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