Learn some arpeggio patterns with this exercise

Describing this exercise is straightforward.  It’s in the key of D-Major and simply starts with a D-Major arpeggios, then works it’s way up the scale:  E-minor arpeggio, F#-minor arpeggio, G-Major arpeggio, and so on.

The rhythm may look weird – 9/8 time.  But, just think of this as a triplet sound in 3/4 time.  Many blues songs are in 12/8, which is basically a 4/4 time with a triplet feel to it.  9/8 is the same thing, but in 3/4 time.  Simple, right?

Each triplet in the arpeggio is one beat.  The same as an eighth note.  So, the rhythm for each arpeggio is:  1-2-3 1-2-3 1 – -, 1-2-3 1-2-3 1 – -, and so on.

You’ll notice the tonal qualities of each arpeggio in the scale.  This is universal for all major scales:  major, minor, minor, major, major, minor, diminished, repeat.

This one sounds great up to speed too!

Try these weird sounding multi-octave licks

Here’s a different kind of exercise that focuses on octaves.  An octave is simply a repeat of the same note higher or lower.  For example, an “A” played at the 14th fret of the G-String is two octaves higher than the A played on the 5th fret of the low E-String.

These exercises below were inspired by the Hungarian Rhapsodies by legendary classical pianist and composer, Franz Liszt.  Liszt employed the same technique in one hand on the piano – why not try the same idea on the guitar?

Liszt’s technique was to play a note followed by a repeat of that note one octave higher.  He then would repeat the same note at the higher octave, but using a different finger to position his hand for another note one octave higher.  The following exercise on the guitar does the same thing:

In this example above, two different fingerings are shown.  The first measure, the preferred, repeats the note on the D-string 5th fret with position and finger switches.  The second measure achieves the same thing with the open string.  The first fingering is preferred because we can move this technique anywhere on the neck!

For example, try this a-minor scale exercise with the same technique:

This is a tough lick to play quickly, but speed is not so important here.  Just strive for playing it smoothly.  Try not to get too mixed up by all the notes all over the neck.  Concentrate on the low note and then the shape of the pattern.  Simply repeat that pattern up the scale.  Try to take the same pattern and apply it to a major scale.

For a really crazy challenge, try getting this G-note four-octave exercise up to a quick speed.  It’s a little tricky, especially when repeating – there are three low G-notes which repeat.  Played fast, it’s a neat-sounding lick:

Become familiar triads in G Major

Here’s an exercise of triad arpeggios built on the scale tones of G-Major.  In other words, for each not in the scale of G-Major (G, A, B, C, D, E, F#), we build a triad arpeggio.  The idea is to help reinforce the ability to visualize the G-Major scale.  You also will learn to recognize which arpeggios are major, minor, and diminished.  Well, I’ll tell you now, but when you play it, you’ll see it for yourself.  The major triads are the 1st, 4th, and 5th degrees (notes).  The minor triads are the 2nd, 3rd, and 6th degrees.  The oddball diminished triad is located at the 7th degree.

G-Major is a good place to familiarize yourself with these triads.  Of course, once you know the pattern, it can be applied anywhere on the neck.

Just for analysis sake, I threw in a second exercise (the second set above) where the F-sharp is made natural.  This is like playing in the key of C-Major.  Notice how the triads change:

• The third triad, a B-minor triad (B-D-F#) now becomes a diminished triad because we drop the F-sharp down to an F-natural.
• The fifth triad, a D-major triad (D-F#-A) now becomes a minor triad because we drop the F-sharp down to an F-natural.
• The seventh triad, a F# diminished triad (F#-A-C), now becomes major because we drop the F-sharp down to an F-natural.

Pretty interesting, huh?