This exercise, or finger twister, is a moveable arpeggio pattern, but it will be in G major for this exercise. The first measure is an ascending I chord/arpeggio of the major scale, which extended out (1 3 5 7), is a major 7th chord/arpeggio, which is a G major 7th chord/arpeggio (G,B D,F#).
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For those who might not be familiar with intervals, we’ll start by reviewing the core concept. The term sounds kind of advanced, but an “interval” simply refers to the distance between two notes, while a harmonic interval is when you play two notes at the same time.
In this first lesson, you’ll learn how to use 7th and 7#11 arpeggios to outline the tritone sub in a ii V I chord progression, allowing you to take your soloing chops up a notch and begin to create lines in the same vibe as your favorite jazz guitarists at the same time.
This new section is great for beginners since there is nothing too challenging, technique-wise. The majority of this section is straight quarter notes, which, even at 160 bpm, is very easy. The only challenge is memorizing all of the arpeggio shapes, which is also a great exercise, particularly for beginners.
In this video, Guitar World's Jimmy Brown shows you how to play "Jingle Bell Rock." Brown goes over several different arrangements of the song, from basic to more involved. Then he covers the melody line. Then you see him play the melody over the chords.
Part 2 has nothing challenging in terms of speed, but some of the chord shapes might be tricky. You'll need dexterity to change shape accurately at the correct tempo. Part 2 starts with the same theme at the beginning of Part 1. Every section in Part 2 follows a theme based around the same notes (G - D - Eb - F#) but played a different way each time.
In this video, Guitar World's Jimmy Brown shows you how to play "Silent Night" — just in time for Christmas. Brown goes over several different arrangements, from basic to more involved, and then covers the melody line.
For this lesson, I want to explore some more applications of this technique and give you some ideas of how you can use it in your own playing. The technique can be applied to virtually any single-note sequence you come up with. I find it best to create a simple melodic line and then apply the technique to create a riff or motif. I've found it particularly useful in my solos as a way to create dynamics.