It joins the ranks of the many lessons already available through Guitar World Lessons.
To celebrate this new release, Guitar World is offering the first Mastering Arpeggios Part 2 lesson, "G Major Seven Arpeggios in Positions," as a FREE download! Note that all nine Mastering Arpeggios Part 2 lessons are available—as a package—for only $14.99.
You can watch the trailer for Mastering Arpeggios Part 2 below.
This new collection is the 90-minute-plus follow-up to Mastering Arpeggios. It introduces and covers everything you need to know about the five essential seventh-chord arpeggio qualities: major seven, dominant seven, minor seven, minor-seven flat-five and diminished seven.
Again focusing on the popular guitar key of G, your instructor, longtime GW Senior Music Editor Jimmy Brown, presents all possible fretboard positions and two-octave fingering patterns for these arpeggios and shows you ways to transpose them to any other key, either by progressing through the cycle of fourths/fifths or taking each shape you’ve learned and moving up or down the fretboard chromatically (in one-fret increments).
Jimmy then shows you extended two-notes-per-string “monster” patterns that move diagonally up and across the neck, spanning three octaves. Also covered are the seven diatonic seventh-chord arpeggios that live in the key of G major, demonstrated in all positions, and interval patterns of fourths, fifths, sixths and sevenths applied to the arpeggios. The lesson product concludes with an entertaining performance of an original interpretation and tab arrangement of “Presto” from “Sonata 1 For Solo Violin” by Johann Sebastian Bach, which serves as an effective and musically satisfying practice piece.
Mastering Arpeggios Part 2 includes:
• Chapter 1 (Part 1): G Major Seven Arpeggios in Positions his first part of Chapter 1 begins with a quick review of the G major scale and G major triad arpeggio, played up and down one string for purposes of illustration. Jimmy then demonstrates all of the fixed-position two-octave fingerings for a G major seven arpeggio between fourth and seventh positions, along the way showing you a bunch of useful “alternate picking shred cells” and a neat application for improvisation—playing Gmaj7 over an E bass note or Em or Em7 chord to create a cool, jazzy Em9 sound.
• Chapter 1 (Part 2): G Major Seven Arpeggios in Positions (continued) This conclusion of Chapter 1 demonstrates all the remaining possible fretboard positions and fingerings for playing G major-seven arpeggios across two octaves, with additional “speed picking cells” presented along the way that reside within the larger patterns. Also covered are patterns in first and second position that combine open strings with fretted notes.
• Chapter 2: G Dominant Seven and Minor Seven Arpeggios in Positions Using all the two-octave G major-seven shapes shown in the previous segment, this chapter shows you how to convert them to G dominant- and minor-seven shapes, by “flatting” the seventh and third. Necessary fingering adjustments are covered, as the shapes morph from major-seven to dominant-seven to minor-seven.
• Chapter 3: G Minor Seven Flat-five and Diminished Seven Arpeggios in Positions Working off of all the G minor-seven shapes presented in the previous chapter, this lesson shows you how to go from minor-seven to minor-seven flat-five to fully diminished-seven, including any necessary fingering adjustments that need to be made to accommodate the lowering of certain notes by one fret.
• Chapter 4: The Circle of Fifths/Fourths and Practicing Drills Before continuing with extended arpeggio shapes and applications, this chapter presents a concise review of what is called the “circle of fifths,” or “circle of fourths,” and demonstrates a couple of easy ways to visually remember the cycle on the fretboard and ways to use it to practice all arpeggio shapes learned thus far in all 12 keys.
• Chapter 5: Two-notes-per-string Patterns This chapter shows you how to take the five seventh-chord arpeggio qualities covered in the previous chapters and expand them into extended “monster” runs that span three octaves by moving diagonally across the fretboard using two notes per string with quick position shifts. Different “launching points” are presented, starting on the root, third, fifth and seventh of any given arpeggio.
• Chapter 6: Diatonic Seventh-chord Arpeggios in G This lesson offers some practical, useful music theory and technical studies by presenting a set of seven different seventh-chord arpeggios that live within the key of G major, consisting of Gmaj7, Am7, Bm7, Cmaj7, D7, Em7 and F#m7b5.
• Chapter 7: Interval Patterns This chapter takes the two-octave shapes for the seven diatonic seventh-chord arpeggios from the previous lesson and shows you how to “scramble” the notes by playing them in melodic patterns of fourth and fifth intervals that have you continually crossing strings, which makes for a great alternate picking workout, as well as some neat sounds.
• Chapter 8: “Presto,” from “Sonata 1 For Solo Violin” by Johann Sebastian Bach This final chapter presents a performance of Jimmy’s own guitar adaptation and fingering arrangement of a beautiful violin piece by legendary classical composer Johann Sebastian Bach called “Presto,” from “Sonata 1 for Solo Violin.”