here´s another cool guitar lesson from Rob Compagna.

He will teach you the basic arpeggio shapes you

should know for guitar soloing

Hope it helps!

Hey, this is Rob Compagna for guitarcontrol.com and
today we are going to look at… Queue it, Benny.

Thanks a lot, Benny. Today we’re going to look at
four different easy arpeggio shapes that you can
use to help spice-up your soloing. These four
arpeggio shapes are all based upon the harmonized
major scale. So they are the major 7 arpeggio,
dominant 7 arpeggio, minor 7 arpeggio and minor
7 flat 5 arpeggio.

Now understanding and memorizing these four basic
arpeggio shapes can add spice to your lead playing.
All you need to do is know what chord is being
played behind at the time that you’re soloing,
what’s in the background, and then you play the
matching arpeggio shape against that chord. Now
this works provided that you know it’s a G chord
and they’re playing G major 7 and you play a G
major 7 arpeggio. If it’s an A minor 7 or just
an A minor, you can do an A minor 7 arpeggio.
Knowing these arpeggios will help you out and
make you a better solo player. So here we go.

The first arpeggio shape is a major 7 arpeggio and
we’re going to all do these in A. So let’s go to the
12th position, which means your 1st finger is at the
12th fret and the other fingers fall in line up to
that, 13, 14, 15 and pinkie up as necessary.

We’re going to go with the 3rd finger at the 14th
fret, A. We’re going to go with the 3rd finger at
the 14th fret on the B string, which is the C sharp
here. And then we’re going to go with the 1st finger
on the 12th fret, E. And then we’re going to complete
with 7 on the G sharp on the high E string. And that
is a major 7 arpeggio based on the A on the 14th
fret of the G string.

The next one is a dominant 7 arpeggio. So this
is exactly the same as the other one, except
instead of playing the G sharp at the top we’re
going to play a G. Also note it’s important, as
you can see with my right hand, I’m always
down-picking and then up, and there’s a little
alternate right there.

The next one is a minor 7 arpeggio which is —
we’ve got the G just like before, except now
it’s at the C sharp here. We’re playing it with
our 2nd finger on the C here. Just to go over
that, we got the A on the 14th fret of the G
string, the C on the 13th fret of the B string,
the E on the 12th fret of the E string and then
the G on the 15th fret of the same string.

Then the last one we’re going to show you is a
minor 7 flat 5. This is exactly the same as the
E minor except the E, you’re going to do the
flat 5, which is the E. So we get A, C, E flat,
G. So all together we’ve got our A major 7, our
A dominant 7, our minor 7, our minor 7 flat 5.

All right, to kick this off we are going to do
a rhythm pattern that uses three of the shapes
that we just did and we’re going to do it in the
key of A minor and it’s going to use the chords
of A, G and F. We’re going to go kind of slow
rock with a pedal tone here.

The arpeggios that we’re going to use over there
is the A minor 7. When it goes to G we’re going
to do a G dominant 7, which is the G — we’re in
the 10th position. We’re playing the G with the
3rd finger on the 12th fret of the G string.
We’re playing the B with the 3rd finger on the
12th fret of the B string. We’re playing the D
on the 10th fret of the high E string and then
we’re playing the F on the 13th fret.

Then when we go to the F chord we’re going to be doing
an F major 7 arpeggio. Here we are in the 8th position
now. We’ve got the F on the 10th fret of the G string;
the A on the 10th fret of the B string; the C on the
8th fret of the high E string and we’ve got the E
on the 12th fret of the high E string.

By itself, against this, we’re going to play each
one twice over these chords. So it’s going to sound
like this by itself. So you get the point.

Let’s queue-up a rhythm here with a click track
and then you can try it yourself. It’s a lot
of fun. Queue it, Benny.

