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                                                          Guitar arpeggio exercises pdf
   By: Brad Conroy The term arpeggio describes a pattern of movements executed by the right hand fingers and thumb when playing a chord. The number of possible combinations may be endless, and the study of many of these patterns is an integral part of every serious classical guitar student’s daily
   practice routine. Arpeggios are not only found within the classical guitar repertoire and you may in fact be playing arpeggios but aren’t aware of the proper terminology used to describe them. For example, the popular rock song “Stairway to Heaven,” is a fingerstyle piece that uses some basic right-hand
   arpeggios. Arpeggios are found in every genre that features a guitar, and if learned properly guitarists from all genres will be able to make their guitar sound more elaborate by incorporating them into their style. In this lesson we will explore four basic right hand arpeggio fingerings. The examples given will
   incorporate a minimal use of the left hand, giving us the ability to concentrate on developing right-hand technique. The fingers will move with much more freedom and ease if they are trained to execute these arpeggios with minimal and precise effort, something that should be worked on right from the
   beginning. Take it slow and make sure you play with a heavy attack, which will help the right-hand fingers develop muscle memory. Example 1, is a basic pattern that uses all four fingers of the right hand to play an open Em chord. Note that the fingers of the right hand are; (p) for thumb, (i) for index, (m)
   for middle, and ( a) for the ring finger. The number four in the circle in measure two does not mean to play on the fourth string, but means to use the fourth finger of the left hand to fret the G on the first string, third fret. Repeat this pattern several times in a row as it is a great right-hand workout. Once you
   can play this example at a moderate tempo you may recognize that it resembles the intro to “Nothing Else Matters” by Metallica. A very important aspect to the ascending arpeggio is that the (p-i-m-a) fingers should all be placed on the string simultaneously before executing their stroke. This placing of the
   fingers is known as “planting” and is an essential part of the technique and absolutely necessary if you want to develop rapid fire and clean arpeggios. Practice “planting” very slowly and deliberately, take notice of how the right-hand fingers stop the sounds of the strings. This is a quality to strive for in the
   early development of arpeggios, and after much practice the time it takes to plant will be so immediate that you won’t be able to notice the vibration of the strings stopping. Example 1 Example 2, is a pattern that can be worked on in a few different ways, incorporating slightly different approaches to right
   hand fingerings. The first way is to use i-m-i-m the whole time. This gives your right hand practice at changing strings. Second, you may use a-m-a-m the whole time, which will help these two “weaker” finger combinations get a work out. Lastly, try employing (i) on the third string, (m) on the second string,
   and (a) on the third string. Practice all of these combinations and remember take it slow, be deliberate, and strive for relaxation in both hands. Example 2 Example 3, is the same i-m-i-m concept, but it’s now employing some basic left-hand fingerings as well. Remember to use the fourth finger on the D,
   third fret, second string. Also, this exercise practices the right hand thumb moving from string to string. You should also practice this exercise using the a-m-a-m combination for an additional workout. Example 3 Example 4, is very similar to the first example, but this time we’re concentrating on the thumb.
   Try not to look at your right hand to much and train the thumb to find its way around by itself. Take your time, don’t to hard, and let the movement become natural. Example 4 Once you’ve practiced these basic arpeggio shapes feel free to apply them to any left hand chord, or scale and hear how you’re
   playing opens right up. You may also want to come back to these exercises every now and then to refresh your right hand, get it back into shape, or just for fun. When it comes to the guitar fretboard, there are many different ways to view its structure and layout. The more we explore it the more complete
   picture we can get of how these structures are interconnected. In this lesson we take a look at how we can expand our view of arpeggio shapes and use them to help visualize the guitar fretboard.The focus here will be on major and minor arpeggios, but the concepts will apply to 7th arpeggios and others
   as well.If you’re not sure what an arpeggio is, you should review the major and minor arpeggios lesson first and then come back to this one.CAGED Guitar ArpeggiosIf you’re already familiar with arpeggio shapes and patterns you’re probably familiar with the CAGED arpeggio shapes. They’re probably the
   most commonly used arpeggio shapes.CAGED arpeggios are broken out into 5 patterns that correlate to the CAGED chord shapes. Both major and minor CAGED arpeggio patterns can be seen in the diagrams below.CAGED Major ArpeggiosCAGED Minor ArpeggiosWhen learning these arpeggio
