yo guys what is going on welcome to
shrink eariy your one-way ticket to go
all the shrink
I'm your host Charlie Smithers thanks
for stopping by
whether you're a guitar player or you're
just interested in music I'm here to
help you out so tune that guitarra get
comfy let's give the people what they
want you love to see it
arpeggios and how to use them
arpeggio production of the tones and
notes of a chord in succession and not
simultaneously yeah yeah yeah I can hear
you guys let's break it down
o3o more musical tones standard
simultaneous even you guys were cool
last week we spoke about the major modes
we discovered that there are seven of
them Ionian Dorian Phrygian Lydian
mixolydian aeolian finally Locrian every
mode has its phone corresponding
arpeggio these arpeggios are both 4th
chord tones what is a chord tone a chord
tone is either the roots a third fed or
seventh of a diatonic scale and the name
is pretty self-explanatory
we use these tones to make up courts
let's talk about the chord tones in AC
Ionian scale we have see the root e a
major third G a perfect fifth and
finally be a major seven if we were to
play these notes collectively we would
have AC major seven chord and if we were
to pay them sequentially we would have
AC major seven arpeggio let's whip out a
piece of paper and take a look at all
these bad boys oh baby for part of Paige
years but first we got to talk about
inner halls because these are like the
DNA of arpeggios so we have a major
third minor third perfect fifth
diminished fifth major seven
let Silvermoon intervals really
characterize the sound of the arpeggios
but don't stress guys there's some good
news
we only have to learn for four-pot major
mood arpeggios nepali intervallic
structures major seven has if the root
major third perfect fifth major seventh
and the root dominant seven has the root
major third perfect with flat seven and
the roots -7 has the roots minor third
perfect fourth flat seven and root and
finally - seven five five the root minor
third lap five or diminish birth flat
seven and the root whoo that was a
mouthful so why don't we apply this to
the C major modes C Ionian we have a
major third in the perfect fifth and a
major seven which gives us a C major
seven D Dorian we have a minor third a
perfect fourth and a flat seven D - 7 e
Phrygian we have a minor third a perfect
fifth and a flat 7 so E - seven c'mon F
Lydian we have a major third perfect
foot and a major seven which means
yeah major 7 come on people you're
getting it and are you getting it G
mixolydian which has a major third a
perfect fifth and a flat 7 what is it
Tommy G dominant 7 come on a alien which
has a minor 3rd a perfect for any flat 7
which means it has to be a minus 7 and
finally the Locrian a minor 3rd a
diminished fit and a flat 7 what could
it be B minus 7 flat 5 we have now
discovered that Ionian is major 7 Darian
is -7 Phrygian -7 Lydian major 7
mixolydian dominant 7 Aeolian -7 and
Locrian minor 7 flat 5 take this down
people 8
he loved to see it
y'all love the spoiler shred the air
because let's face it as guitar players
never missed opportunity to shred and
what better way is show of the arpeggios
how about the scrumptious C major 7
arpeggio
or some of that a -7 goodness
I think of us look good and finally a B
minor 7 flat 5 arpeggio what is this
fouls sorcery
just like we can superimpose the major
mode we can superimpose for Tata paid
jokes instead of things C major seven @c
p see we can play it in first inversion
as e.g p c and e every four part up
Hideo has three inversions which means
they are four different ways to play
every arpeggio in other words you are a
lot of work to do all these shapes can
be found in the description box below so
let's begin with F major seven in a root
position lovely first inversion which
thoughts on the major third a second
inversion which starts on a perfect
fifth C and finally third inversion
which thoughts on the major seven E
she dominant 7 in root position burst
inversion which thoughts on the major
third B second inversion which starts on
the perfect fifth D and finally third
inversion starting on that flat seven
you love to see it a minor seven root
position
a minus seven first inversion which
starts on the minor third C
second inversion which thoughts on a
perfect fifth
and finally third inversion starting on
that flat 7 again come on for the people
at G V minus seven flat five in root
position first inversion starting on the
minor third D for delicious of course
second inversion of my personal favorite
starting on that diminished fifth if and
finally third inversion starting on the
flat seven hey and just because I love
you guys I prepared three eighths use
displaying different ways to practice
the arpeggios this method was suggested
to me by the incredible Tim Miller we
will be using the standard all the
things you are as a basis of analysis in
this example we start every arpeggio on
the route and a send this is a great way
to teach you the fingerboard it will
also teach you to think on your feet
because some of those positions are just
crazy so you got to find the closest
nearest easiest one good luck in this
example we change direction with chord
change this forces us to use inversions
11:3 not for the faint of heart a
combination of levels 1 & 2 with some
random patterns thrown in and aren't
they beautiful the quote urns do an
incredible job of outlining for harmony
of the chords we don't even need a
rhythm section I guess all that's left
is for you to hit the shed you can find
all shapes and each use in the
description box below
next we really look a little deeper into
these quarters please feel free to leave
me any questions or comments down below
in the comment section and I will do my
best to get back these videos are only
possible as your support and you link to
my patreon as well as my music found in
the description so I guess that's it
this has been John Ostrom the string
theory your one-way ticket to the holy
shred if you love to see
