogue: 0,0:10:22.46,0:10:24.95,Default,,0000,0000,0000,,where the A is up to the D \Nat the 10th fret.
Dialogue: 0,0:10:24.95,0:10:27.88,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:10:27.88,0:10:31.03,Default,,0000,0000,0000,,Try and play the 12 bar blues, \Nall the way through,
Dialogue: 0,0:10:31.03,0:10:33.74,Default,,0000,0000,0000,,moving from A
Dialogue: 0,0:10:33.74,0:10:36.37,Default,,0000,0000,0000,,D
Dialogue: 0,0:10:36.37,0:10:39.98,Default,,0000,0000,0000,,A
Dialogue: 0,0:10:39.98,0:10:43.61,Default,,0000,0000,0000,,D
Dialogue: 0,0:10:43.61,0:10:46.81,Default,,0000,0000,0000,,A
Dialogue: 0,0:10:46.81,0:10:49.05,Default,,0000,0000,0000,,E
Dialogue: 0,0:10:49.05,0:10:51.06,Default,,0000,0000,0000,,D
Dialogue: 0,0:10:51.06,0:10:54.22,Default,,0000,0000,0000,,A
Dialogue: 0,0:10:54.22,0:10:56.68,Default,,0000,0000,0000,,E
Dialogue: 0,0:10:56.68,0:10:58.87,Default,,0000,0000,0000,,And back to an A at the end.
Dialogue: 0,0:10:58.87,0:10:59.98,Default,,0000,0000,0000,,But that idea is you just use that one
Dialogue: 0,0:10:59.98,0:11:01.44,Default,,0000,0000,0000,,arpeggio shape, and you use it for
Dialogue: 0,0:11:01.44,0:11:04.33,Default,,0000,0000,0000,,a whole blues, practice \Nusing that one shape.
Dialogue: 0,0:11:04.33,0:11:06.06,Default,,0000,0000,0000,,When you feel like you're \Nconfident with that,
Dialogue: 0,0:11:06.06,0:11:09.15,Default,,0000,0000,0000,,maybe learn the D7 shape.
Dialogue: 0,0:11:09.15,0:11:12.78,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:11:12.78,0:11:15.54,Default,,0000,0000,0000,,Always starting and ending \Non the root note, of course.
Dialogue: 0,0:11:15.54,0:11:18.08,Default,,0000,0000,0000,,Which is kind of based around the A shape.
Dialogue: 0,0:11:18.08,0:11:19.66,Default,,0000,0000,0000,,. . .
Dialogue: 0,0:11:19.66,0:11:21.81,Default,,0000,0000,0000,,When I'm talking E shape and A shape I'm
Dialogue: 0,0:11:21.81,0:11:23.80,Default,,0000,0000,0000,,referring to the caged system.
Dialogue: 0,0:11:23.80,0:11:25.78,Default,,0000,0000,0000,,If you're not familiar with that you can
Dialogue: 0,0:11:25.78,0:11:26.71,Default,,0000,0000,0000,,go and check out the caged system.
Dialogue: 0,0:11:26.71,0:11:29.86,Default,,0000,0000,0000,,There's plenty of information \Non the web site about that.
Dialogue: 0,0:11:29.86,0:11:31.70,Default,,0000,0000,0000,,And then maybe what you \Nwant to try doing is
Dialogue: 0,0:11:31.70,0:11:34.48,Default,,0000,0000,0000,,changing between A7 and D7.
Dialogue: 0,0:11:34.48,0:11:37.60,Default,,0000,0000,0000,,So if you had one bar of A7
Dialogue: 0,0:11:37.60,0:11:39.16,Default,,0000,0000,0000,,one bar of D7
Dialogue: 0,0:11:39.16,0:11:42.30,Default,,0000,0000,0000,,So you have A7
Dialogue: 0,0:11:42.30,0:11:44.81,Default,,0000,0000,0000,,D7
Dialogue: 0,0:11:44.81,0:11:46.90,Default,,0000,0000,0000,,A
Dialogue: 0,0:11:46.90,0:11:49.05,Default,,0000,0000,0000,,D
Dialogue: 0,0:11:49.05,0:11:51.25,Default,,0000,0000,0000,,A
Dialogue: 0,0:11:51.25,0:11:53.32,Default,,0000,0000,0000,,D
Dialogue: 0,0:11:53.32,0:11:55.57,Default,,0000,0000,0000,,A
Dialogue: 0,0:11:55.57,0:11:57.53,Default,,0000,0000,0000,,D
Dialogue: 0,0:11:57.53,0:11:59.14,Default,,0000,0000,0000,,A
Dialogue: 0,0:11:59.14,0:12:01.22,Default,,0000,0000,0000,,And just try moving between one arpeggio
Dialogue: 0,0:12:01.22,0:12:02.97,Default,,0000,0000,0000,,shape, and the other.