   shapes, it’s typically done in a vertical fashion. You start on the lowest root note and play across the fretboard ascending and then descending back across the fretboard and end back on the root in which you started.For example, the C major shape arpeggio from above would be played like this:This
   vertical approach would be applied to each of the major and minor arpeggio patterns.Diagonal ArpeggiosThe CAGED system is great for learning arpeggios because it groups the notes into distinct shapes and patterns. This is a good thing because it makes them easier to learn.However, these notes (and
   shapes) are connected across the whole fretboard.Major ArpeggiosMinor ArpeggiosWhat this tells us is that we’re not confined to just moving vertically across the fretboard. We can combine vertical and horizontal movements to create diagonal arpeggios.By moving diagonally through these arpeggio
   patterns, we can tie the fretboard together a bit better and visualize it as a whole instead of only individual patterns.Let’s take a look at a couple examples using the key of G major.Example 1The first example starts with the G shape arpeggio and moves through E, D, C, and A before descending back
   down to the G. Pay close attention to the descending sequence in the tab as it differs from the ascending sequence.Example 2Let’s take a similar approach, but change it up just a bit. This exercise starts with the E arpeggio shape and moves up through to the G shape. Again, pay close attention to the
   descending sequence as it differs from the ascending.Start from different positions and change up the movement of the run. You can blend ascending and descending movements through the arpeggios.The key to these exercises is to visualize the CAGED patterns as you play through the run. It can be
   helpful to call out the CAGED shape as you play through it just so you make the connection.Practice these exercises with both major and minor arpeggios.Triad ArpeggiosTriads are the foundation of chords, and thus arpeggios. As such, we can explore arpeggios through the use of triad shapes across the
   fretboard. Triads break up the full arpeggio patterns into smaller, 3-note variations which can be a little easier to incorporate musically.I think the easiest way to visualize these triads is by using the 3-strings approach. The examples shown here are for G major and G minor, but can be applied to any
   key.Triad Arpeggios on Strings 1-2-3The diagrams below show the three distinct major and minor triad arpeggio shapes that occur on strings 1, 2, and 3. These shapes repeat up and down the fretboard (ie. after the third shape, if you continue up the fretboard you get shape 1 again).If you’re not familiar
   with these shapes, or triads in general, it may be a good idea to review the following lessons:Major Triads on GuitarMinor Triads on GuitarMajor Triad Arpeggios – Strings 1, 2, 3Minor Triad Arpeggios – Strings 1, 2, 3Triad Arpeggios on Strings 2-3-4We can do the same with strings 2, 3, and 4. Below are
   the triad arpeggio shapes for those strings.Major Triad Arpeggios – Strings 2, 3, 4Minor Triad Arpeggios – Strings 2, 3, 4Triad Arpeggios on Strings 3-4-5Below are the triad arpeggios for strings 3, 4, and 5.Major Triad Arpeggios – Strings 3, 4, 5Minor Triad Arpeggios – Strings 3, 4, 5Triad Arpeggios on
   Strings 4-5-6While not used as triad chords quite as much as the previous groupings, you may find the triad shapes on strings 4, 5, and 6 more useful when played as arpeggios.Major Triad Arpeggios – Strings 4, 5, 6Minor Triad Arpeggios – Strings 4, 5, 6With the triad shapes outlined in the diagrams
   above, let’s take a look at some examples of playing over them.Example 1In this first example, we’ll use the major triad arpeggios on strings 1, 2 and 3. We’re just going to arpeggiate each triad up the neck, moving from the 1st string to the 3rd string.This exercise can be applied to each of the major and
   minor triad groups from above.Example 2In this example, we branch out a little to include some string skipping and change up the picking pattern a bit.Again, this can be applied to all of the triad arpeggio groups from above and also any key. Feel free to experiment and start mixing the different
   groups.Applying Arpeggios to Harmonized ScalesWhen we talk about harmonizing scales, we’re referring to building chords from the notes that are contained within the scale. Here is a whole lesson dedicated to harmonizing the major scale: Building Major Scale ChordsFor example, let’s take a look at
   the G major scale.The G major scale contains the following notes:G – A – B – C – D – E – F#When you harmonize the scale, you get the following chords:G – Am – Bm – C – D – Em – F#dimFor a good reference on scales and chords, check out the Guitar Key Guide ebook.Arpeggiating the Harmonized
   ScaleWe can take these chords from the harmonized scale and play the arpeggio for each one after the other. A lot of times when we practice arpeggios, we tend to stick with a specific arpeggio…G major, D minor, etc. Arpeggiating the harmonized scale gets us away from that process and starts building
