Advanced guitar diatonic arpeggio exercise

exercise with seventh arpeggios played over chords from diatonic series ascending and descending. Great preparation for using arpeggios to improvise with. From the Secret Guitar Teacher: https://www.secretguitarteacher.com/youtube/ssb.php?lp_id=1865

Video script:

In the last lesson we mapped out arpeggio patterns to follow a diatonic series in the key of C rooted off the fifth string.

My reason for starting with fifth string rooted chords and arpeggios is simply that these seem to be the ones I find myself using the most and are probably also the easiest patterns to learn.

Now lets look at what happens if we apply these same patterns to different keys. Clearly playing the sequence in C is easily transposable down to playing it in B just by starting at the 2nd fret instead of the 3rd and remembering that the key of B has 5 sharps. So we go UP the B maj7 arpeggio…DOWN the C#m7 arpeggio… UP the D#m7 …DOWN the EMaj7 …UP the F# dominant 7th…DOWN the G#m7 UP the A# m7b5…DOWN the BMaj7.

Then come back down the sequence by repeating UP the A# m7b5 DOWN the G#m7 UP the F# dominant 7th DOWN the EMaj7 UP the D#m7 DOWN the C#m7 arpeggio back to the key chord of B Maj7.

Similarly we can work off the Bb key note, at the first fret. But I am going to suggest leaving that, as it involves using an open string and for now I want to keep things simple by sticking strictly to movable patterns only. So let’s look at what happens with the keys above C.

C# is Ok – just remember that all 7 notes are sharped in this key C#M7 D#m7 E#m7 …and so on. But notice that as I come to the top end, I am already struggling to fit these patterns in… Especially on a guitar with no cutaway.

As an advanced guitarist you will already know from experience that the solution to this is simply to jump back down to the bottom end of the fretboard as soon as you are clear of the 12th fret at this end.

So in the key of D I play A dominant 7th off the 12 fret here …come back down the Bm7 arpeggio, notice I am now well clear of fret 12 so I convert this C# note at fret 16 down to the note an octave lower at fret 4 to play my C#m7b5 arpeggio off and then slide on up to the C# note here to play my descending D Ma7th

So that completes working up the sequence. I now turn around and come back down the sequence by playing the C#m7b5 arpeggio ascending again off the C# here at fret 4.

I find that I can easily fit the next arpeggio in as well the Bm7 descending. But then I can see that I am going to hit open strings on the next arpeggio so I shift up an octave tp play the A dominant 7th at fret 12 on the 5th string.

I can the n carry on down the fretboard with GMaj7 descending, UP F#m7, DOWN Em7 and complete the series with the ascending arpeggio up the key chord of DMaj7 again.

Now, by this stage I would bet money that some of you are struggling. Perhaps you skipped through the earlier lessons in this mini-series a bit too fast and didn’t do a thorough job of numbering and naming each chord in every key out loud as you played them? I – M7, ii-Em7, iii-F#m7, IV-GM7 and so on.

Well it will do no harm at all to backtrack to those earlier videos and put in a bit more time at that level.

Remember this isn’t a particularly difficult drill physically, but covers a huge chunk of the core of music theory. So to gain the true benefit from these exercises, it is vital to engage the brain as well as the fingers.

Over the next week see if you can work your way through all 12 keys rooted off the 5th string. Then next lesson we’ll look at some 6th string rooted patterns.

#Advanced #guitar #diatonic #arpeggio #exercise

Originally posted by UCGQPKAf7rXsscjpP37EISqg at https://www.youtube.com/watch?v=bg202vOIdm4