Dialogue: 0,0:12:02.97,0:12:04.81,Default,,0000,0000,0000,,I've got a whole series \Nactually about this
Dialogue: 0,0:12:04.81,0:12:07.38,Default,,0000,0000,0000,,very movement, \Nand playing using arpeggios.
Dialogue: 0,0:12:07.38,0:12:09.79,Default,,0000,0000,0000,,It's called Jazz Up Your Blues, \Nbecause this
Dialogue: 0,0:12:09.79,0:12:14.54,Default,,0000,0000,0000,,using arpeggios is very often the first
Dialogue: 0,0:12:14.54,0:12:16.71,Default,,0000,0000,0000,,step into Jazz for a lot of people.
Dialogue: 0,0:12:16.71,0:12:18.48,Default,,0000,0000,0000,,Getting into Blues from Jazz you want
Dialogue: 0,0:12:18.48,0:12:19.72,Default,,0000,0000,0000,,to learn your arpeggios.
Dialogue: 0,0:12:19.72,0:12:22.89,Default,,0000,0000,0000,,In Jazz, you use arpeggios all the time.
Dialogue: 0,0:12:22.89,0:12:26.03,Default,,0000,0000,0000,,You don't use scales \Nin the traditional sense.
Dialogue: 0,0:12:26.03,0:12:29.21,Default,,0000,0000,0000,,You can, of course, but most of the time
Dialogue: 0,0:12:29.21,0:12:31.08,Default,,0000,0000,0000,,you are thinking of chords individually,
Dialogue: 0,0:12:31.08,0:12:33.05,Default,,0000,0000,0000,,because the keys are changing so rapidly,
Dialogue: 0,0:12:33.05,0:12:35.38,Default,,0000,0000,0000,,that it doesn't tend to make sense.
Dialogue: 0,0:12:35.38,0:12:37.48,Default,,0000,0000,0000,,For most songs, most of the time, \Nof course
Dialogue: 0,0:12:37.48,0:12:39.39,Default,,0000,0000,0000,,not all of the songs, \Nbefore some people
Dialogue: 0,0:12:39.39,0:12:40.56,Default,,0000,0000,0000,,have a go at me and say,
Dialogue: 0,0:12:40.56,0:12:41.95,Default,,0000,0000,0000,,"Yeah, so what, it's only got one key."
Dialogue: 0,0:12:41.95,0:12:45.36,Default,,0000,0000,0000,,One chord, one key, \Nactually two chords, two keys.
Dialogue: 0,0:12:45.36,0:12:47.83,Default,,0000,0000,0000,,Now I'm getting pedantic on myself,\Nanyway...
Dialogue: 0,0:12:47.83,0:12:51.50,Default,,0000,0000,0000,,I would recommend that you get into
Dialogue: 0,0:12:51.50,0:12:55.41,Default,,0000,0000,0000,,learning E shape and \NA shape dominant 7th chords
Dialogue: 0,0:12:55.41,0:12:57.19,Default,,0000,0000,0000,,to start off with.
Dialogue: 0,0:12:57.19,0:12:58.65,Default,,0000,0000,0000,,Get handy with them and learn to use
Dialogue: 0,0:12:58.65,0:13:00.11,Default,,0000,0000,0000,,those over a blues.
Dialogue: 0,0:13:00.11,0:13:02.39,Default,,0000,0000,0000,,The next step would be to learn E shape
Dialogue: 0,0:13:02.39,0:13:05.87,Default,,0000,0000,0000,,and A shape, so two arpeggio shapes
Dialogue: 0,0:13:05.87,0:13:09.64,Default,,0000,0000,0000,,for each chord, Major 7, \Nminor 7, dominant 7,
Dialogue: 0,0:13:09.64,0:13:11.81,Default,,0000,0000,0000,,which you should have \Nlearned already by now,
Dialogue: 0,0:13:11.81,0:13:13.61,Default,,0000,0000,0000,,and minor 7 flat 5.
