Learning to perform multi-octave arpeggios can open up a whole new world of sound across chord changes. This lesson demonstrates three octave arpeggio patterns across all six strings...




When arpeggios are developed all across the fingerboard a guitarist can apply these long arpeggios either through linking together chords with the same arpeggios, or by playing diatonic substitute arpeggios within a key signature.

If you like learning about arpeggios, and you enjoy the sound of arpeggios, this lesson is going to be fantastic.

I’m sure that most of you reading /watching this have already learned how to play a Major Scale and a Minor Scale. However, for a lot of guitar players out there, the basic knowledge of triad arpeggios (that operate from the diatonic scales) can be weak.

In this lesson, I’ll be discussing a way to practice the diatonic triad arpeggios, and how they operate all across the neck within the harmony of a key signature. Plus, we’re going to learn the arpeggios across three octaves.


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DEVELOPING THE ARPEGGIOS:
Let’s get started by learning how the major triad can operate across three octaves of the guitars fingerboard...


Example 1). Major Triad: 




The next shape that we’re going to study is the shape for playing the Minor triad arpeggio. Here’s how that arpeggio sits on the neck in 3 octaves…


Example 2). Minor Triad:



Next, we’re going to move on to one other layout for the Major triad. This pattern is a little bit more condensed (as far as fingerings go), but it can be a nice alternative to the pattern covered from the first shape that we learned...





Example 3). Alternate Major Triad (Condensed):




When it comes to organizing a triad for the seventh degree of our harmonized scale, we need to be able to perform the “Diminished.”

For our key of “G Major” harmony, we’ll need an “F# dim.” triad to cover that step. Here’s what the diminished triad arpeggio looks like…


Example 4). Diminished Triad:





CONCLUSION:
Now that you have a collection of triads that form all of the shapes that fit within the structure of diatonic harmony, practice developing them technically as well as, for practical use.

Once you have a good handle for playing these shapes off of this key signature, ("C" Major), be sure to take them into all of the other key signatures.

After some point in time, every one of these patterns will feel comfortable and you can begin implementing them more musically across your melodic compositions and for improvising.




Continued Development:
Arpeggios are one of the most overlooked areas of guitar practice when it comes to patterns. 

If you feel that you’re ready to start learning more about scales and arpeggios, then have a look at my “Advanced” Guitar program (within the members area) of my website.

You can join the web-site as a free member and start looking around through all of the “Guitar Courses.” 

Every guitar course in my core curriculum offers students a 10 lesson structure, taught in a step-by-step approach – that’s all based upon related /progressive topics...

If you’re looking for a way to start vastly improving your guitar playing, visit; CreativeGuitarStudio.com


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If you’d like to learn more about topics like this one and many others, join my members site as a free member and start looking through my, “Guitar Courses.”

I’ve spent years creating hundreds of detailed step-by-step guitar lessons for my website members that show all kinds of beginner to advanced ideas to help improve your playing.


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