   the relationship between chords and arpeggios within a key.There are several different approaches you can take with this process, but for this lesson we’re going to look at playing by position.Arpeggios by PositionIf you’ve read the lesson on the guitar number system or playing chord progressions by
   position, this will be familiar to you.What we’re going to do is take a given position and play all of the arpeggios in a given scale from that position.In this example, we’ll be playing out of the first position of the G major scale. The root arpeggio will be the E form barre chord at the 3rd fret (G major barre
   chord). Note that the arpeggio for F#dim is left out. It’s a diminished arpeggio and just isn’t used that frequently.Going chord by chord through the scale, we get the following sequence of arpeggios:G MajorA MinorB MinorC MajorD MajorE MinorApply to All PositionsThe same concept can be applied to all
   major scale positions. I won’t lay them all out in this lesson, but you can download the cheat sheet at the end of the lesson that contains all positions.Combining Arpeggio ApproachesOutlined above are three different approaches to visualizing and playing arpeggios across the entire fretboard. These
   approaches shouldn’t be treated independently of each other, but instead should be combined to create a full picture of the fretboard.Combing these approaches will reinforce the interconnectivity of these notes and patterns up and down the neck.Let’s take a look at an example that combines each of the
   approaches from above.Combined Approach ExampleThe combined example below starts on G major, moves to A minor in the second bar, then back to G major to finish up. Sliding between notes that fall on the same string adds a nice touch to make it more musical.In the first bar, we’re starting with the
   D shaped G arpeggio and moving up to the A shape G triad arpeggio on the 10th fret of string 1, 12th fret of string 2, and 12th fret of string 3.G Major – Bar 1The second bar shifts to the minor 2nd chord of G major, A minor. It starts out with the minor triad arpeggio on strings 1, 2, and 3 then transitions to
   the G minor shape arpeggio to finish out the bar.Am – Bar 2The third bar picks back up with the G major arpeggio using the E form. It moves diagonally back up the fretboard to end with the triad shape on strings 2, 3, and 4 (9th fret of string 4, 7th fret of string 3, 8th fret of string 2).G Major – Bar 3This is
   one of many different ways to combine these approaches, so again experiment and be creative to see what you can come up with. Start simple with 2-chord progressions and add chords to have 3-, 4-chord progressions once you get comfortable.Wrap-upThe guitar fretboard is complex. In this lesson
   we’ve taken a look at how we can expand our view of arpeggios and use them to help create a more complete visualization of the guitar fretboard. Play through, and expand on, the examples shown in this lesson and be sure to practice these concepts over different chord progressions to develop a feel for
   applying them in a more musical context. The illustration below shows an arpeggio exercise using the guitar chords of C, Dm, Em, F, G and Am. These arpeggio guitar exercises should be mastered to learn to move around the fretboard. The fingering has been included for most of the chords. Notice that
   each note in the tablature is formed by the guitar chord illustrated. To play this arpeggio exercise smoothly, your fingers must roll slightly after playing each note. This means that you don't just finger the chords as normal, but get ready to play the next note and stay in motion.  Notice the first note in the
   tablature below. The 8 = the C note at the 8th fret on the low E string. You begin with your 1 finger, but notice you end with the 8 note, 1 finger, on the B string. Both of those notes are played with the tip of your index finger. In other words, don't bar that C chord when playing this exercise. Try to roll your
   fingers along. This sound file may sound corny, but it should be learned completely. You should play it smoothly sounding each note clean. This guitar exercise will strengthen your fingers and get you moving around the fret-board. Once you learn this arpeggio in the key of C major, move everything to the
   5th fret and learn to play it in the key of A major. You can use the same fingering patterns at the new locations, but the guitar chords would be A, Bm, D and E. I would also suggest that you play this with and without a pick. In the sound file below, I used an electric guitar and used a pick. In the video, I
   didn't use a pick. I've played this exercise hundreds of times and it has actually helped me create a new style and get out of the strumming rut. Listen to the exercise. The guitar tablature for the arpeggio exercise has been included below. Remember to start slow and play each note clean. Play one note at
   time and try not to finger each position as a chord, but roll the fingers over each note. Good luck, Save Save Save Save Save Save Save Save Save Save Save guitar arpeggio exercises pdf. guitar arpeggio exercises beginners. guitar arpeggio exercises beginners pdf. guitar arpeggio exercises reddit.
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