Soloing With Arpeggios Part 2

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Lecture description

Here, Bobby reminds us of what arpeggios are, how they’re made and how they work in a lead guitar context, before teaching us our first major arpgeggio shape using the CAGED System.

Learn more from the full course

Guitar Lessons - Soloing With Arpeggios - Essential Guide

Make your solos really stand out, using these fantastic arpeggio concepts!

05:10:22 of on-demand video • Updated February 2016

  • Learn how to spice up your lead breaks using arpeggios and locating chord tones.
  • Learn the CAGED shapes for major, minor, diminished, major 7th, minor 7th, dominant 7th & minor 7 flat 5 arpeggios.
  • Learn how to to solo freely all over the neck.
  • Learn the concept of arpeggio substitution to make your lead lines really stand out.
  • Learn 2 note-per-string arpeggio shapes.
  • Learn string skipping arpeggio ideas
  • Master tasteful, David Gilmour-esque mini-sweeps.
  • Develop your funky rhythm guitar playing with our downloadable backing track.
  • Learn the solo from our intro video, note for note and play along with our funky backing track.
  • Incorporate all of these ideas and concepts into your own guitar playing, making you a harmonically richer soloist.
English [Auto] OK I know we've covered this elsewhere on freight hub but firstly before we actually start learning any shapes the first thing we need to reestablish is war arpeggios actually are. And the easiest way to describe that is an arpeggio is the notes of a chord spelled out. So we're going to be work in mainly again with all our information coming from the parent key of C major. It just makes it easier because we have we've used that key for various other lessons and it would just make it easier to take all the information that you learn from this lesson and kind of mix it with some of the other stuff that you picked up on the site. But if we take a call to see major This code is actually made up of three different notes even though we play five strings is made of three different notes with. C and G. So with the scale of C Major That's seven notes in a major scale. Remember if you include going back to the root that cool the cool the A C major is actually made up of every other note within the C major scale. So if you skip every other nice first note get second or third no skip the fourth Not fifth. No it's actually a triad is made up of the roots. Third and fifth degrees of the C major scale. So if we play down here we go the route which is C major third which is a fifth which is G. And then we just repeat that again. And then third again tend to do that a lot on the guitar. It's not as kind of logical and sequential was forming chords on a piano. So we're actually playing all the notes at the same time pretty much. It's impossible to play and move on but you struggling to make that kind of sound like they all fall on the same page. But if we were to arpeggiate that quote you know you hear that kind of thing a lot in modern music or in any kind of music where the chord is arpeggiated so that the notes aren't being sounded at the same time and you can all pitch code where the nose ring in each of the arpeggios in a lead guitar contex tend not to ring in so the nose tends not to remain to one another so much. You seem to kind of play them one after another. So basically we're just just think of it as the intervals of a scale. Think of it as a Notes From a scale but when you're playing every other know you play an interval was every other note within that scale. So it's a very simple arpeggio on play you know that's a C major All page or very very simple and then we're going to look at these the kite shapes in a lot more depth in a minute. We played there was a C on the third fret on the string and on the second front in the string and a G on the fifth fret that the string again. That's a C on the third the ice string a on the second fret that the string G on the fifth fret the strings you just go back and forth between those two notes. It's only those three notes that make up a C major arpeggio that's playing it across three octaves. So two octaves look at the shape in a minute as the first kite shape is just kind of show you that I'm actually playing three different notes but the notes actually repeat across two octaves so that C Major all Petchey. If we look at C Major seven so that code is actually made up of four different modes. Now we're actually extending the harmony so we've got C A G the. So that's the first fifth and seventh notes from a C major scale to the sky Galligan. So they got roots for fifth major seventh or an over so you can extend the home any further and further and actually arpeggiated four different notes on playing every note within the major scale. And that's basically what an RPG is so it's the notes from a chord spelled out all you can think of it as playing every other note from the parent scale. So now we're going to have a look at the caged major minor and diminished shapes. So first of all we're going to go through the caged major arpeggios in C major. Now if I lose you any point when I'm referring to the cage system then go back to the first few lessons of the learning the neck module because the cases to me is covered in great depth. So you find all the information you need in learning about you. But if you remember the CAGED system we were spelling the word caged using the shapes see a G A B C again so we can actually outline the chords with arpeggios. And it's quite easily done if we stop running and start with the open strings if we start with our lowest kind of fretted note which will be C major as an eighth shape again. If I if I lose you any point and this is covered on a lone neck what you see is a nice shape which if you've done a learning that module you should know that one also has its root on the ice string on the third fret. We can outline a chord with a C major arpeggio. All we're doing is playing root major root major third phase and then back again for the whole two octave arpeggio or Hago depending on your pronunciation. So well guys you can see the outlines of the chord so fingering with this whole module fingering is completely optional. It's you should just endeavor to do whatever is and is the most comfortable for you. But let's start with the third fret on the string. Again I'm use my to use my second finger. So third fret only a string first rate on the string that I emailed. So the first thing. And then you use my third finger on the fifth fret of the day string may 9 it's rising all judges to go backwards and forwards between those three notes muffle finger other I'll use my third or use my third. In this case if I want to cover two octaves because then the third thing to them and I'm actually bothering the course of the fifth fret across the top four strings. So the guy says fifth sets five on the day four I'm on G five on the day you want to be careful not to let those notes kind of ring into each other like a chord. So kind of I'm actually using them just by lifting a finger off just off for a plate and some a third finger and a fresh hands kind of doing this just a little very slowly. The more you practice the easier it will become it will become. You don't have to make it completely staccato but just be aware of that. And then finally it's just the third fret on the high strung together gene out there and you've got a whole two octave arpeggiate and coming back down again slowly and Uno's all slightly ringing into each other at the moment and then the this. But that's a very useful shape. So that's out. I shan't see Nigel hejab.