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Hi! How you doing? Justin here.

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In this lesson today, I'm going to do

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a beginner's guide to arpeggios.

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I've seen a lot of people pretty confused

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about what arpeggios are.

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How to use them, and how to

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get started using them.

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So, I want to explain a bit

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of the basics in this lesson today.

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So the first thing is what is an arpeggio?

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I tend to think of an arpeggio 
as a liquid chord.

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Or you could think of a chord

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as a frozen arpeggio, I guess.

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And if we put that into practice right away

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a good way of understanding it is to think

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of an open G chord.

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If you play a regular open G

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. . .

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The notes that you are playing

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G

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B

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D

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G

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B

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and G again.

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. . .

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And if we play those notes

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one at a time we are playing an arpeggio.

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. . .

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G

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B

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D

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G

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B

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D

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G

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. . .

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Now to get a little thing 
out of the way here

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some people find it a little confusing

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this commonly used term in guitar language

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arpeggiating, or arpegiated.

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What this commonly means is

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when somebody holds down a chord

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and picks notes out from the chord.

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So

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. . .

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That kind of thing, is kind of

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referred to as arpegiated 
or arpegiating a chord.

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It is kind of I guess playing an arpegio,

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because you are playing one note

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at a time from the chord.

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But it's not playing an arpeggio

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in the real sense that we're

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talking about using them now.

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What I'm talking about is more of a

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kind of a lead guitar thing

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than a rhythm guitar thing.

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So, don't let that term confuse you.

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What we're talking about is arpeggios,

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ie; lead guitar and that would be,

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arpeggiating or arpeggiated.

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Which is kind of a rhythm 
guitar technique.

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So, scales versus arpeggios,

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a lot of people a bit confused about

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what the difference is between

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the scale and an arpeggio.

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With a scale, you tend to learn one scale

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that's played over a group 
of chords in a key.

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You can think of it like in a blues,

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you've got, say a blues in G

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has the chords, 
G, C7, and D7,

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or G7, C7 and D7.

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And you would often play over that

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a G minor pentatonic scale,

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over the whole thing.

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That's kind of playing in a key,

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you're learning a scale to play in a key.

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This also works, of course, 
with the major scale.

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The chords in the key of G

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would be G major, A minor, B minor,

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C major, D major, E minor,

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F sharp half diminished, 
or F sharp minor 7 flat 5,

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which a chord no one uses,

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so don't worry about it, and G.

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A good song example is Wish You Were Here,

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and Wonderful Tonight.

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There's lots of songs in the key of G.

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If you were soloing you might play

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the G major scale over the whole thing.

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You wouldn't have to be thinking about

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the chords too much, you just tend

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to think about the scale.

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And that fits over all of the chords.

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But there comes a point where 
that's not enough anymore,

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where it's not right 
just to play the scale

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over a whole bunch of chords.

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Because really you 
want to be a little more

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specific than that.

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I often think of it like 
if you're playing in a band,

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if the soloist is thinking of a scale 
instead of the chords,

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he's kind of talking without listening

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to what the rest of the band 
is talking about.

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So the band can be doing 
whatever they like,

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and he's just away in his 
little scale world,

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where when you start thinking of chords,

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you're playing with the band.

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Because the band all are saying, G7,

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and you're saying, G7. 
You're saying the same thing.

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That kind of makes it stronger.

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One thing that you'll find 
with arpeggios

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the more that you study them is, 
they're used all the time.

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Nearly all the great guitar players 
are using arpeggios.

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Maybe not as much as they 
practice their arpeggios,

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and they're using them, but they're using

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the strong chord tones, the notes 
that come from the chords.

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Even a lot of the old Blues guys, 
who I'm really certain

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never studied their arpeggios, 
like BB King, or Albert King,

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They tend to use the strong notes from

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the chords, the arpeggio notes.

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They kind of selected the notes from 
the minor pentatonic scale

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that worked best with that chord.

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So they're in affect using arpeggios too.

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So the big difference between 
scales and arpeggios

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is that with arpeggios you 
think of an individual chord.

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If we were playing a 
blues in the key of A,

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you wouldn't any longer be 
thinking of say the A minor pentatonic scale

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over the whole A Blues progression.