Why, thanks a lot, Benny. That was awesome.
I hope you guys learned a lot today. Those
four shapes can help you with almost anything:
jazz, rock, country or whatever. If you find
yourself, you’re jamming over anything and
you happen to know what the chord is in the
background, if it’s a major 7 type or a dominant
7 type or a minor 7 type or a minor 7 flat 5,
you can just use that arpeggio, providing you
know what the root note is, you can use that
arpeggio. You just pull it out. It’s just another
weapon you can add to your bag of tricks.

If you want the tabs for this video, just check
the links in the video description and it will
be there for you. This is Rob Compagna for
guitarcontrol.com signing out and I hope you
enjoyed this lesson.

Introduction

Hi. This is Rob Compagna for guitarcontrol.com and today we’re going to talk about Guitar Practice Routine, warm-up routines, daily warm-up routines. This is the first of a three-part series. We’re going to discuss and what I’m going to show you is my daily warm-up routine. It takes about 30 minutes and it’s important because all serious guitarists, all the great guitarists have a daily warm-up routine that they do. It’s something you have to do and stick with it every day, every day, and then you’ll build-up over time. You’ll build up strength, accuracy and speed.

Practice Routine Tone

The first thing I want to tell you about is it’s always important to do a clean tone when you do these Guitar Practice Routine so you can hear any mistakes or anything like that. The second rule is always to make sure that you play things cleanly, no flubbed notes or anything like that. Try not to push yourself so that you’re making mistakes, otherwise when you go to perform you’ll sound like that when you do that. So take it down a level. Remember, this is something that you’re going to be doing over the course of your life. It’s your own private time so make sure that you’re nice and clean. And, always work with a metronome. Always work with a metronome. It makes you smooth and even and it’s always a way to monitor your progress.

Practice Routine Exercises

The first exercise that we’re going to do for this Guitar Practice Routine — and I’m not going to be using a metronome right here, but you’ll see. It’s all in the tab that’s going to attached in the description for this video. Ring pinkie exercise, ands it’s very important
because it builds-up the independence between these two fingers because they’re linked together and you don’t want them to be linked when you play. Anyway, it goes four directions, and of course this is with your metronome. The first direction is… And then when you go down… Now, the other thing, too, important about these exercises is to make sure you have alternate picking. The third direction is up and reverse. And then down and reverse. Then you move up to the next fret and next fret, all the way up to the 12th, and then back down to the 1st fret. It takes a while. This one really kills, but it’s a great one and again, make sure you are clean and smooth. So I’ll do the first couple of frets here. Wow! Isn’t that fun? That was awesome. Much more fun all the way up to the 12th fret, and then once again all the way back down. So that’s that exercise.

Diatonic Scale

The next thing I work on for this Guitar Practice Routine is my diatonic scales. I practice them in all seven positions, which I’m going to give the tabs here. The first one — and I always do this in F because it lines-up nicely on the neck. So the first position is the ionian
position. The next position is the dorian position. Now, if these sound like modes to you; they are. So the next one is phrygian. The next one is lydian. Next one is mixolydian. Next one is aeolian. The next one and the last one is locrian.

Knowing these seven positions, I string these together in a back-to-back, ascending routine that I do with a metronome. So there you go. You might even notice I made one little mistake there, but that happens. You’ll have these when you practice. So that’s just a part of it. You’ve got to get used to it and you just keep on plugging away. So that’s the diatonic.

The other thing, too, that I’ll show you is I also do it in groups of four, up and down, so you understand that one.

The next one I do is I do it in groups of three. So basically what I’m establishing here is I can be able to do it in double time, which is like great for 16th notes, or triplets. The next one, the exercise, is going to be in groups of three, which is great for runs and runs that include triplets, sextuplets, et cetera. So the triplet one goes… So you get the point. That goes all the way up to the locrian and then back down. Once again, see the tabs on this.

Conclusion

That’s the end for this, the first of a three-part series of practice exercises, daily practice routines. I hope you enjoy this and please, for your own safety, make yourself a better guitar player, have this be a daily routine and have it happen for the rest of your life. All right, take care, everybody, and once again, you can review these tabs on the link that is in
the description to this video. I hope you’re enjoying guitarcontrol.com and take care. Good bye.