Dialogue: 0,0:13:13.61,0:13:15.70,Default,,0000,0000,0000,,Now minor 7 flat 5 might seem a little
Dialogue: 0,0:13:15.70,0:13:16.81,Default,,0000,0000,0000,,bit of an odd one to learn, because
Dialogue: 0,0:13:16.81,0:13:18.20,Default,,0000,0000,0000,,I've already said once \Nearlier in this video,
Dialogue: 0,0:13:18.20,0:13:21.63,Default,,0000,0000,0000,,that not many people use that chord shape.
Dialogue: 0,0:13:21.63,0:13:24.28,Default,,0000,0000,0000,,But it comes into it's own \Na little later on,
Dialogue: 0,0:13:24.28,0:13:26.13,Default,,0000,0000,0000,,when you start to super impose it over
Dialogue: 0,0:13:26.13,0:13:28.27,Default,,0000,0000,0000,,other chords, which I know sounds really
Dialogue: 0,0:13:28.27,0:13:30.81,Default,,0000,0000,0000,,complicated, but it is something \Nyou might get into,
Dialogue: 0,0:13:30.81,0:13:32.65,Default,,0000,0000,0000,,and it is worth learning that \Narpeggio shape,
Dialogue: 0,0:13:32.65,0:13:33.46,Default,,0000,0000,0000,,while you're at it.
Dialogue: 0,0:13:33.46,0:13:35.91,Default,,0000,0000,0000,,Even if it's for the sake of \Nbeing a completist,
Dialogue: 0,0:13:35.91,0:13:38.35,Default,,0000,0000,0000,,learn two of each of the \Nmajor 7th, minor 7,
Dialogue: 0,0:13:38.35,0:13:40.30,Default,,0000,0000,0000,,dominant 7, and minor 7th flat 5.
Dialogue: 0,0:13:40.30,0:13:42.48,Default,,0000,0000,0000,,If you've got that down, you'll find that
Dialogue: 0,0:13:42.48,0:13:45.62,Default,,0000,0000,0000,,really a great stepping point \Ninto playing jazz,
Dialogue: 0,0:13:45.62,0:13:48.21,Default,,0000,0000,0000,,You'll be able to handle almost \Nany chord you come to,
Dialogue: 0,0:13:48.21,0:13:53.49,Default,,0000,0000,0000,,and that's how you kind of use arpeggios.
Dialogue: 0,0:13:53.49,0:13:55.15,Default,,0000,0000,0000,,Hopefully that makes sense.
Dialogue: 0,0:13:55.15,0:13:56.23,Default,,0000,0000,0000,,There's some more information about
Dialogue: 0,0:13:56.23,0:13:58.71,Default,,0000,0000,0000,,using arpeggios on the web site, \Nof course.
Dialogue: 0,0:13:58.71,0:14:01.49,Default,,0000,0000,0000,,And if you go and find this lesson \Non the web site,
Dialogue: 0,0:14:01.49,0:14:03.90,Default,,0000,0000,0000,,there'll be a link to a forum, \Nwhere if you've
Dialogue: 0,0:14:03.90,0:14:06.85,Default,,0000,0000,0000,,got any questions about \Nthis rambling long lesson,
Dialogue: 0,0:14:06.85,0:14:08.82,Default,,0000,0000,0000,,I've done, where \Nthere's lots of talking,
Dialogue: 0,0:14:08.82,0:14:10.47,Default,,0000,0000,0000,,and it's probably a little bit confusing.
Dialogue: 0,0:14:10.47,0:14:12.62,Default,,0000,0000,0000,,I'll try and answer as many \Nof your questions,
Dialogue: 0,0:14:12.62,0:14:14.65,Default,,0000,0000,0000,,on the forum that I can.
Dialogue: 0,0:14:14.65,0:14:17.63,Default,,0000,0000,0000,,I hope that makes sense to \Nsome or all of you.
Dialogue: 0,0:14:17.63,0:14:20.05,Default,,0000,0000,0000,,And I hope it's inspired \Nsome of you to get
Dialogue: 0,0:14:20.05,0:14:21.89,Default,,0000,0000,0000,,into your arpeggio playing.
Dialogue: 0,0:14:21.89,0:14:25.07,Default,,0000,0000,0000,,Have fun. Take care.
Dialogue: 0,0:14:25.07,0:14:26.09,Default,,0000,0000,0000,,Bye, bye.