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You'd be thinking of A7 arpeggio, 
when there's an A7 chord.

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And when the chord changes to D7,

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you'd be playing a D7 arpeggio.

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This sounds really cool, 
it's pretty complicated.

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And I still remember 
the first time I tried

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to do this sitting on the floor

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in my lounge room back in Tazmania,

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with my mate Andy.

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We were trying to play a Miles Davis

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song called Freddy Freeloader.

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And neither of us could believe 
the idea that we

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had to change arpeggios 
each time the chord changed.

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It just seemed impossible, but after maybe

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a few weeks, or it might have been

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a couple months thinking about it,

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we managed to get it together and we could

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play through that song.

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It was just the Blues, 
but it's a bit tricky

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when you're used to playing 
a scale all of the way through,

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and then suddenly you have to think of

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you're listening to the band to find when

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the chord changes, 
and when the chord changes,

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you have to remember what the chord is,

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and then play suitable notes 
from the arpeggios.

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All that makes it sound a little bit more

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complicated than it really is, 
to tell the truth.

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Because after you've learned them you tend

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to forget about them and just let

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your fingers and your ears do the walking.

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It's not really an intellectual exercise,

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but at the beginning it is.

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When you first learn these arpeggios and

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you start to use them, 
you will find it pretty complicated.

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Now there's another really good reason

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to learn arpeggios and that is when

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you're playing in a key 
very often you'll find

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one chord, that doesn't fit with 
the whole key.

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And a lot of people get a bit bummed out

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with that, they don't know what
they're going to play.

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We were talking about Wish You Were Here 
and stuff before.

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All of those chords are in the same key, 
so you can just

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play that one scale over the whole song, 
and it sounds great.

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You also find very often a chord that

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will just sneak in, that's not in the key.

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A really common one would be 
in the key of G.

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You have a chord sequence that goes

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G

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to C

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to B7

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to Em

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Now the chords G, C and Em are all found

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in the key of G, so they're no problem.

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But when it comes to that B7

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. . .

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particularly it's got one note here, 
a D sharp.

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That D sharp, that would 
sound really funny

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if you played a D or an E 
over the top or it.

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ie; you just stick to your G Major scale.

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So at that point you would change.

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You'd be playing a G Major scale.

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. . .

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Still G Major.

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. . .

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B7

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. . .

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Em

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. . .

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At that point, just where it 
goes to the B7.

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. . .

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You'd have to run up your B7 arpeggio.

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So it's a very useful thing to be able 
to learn your arpeggio shapes.

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So that when you come across a chord

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that's not diatonic, 
i.e. it's not in the key,

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that you know how to handle it,

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that you can keep playing through that.

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A lot of people just think of the shapes

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on the guitar to be honest and just

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pick one or two of the notes directly

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from the chord shape that 
they might play.

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Which works, it's kind of the same

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as using an arpeggio, but you're

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better off using your arpeggio shapes.

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Now as well as that, 
you could use the arpeggios

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even when it doesn't change key, 
if you like.

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Because then it just sounds again stronger

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the way I explained with the blues.

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If you had a chord progression that went

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G, D, C, G again, you could play, 
of course,

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G Major scale all over that.

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But if I played the arpeggio notes,

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I'm just going to give a funny example

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moving up and down the 
neck so you can hear.

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But you'll hear the chord changes in there

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even though I'm only playing 
single lines now.

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So if I went

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. . .

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You can hear quite clearly the 
chord changes.

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I deliberately moved around the 
neck so you

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could see where the changes were.

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That's a really strong way of playing, 


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playing out of the chords.

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Mark Knopfler is a fantastic example

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of a guy that plays out of the 
chords all the time.

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If you transcribe any of his songs,

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or if you learn any of his songs then

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you know what the chords 
are underneath the solo,

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and you compare what notes 
he's playing in the solo

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with the chord his playing over.

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It's very, very chord based.

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Which is fantastic, 
and it's one of the things

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that makes his guitar 
playing sound so great.

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Not saying that you have to, 
but most of the guys

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that are good do use this technique.

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So, where do you start?

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Because there's a whole lot of different 
arpeggios, if you go

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on my site, you'll find 
there's five different

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arpeggios shapes for four 
different chord types.

