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← Beginners Guide To Arpeggios (Guitar Lesson AR-101) How to play

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Zeige Revision 17 erzeugt am 04/13/2016 von konyv 1977.

  1. Hi! How you doing? Justin here.
  2. In this lesson today, I'm going to do
  3. a beginner's guide to arpeggios.
  4. I've seen a lot of people pretty confused
  5. about what arpeggios are.
  6. How to use them, and how to
  7. get started using them.
  8. So, I want to explain a bit
  9. of the basics in this lesson today.
  10. So the first thing is what is an arpeggio?
  11. I tend to think of an arpeggio
    as a liquid chord.
  12. Or you could think of a chord
  13. as a frozen arpeggio, I guess.
  14. And if we put that into practice right away
  15. a good way of understanding it is to think
  16. of an open G chord.
  17. If you play a regular open G
  18. . . .
  19. The notes that you are playing
  20. G
  21. B
  22. D
  23. G
  24. B
  25. and G again.
  26. . . .
  27. And if we play those notes
  28. one at a time we are playing an arpeggio.
  29. . . .
  30. G
  31. B
  32. D
  33. G
  34. B
  35. D
  36. G
  37. . . .
  38. Now to get a little thing
    out of the way here
  39. some people find it a little confusing
  40. this commonly used term in guitar language
  41. arpeggiating, or arpegiated.
  42. What this commonly means is
  43. when somebody holds down a chord
  44. and picks notes out from the chord.
  45. So
  46. . . .
  47. That kind of thing, is kind of
  48. referred to as arpegiated
    or arpegiating a chord.
  49. It is kind of I guess playing an arpegio,
  50. because you are playing one note
  51. at a time from the chord.
  52. But it's not playing an arpeggio
  53. in the real sense that we're
  54. talking about using them now.
  55. What I'm talking about is more of a
  56. kind of a lead guitar thing
  57. than a rhythm guitar thing.
  58. So, don't let that term confuse you.
  59. What we're talking about is arpeggios,
  60. ie; lead guitar and that would be,
  61. arpeggiating or arpeggiated.
  62. Which is kind of a rhythm
    guitar technique.
  63. So, scales versus arpeggios,
  64. a lot of people a bit confused about
  65. what the difference is between
  66. the scale and an arpeggio.
  67. With a scale, you tend to learn one scale
  68. that's played over a group
    of chords in a key.
  69. You can think of it like in a blues,
  70. you've got, say a blues in G
  71. has the chords,
    G, C7, and D7,
  72. or G7, C7 and D7.
  73. And you would often play over that
  74. a G minor pentatonic scale,
  75. over the whole thing.
  76. That's kind of playing in a key,
  77. you're learning a scale to play in a key.
  78. This also works, of course,
    with the major scale.
  79. The chords in the key of G
  80. would be G major, A minor, B minor,
  81. C major, D major, E minor,
  82. F sharp half diminished,
    or F sharp minor 7 flat 5,
  83. which a chord no one uses,
  84. so don't worry about it, and G.
  85. A good song example is Wish You Were Here,
  86. and Wonderful Tonight.
  87. There's lots of songs in the key of G.
  88. If you were soloing you might play
  89. the G major scale over the whole thing.
  90. You wouldn't have to be thinking about
  91. the chords too much, you just tend
  92. to think about the scale.
  93. And that fits over all of the chords.
  94. But there comes a point where
    that's not enough anymore,
  95. where it's not right
    just to play the scale
  96. over a whole bunch of chords.
  97. Because really you
    want to be a little more
  98. specific than that.
  99. I often think of it like
    if you're playing in a band,
  100. if the soloist is thinking of a scale
    instead of the chords,
  101. he's kind of talking without listening
  102. to what the rest of the band
    is talking about.
  103. So the band can be doing
    whatever they like,
  104. and he's just away in his
    little scale world,
  105. where when you start thinking of chords,
  106. you're playing with the band.
  107. Because the band all are saying, G7,
  108. and you're saying, G7.
    You're saying the same thing.
  109. That kind of makes it stronger.
  110. One thing that you'll find
    with arpeggios
  111. the more that you study them is,
    they're used all the time.
  112. Nearly all the great guitar players
    are using arpeggios.
  113. Maybe not as much as they
    practice their arpeggios,
  114. and they're using them, but they're using
  115. the strong chord tones, the notes
    that come from the chords.
  116. Even a lot of the old Blues guys,
    who I'm really certain
  117. never studied their arpeggios,
    like BB King, or Albert King,
  118. They tend to use the strong notes from
  119. the chords, the arpeggio notes.
  120. They kind of selected the notes from
    the minor pentatonic scale
  121. that worked best with that chord.
  122. So they're in affect using arpeggios too.
  123. So the big difference between
    scales and arpeggios
  124. is that with arpeggios you
    think of an individual chord.
