If you know the layout of the CAGED sequence and your basic major arpeggio shapes then this will be an exciting lesson for you. If you don’t know the CAGED sequence you can check it out in the lesson The CAGED Guitar Sequence. The basic idea of this lesson is to take the CAGED chord sequence and apply some basic major arpeggios to it. We have given you the diagrams of the arpeggios if you need them along with the TAB for each arpeggio so that you can see what picking patterns are being used. We will be in the key of G major for this lesson so all of the arpeggio shapes that we will be using will be G major arpeggios.
We will be starting on the E of the CAGED sequence so make a G bar chord with your bar on the 3rd fret using the E shape. Now look at E shaped G major arpeggio that goes along with this chord shape. Check out the TAB and try to play through the arpeggio. Keep an eye out for the sweep picking going on through these arpeggios. If you are not familiar with sweep picking check out the lesson Sweep Picking Basic Arpeggios.
The next arpeggio in the CAGED sequence is a D. This arpeggio is based off of the D shaped G major chord. Take a look at the D shaped arpeggio and try to play through the TAB for it.
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The third arpeggio in the CAGED sequence is C. Look at the shape for this C shaped G major arpeggio and try to play through it by looking at the TAB. The lowest root note for this G major arpeggio is on the 10th fret of the 5th string.
Now try to play through the next arpeggio in the sequence. This is the G major arpeggio that is based off of the A shape. The lowest root note of this arpeggio is on the 10th fret of the 5th string again.
The last shape in the CAGED sequence is a G. Check out the G shaped G major arpeggio. Be sure to pay close attention to the picking indicators on the TAB. The lowest root note of this shape is on the 15th fret of the 6th string.
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If you already know your how to use your CAGED sequence with chords then learning the material in this lesson will simply be a matter of applying that same knowledge to five different major arpeggio shapes. Take your time learning each shape and work through the picking for each one slowly.In this guitar lesson, we are looking at arpeggios from a fingerstyle point of view and how to play them smoothly on an acoustic, or even an electric guitar.
Arpeggios are crucial to all kinds of guitar styles — Rock, Country, Jazz, Celtic, Folk, Blues, Classical — they all use arpeggios. In fact, if the great God of Music suddenly decided to ban the use of arpeggios, we’d be in bad shape and music of all kinds would be seriously compromised.
So what exactly is an arpeggio? Basically, an arpeggio is a chord, or part of a chord that is played one note after another.
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So what do you need as a fingerstyle player to play arpeggios well? Firstly, you need good thumb and finger independence and you really do need to use your thumb, index, middle and ring fingers to play them smoothly. Some people can do it very well with a flatpick, but we’re concerned with fingerstyle here.
To start, try this exercise on open strings playing a simple unfretted E minor chord. Start very slowly and build up your speed as you get more comfortable. The aim is to keep it sounding smooth.
Let’s move on and look at a slightly more complicated picking pattern (ex.3). You’ll notice that the pattern spans 5 strings, so we’re going to use thumb, thumb, index, middle, ring, index, middle, ring. Again take your time and build it slowly. Feel free to use the picking pattern with any sequence of chords you like.
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In the last part of this lesson we’re going to play two very different pieces as a sort of demonstration of how arpeggios crop up in all kinds of guitar styles. The first is “House Of The Rising Sun” and the second is a classical piece called “Romance” by Tarrega. It’s a wonderful melody and I’m sure you’ll recognise it.Defined broadly, an arpeggio consists of the notes of a chord, played one at a time. They are a great addition to your toolkit because they simply sound good due to their chord-based structure. They also provide an easy way to break out of the rut of just running up and down scales, and are inherently melodic-sounding. You can use arpeggios to outline the chords when you’re soloing over chord changes, and when you’re improvising in a modal context, arpeggios can really add some nice color to your melodies.
I do recommend that you check out the links below the video on this page for other lessons that will be helpful for understanding the stuff on this page. However, I’m hoping there may be a few useful nuggets here, even if you don’t fully understand all of the terminology.
The most obvious use of arpeggios in improvising is to outline the chords as you solo over chord changes. It’s a sure-fire way to capture the “right” notes over each chord. However, this lesson covers a somewhat different use of arpeggios that is generally more appropriate for mode-based improv, where you are soloing over a single chord or repeating group of chords (a “vamp”).
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Again, this lesson applies to modal vamps, where you are soloing over a single chord or repeated sequence of chords. The concept here is to take arpeggios from the chord scale that belongs to the mode, temporarily superimposing them over the chords at hand. You can create a little bit of a sense of tension and release by playing off of an arpeggio for a bit, and then returning back to the “home” chord.
The examples on this page are in the modes of A dorian and A mixolydian (of course, you’ll want to work on using this concept in other keys). So generally speaking, we will grab arpeggios from the dorian and mixolydian chord scales, play off of them for a while, and then “resolve” them back to the home mode by targeting notes from the home key of A or Am (and you can use the CAGED system to identify those target notes).
And, with all of these ideas, you eventually want to resolve them by returning back to the home mode of A mixo or A dorian (basically, by targeting notes that belong to the A and Am chord).
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There are, of course, a lot of ways to play a maj7 arpeggio, but I’m going to zero in on two of them that I find easy to visualize and easy to play, one based on the CAGED “C” shape, and one based on the CAGED “E” shape. The root notes are marked in blue:
Now, we’re going to apply these patterns to a Gmaj7 chord (from which we’ll ultimately return to the main key of A). Here are the full arpeggios written out in TAB form (note, I tabbed them out so that they start and end on a root note):
Of course, in actual practice, it’s pretty rare that you’d just run up and down a full 6-string arpeggio like that. I find it more useful to visualize smaller clusters of notes within them. There’s a nice little diagonal line contained in the “E shape” arpeggio that’s easy to play:
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The real key to making these superimposed arpeggios work is how you resolve them. On their own, they have a somewhat ambiguous sound, but their whole sound makes more sense when you resolve them.
Here’s an example of a Gmaj7 arpeggio resolving to A (in this case, it could be either an A or an Am):
There are two minor 7 arpeggio patterns that I use frequently. They are based on the common barre chord forms for minor chords–the Em shape and the Am shape barre chords. Here are the arpeggio patterns:
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Play around with these arpeggios as we did with the maj7 arpeggios earlier in this lesson. Stretch them out, find useful clusters within them. I’ll also make the observation that both of these look a whole lot like fingerings for the pentatonic scale. Here are a couple of sample licks using these forms:
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