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So, that's a lot of stuff.

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What is it you should start with?

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What I would really recommend 
is that you start

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with a dominant 7th arpeggios.

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One, because you can use 
them in the blues,

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and it's a nice easy way to kind of get

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the idea of using arpeggio playing.

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Also, often when there's 
one chord in a diatonic

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sequence, like all the chords 
are in the same key

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except for one chord.

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That one chord that's not in key is

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very often a dominant 7th chord for

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a reason I don't want to go into now.

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--secondary dominants for you guys that

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use or understand your music theory--

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there's another good reason 
to start off with

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the dominant arpeggios

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What you would want to start off with is

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learning the one based around the E shape.

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Which is either the root 
on the 6th string,

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in the key of A, 
which would sound like this.

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. . .

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That would be the first one to learn.

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And then go about trying to play a blues,

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just using that dominant 7th, 
and move it literally

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from the 5th fret

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where the A is up to the D 
at the 10th fret.

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. . .

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Try and play the 12 bar blues, 
all the way through,

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moving from A

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00:10:33,739 --> 00:10:36,373
D

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00:10:36,373 --> 00:10:39,978
A

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00:10:39,978 --> 00:10:43,610
D

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00:10:43,610 --> 00:10:46,813
A

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00:10:46,814 --> 00:10:49,048
E

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00:10:49,048 --> 00:10:51,062
D

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00:10:51,062 --> 00:10:54,223
A

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E

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00:10:56,685 --> 00:10:58,866
And back to an A at the end.

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But that idea is you just use that one

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arpeggio shape, and you use it for

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00:11:01,445 --> 00:11:04,334
a whole blues, practice 
using that one shape.

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When you feel like you're 
confident with that,

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maybe learn the D7 shape.

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. . .

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Always starting and ending 
on the root note, of course.

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Which is kind of based around the A shape.

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. . .

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When I'm talking E shape and A shape I'm

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referring to the caged system.

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If you're not familiar with that you can

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go and check out the caged system.

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There's plenty of information 
on the web site about that.

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And then maybe what you 
want to try doing is

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changing between A7 and D7.

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00:11:34,485 --> 00:11:37,599
So if you had one bar of A7

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00:11:37,599 --> 00:11:39,157
one bar of D7

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00:11:39,157 --> 00:11:42,300
So you have A7

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00:11:42,300 --> 00:11:44,809
D7

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00:11:44,809 --> 00:11:46,898
A

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00:11:46,898 --> 00:11:49,049
D

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00:11:49,049 --> 00:11:51,250
A

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00:11:51,250 --> 00:11:53,321
D

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00:11:53,321 --> 00:11:55,567
A

309
00:11:55,567 --> 00:11:57,534
D

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00:11:57,534 --> 00:11:59,141
A

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00:11:59,141 --> 00:12:01,217
And just try moving between one arpeggio

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00:12:01,217 --> 00:12:02,967
shape, and the other.

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00:12:02,967 --> 00:12:04,809
I've got a whole series 
actually about this

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00:12:04,809 --> 00:12:07,382
very movement, 
and playing using arpeggios.

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00:12:07,382 --> 00:12:09,794
It's called Jazz Up Your Blues, 
because this

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00:12:09,794 --> 00:12:14,541
using arpeggios is very often the first

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00:12:14,541 --> 00:12:16,712
step into Jazz for a lot of people.

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00:12:16,712 --> 00:12:18,476
Getting into Blues from Jazz you want

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00:12:18,476 --> 00:12:19,715
to learn your arpeggios.

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00:12:19,715 --> 00:12:22,887
In Jazz, you use arpeggios all the time.

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00:12:22,887 --> 00:12:26,029
You don't use scales 
in the traditional sense.

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00:12:26,029 --> 00:12:29,212
You can, of course, but most of the time

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00:12:29,212 --> 00:12:31,081
you are thinking of chords individually,

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00:12:31,081 --> 00:12:33,052
because the keys are changing so rapidly,

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00:12:33,052 --> 00:12:35,378
that it doesn't tend to make sense.