  125. If we were playing a
    blues in the key of A,
  126. you wouldn't any longer be
    thinking of say the A minor pentatonic scale
  127. over the whole A Blues progression.
  128. You'd be thinking of A7 arpeggio,
    when there's an A7 chord.
  129. And when the chord changes to D7,
  130. you'd be playing a D7 arpeggio.
  131. This sounds really cool,
    it's pretty complicated.
  132. And I still remember
    the first time I tried
  133. to do this sitting on the floor
  134. in my lounge room back in Tazmania,
  135. with my mate Andy.
  136. We were trying to play a Miles Davis
  137. song called Freddy Freeloader.
  138. And neither of us could believe
    the idea that we
  139. had to change arpeggios
    each time the chord changed.
  140. It just seemed impossible, but after maybe
  141. a few weeks, or it might have been
  142. a couple months thinking about it,
  143. we managed to get it together and we could
  144. play through that song.
  145. It was just the Blues,
    but it's a bit tricky
  146. when you're used to playing
    a scale all of the way through,
  147. and then suddenly you have to think of
  148. you're listening to the band to find when
  149. the chord changes,
    and when the chord changes,
  150. you have to remember what the chord is,
  151. and then play suitable notes
    from the arpeggios.
  152. All that makes it sound a little bit more
  153. complicated than it really is,
    to tell the truth.
  154. Because after you've learned them you tend
  155. to forget about them and just let
  156. your fingers and your ears do the walking.
  157. It's not really an intellectual exercise,
  158. but at the beginning it is.
  159. When you first learn these arpeggios and
  160. you start to use them,
    you will find it pretty complicated.
  161. Now there's another really good reason
  162. to learn arpeggios and that is when
  163. you're playing in a key
    very often you'll find
  164. one chord, that doesn't fit with
    the whole key.
  165. And a lot of people get a bit bummed out
  166. with that, they don't know what
    they're going to play.
  167. We were talking about Wish You Were Here
    and stuff before.
  168. All of those chords are in the same key,
    so you can just
  169. play that one scale over the whole song,
    and it sounds great.
  170. You also find very often a chord that
  171. will just sneak in, that's not in the key.
  172. A really common one would be
    in the key of G.
  173. You have a chord sequence that goes
  174. G
  175. to C
  176. to B7
  177. to Em
  178. Now the chords G, C and Em are all found
  179. in the key of G, so they're no problem.
  180. But when it comes to that B7
  181. . . .
  182. particularly it's got one note here,
    a D sharp.
  183. That D sharp, that would
    sound really funny
  184. if you played a D or an E
    over the top or it.
  185. ie; you just stick to your G Major scale.
  186. So at that point you would change.
  187. You'd be playing a G Major scale.
  188. . . .
  189. Still G Major.
  190. . . .
  191. B7
  192. . . .
  193. Em
  194. . . .
  195. At that point, just where it
    goes to the B7.
  196. . . .
  197. You'd have to run up your B7 arpeggio.
  198. So it's a very useful thing to be able
    to learn your arpeggio shapes.
  199. So that when you come across a chord
  200. that's not diatonic,
    i.e. it's not in the key,
  201. that you know how to handle it,
  202. that you can keep playing through that.
  203. A lot of people just think of the shapes
  204. on the guitar to be honest and just
  205. pick one or two of the notes directly
  206. from the chord shape that
    they might play.
  207. Which works, it's kind of the same
  208. as using an arpeggio, but you're
  209. better off using your arpeggio shapes.
  210. Now as well as that,
    you could use the arpeggios
  211. even when it doesn't change key,
    if you like.
  212. Because then it just sounds again stronger
  213. the way I explained with the blues.
  214. If you had a chord progression that went
  215. G, D, C, G again, you could play,
    of course,
  216. G Major scale all over that.
  217. But if I played the arpeggio notes,
  218. I'm just going to give a funny example
  219. moving up and down the
    neck so you can hear.
  220. But you'll hear the chord changes in there
  221. even though I'm only playing
    single lines now.
  222. So if I went
  223. . . .
  224. You can hear quite clearly the
    chord changes.
  225. I deliberately moved around the
    neck so you
  226. could see where the changes were.
  227. That's a really strong way of playing,
  228. playing out of the chords.
  229. Mark Knopfler is a fantastic example
  230. of a guy that plays out of the
    chords all the time.
  231. If you transcribe any of his songs,
  232. or if you learn any of his songs then
  233. you know what the chords
    are underneath the solo,
  234. and you compare what notes
    he's playing in the solo
  235. with the chord his playing over.
  236. It's very, very chord based.
  237. Which is fantastic,
    and it's one of the things
  238. that makes his guitar
    playing sound so great.
  239. Not saying that you have to,
    but most of the guys
  240. that are good do use this technique.
  241. So, where do you start?
  242. Because there's a whole lot of different
    arpeggios, if you go
  243. on my site, you'll find
    there's five different
  244. arpeggios shapes for four
    different chord types.