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00:12:35,378 --> 00:12:37,476
For most songs, most of the time, 
of course

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00:12:37,476 --> 00:12:39,394
not all of the songs, 
before some people

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00:12:39,394 --> 00:12:40,558
have a go at me and say,

329
00:12:40,558 --> 00:12:41,947
"Yeah, so what, it's only got one key."

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00:12:41,947 --> 00:12:45,365
One chord, one key, 
actually two chords, two keys.

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00:12:45,365 --> 00:12:47,827
Now I'm getting pedantic on myself,
anyway...

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00:12:47,827 --> 00:12:51,496
I would recommend that you get into

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00:12:51,496 --> 00:12:55,410
learning E shape and 
A shape dominant 7th chords

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00:12:55,410 --> 00:12:57,188
to start off with.

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00:12:57,188 --> 00:12:58,648
Get handy with them and learn to use

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00:12:58,648 --> 00:13:00,107
those over a blues.

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00:13:00,107 --> 00:13:02,390
The next step would be to learn E shape

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00:13:02,390 --> 00:13:05,872
and A shape, so two arpeggio shapes

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00:13:05,872 --> 00:13:09,637
for each chord, Major 7, 
minor 7, dominant 7,

340
00:13:09,637 --> 00:13:11,806
which you should have 
learned already by now,

341
00:13:11,806 --> 00:13:13,614
and minor 7 flat 5.

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00:13:13,614 --> 00:13:15,702
Now minor 7 flat 5 might seem a little

343
00:13:15,702 --> 00:13:16,806
bit of an odd one to learn, because

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00:13:16,806 --> 00:13:18,201
I've already said once 
earlier in this video,

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00:13:18,201 --> 00:13:21,629
that not many people use that chord shape.

346
00:13:21,629 --> 00:13:24,280
But it comes into it's own 
a little later on,

347
00:13:24,280 --> 00:13:26,134
when you start to super impose it over

348
00:13:26,134 --> 00:13:28,272
other chords, which I know sounds really

349
00:13:28,272 --> 00:13:30,814
complicated, but it is something 
you might get into,

350
00:13:30,814 --> 00:13:32,650
and it is worth learning that 
arpeggio shape,

351
00:13:32,650 --> 00:13:33,456
while you're at it.

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00:13:33,456 --> 00:13:35,910
Even if it's for the sake of 
being a completist,

353
00:13:35,910 --> 00:13:38,349
learn two of each of the 
major 7th, minor 7,

354
00:13:38,349 --> 00:13:40,299
dominant 7, and minor 7th flat 5.

355
00:13:40,299 --> 00:13:42,479
If you've got that down, you'll find that

356
00:13:42,479 --> 00:13:45,623
really a great stepping point 
into playing jazz,

357
00:13:45,623 --> 00:13:48,213
You'll be able to handle almost 
any chord you come to,

358
00:13:48,213 --> 00:13:53,490
and that's how you kind of use arpeggios.

359
00:13:53,490 --> 00:13:55,151
Hopefully that makes sense.

360
00:13:55,151 --> 00:13:56,229
There's some more information about

361
00:13:56,229 --> 00:13:58,710
using arpeggios on the web site, 
of course.

362
00:13:58,710 --> 00:14:01,491
And if you go and find this lesson 
on the web site,

363
00:14:01,491 --> 00:14:03,905
there'll be a link to a forum, 
where if you've

364
00:14:03,905 --> 00:14:06,846
got any questions about 
this rambling long lesson,

365
00:14:06,846 --> 00:14:08,824
I've done, where 
there's lots of talking,

366
00:14:08,824 --> 00:14:10,474
and it's probably a little bit confusing.

367
00:14:10,474 --> 00:14:12,622
I'll try and answer as many 
of your questions,

368
00:14:12,622 --> 00:14:14,646
on the forum that I can.

369
00:14:14,646 --> 00:14:17,634
I hope that makes sense to 
some or all of you.

370
00:14:17,634 --> 00:14:20,050
And I hope it's inspired 
some of you to get

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00:14:20,050 --> 00:14:21,891
into your arpeggio playing.

372
00:14:21,891 --> 00:14:25,066
Have fun. Take care.

373
00:14:25,066 --> 00:14:26,087
Bye, bye.