  245. So, that's a lot of stuff.
  246. What is it you should start with?
  247. What I would really recommend
    is that you start
  248. with a dominant 7th arpeggios.
  249. One, because you can use
    them in the blues,
  250. and it's a nice easy way to kind of get
  251. the idea of using arpeggio playing.
  252. Also, often when there's
    one chord in a diatonic
  253. sequence, like all the chords
    are in the same key
  254. except for one chord.
  255. That one chord that's not in key is
  256. very often a dominant 7th chord for
  257. a reason I don't want to go into now.
  258. --secondary dominants for you guys that
  259. use or understand your music theory--
  260. there's another good reason
    to start off with
  261. the dominant arpeggios
  262. What you would want to start off with is
  263. learning the one based around the E shape.
  264. Which is either the root
    on the 6th string,
  265. in the key of A,
    which would sound like this.
  266. . . .
  267. That would be the first one to learn.
  268. And then go about trying to play a blues,
  269. just using that dominant 7th,
    and move it literally
  270. from the 5th fret
  271. where the A is up to the D
    at the 10th fret.
  272. . . .
  273. Try and play the 12 bar blues,
    all the way through,
  274. moving from A
  275. D
  276. A
  277. D
  278. A
  279. E
  280. D
  281. A
  282. E
  283. And back to an A at the end.
  284. But that idea is you just use that one
  285. arpeggio shape, and you use it for
  286. a whole blues, practice
    using that one shape.
  287. When you feel like you're
    confident with that,
  288. maybe learn the D7 shape.
  289. . . .
  290. Always starting and ending
    on the root note, of course.
  291. Which is kind of based around the A shape.
  292. . . .
  293. When I'm talking E shape and A shape I'm
  294. referring to the caged system.
  295. If you're not familiar with that you can
  296. go and check out the caged system.
  297. There's plenty of information
    on the web site about that.
  298. And then maybe what you
    want to try doing is
  299. changing between A7 and D7.
  300. So if you had one bar of A7
  301. one bar of D7
  302. So you have A7
  303. D7
  304. A
  305. D
  306. A
  307. D
  308. A
  309. D
  310. A
  311. And just try moving between one arpeggio
  312. shape, and the other.
  313. I've got a whole series
    actually about this
  314. very movement,
    and playing using arpeggios.
  315. It's called Jazz Up Your Blues,
    because this
  316. using arpeggios is very often the first
  317. step into Jazz for a lot of people.
  318. Getting into Blues from Jazz you want
  319. to learn your arpeggios.
  320. In Jazz, you use arpeggios all the time.
  321. You don't use scales
    in the traditional sense.
  322. You can, of course, but most of the time
  323. you are thinking of chords individually,
  324. because the keys are changing so rapidly,
  325. that it doesn't tend to make sense.
  326. For most songs, most of the time,
    of course
  327. not all of the songs,
    before some people
  328. have a go at me and say,
  329. "Yeah, so what, it's only got one key."
  330. One chord, one key,
    actually two chords, two keys.
  331. Now I'm getting pedantic on myself,
    anyway...
  332. I would recommend that you get into
  333. learning E shape and
    A shape dominant 7th chords
  334. to start off with.
  335. Get handy with them and learn to use
  336. those over a blues.
  337. The next step would be to learn E shape
  338. and A shape, so two arpeggio shapes
  339. for each chord, Major 7,
    minor 7, dominant 7,
  340. which you should have
    learned already by now,
  341. and minor 7 flat 5.
  342. Now minor 7 flat 5 might seem a little
  343. bit of an odd one to learn, because
  344. I've already said once
    earlier in this video,
  345. that not many people use that chord shape.
  346. But it comes into it's own
    a little later on,
  347. when you start to super impose it over
  348. other chords, which I know sounds really
  349. complicated, but it is something
    you might get into,
  350. and it is worth learning that
    arpeggio shape,
  351. while you're at it.
  352. Even if it's for the sake of
    being a completist,
  353. learn two of each of the
    major 7th, minor 7,
  354. dominant 7, and minor 7th flat 5.
  355. If you've got that down, you'll find that
  356. really a great stepping point
    into playing jazz,
  357. You'll be able to handle almost
    any chord you come to,
  358. and that's how you kind of use arpeggios.
  359. Hopefully that makes sense.
  360. There's some more information about
  361. using arpeggios on the web site,
    of course.
  362. And if you go and find this lesson
    on the web site,
  363. there'll be a link to a forum,
    where if you've
  364. got any questions about
    this rambling long lesson,
  365. I've done, where
    there's lots of talking,
  366. and it's probably a little bit confusing.
  367. I'll try and answer as many
    of your questions,
  368. on the forum that I can.
  369. I hope that makes sense to
    some or all of you.
  370. And I hope it's inspired
    some of you to get
  371. into your arpeggio playing.
  372. Have fun. Take care.
  373. Bye, bye.