4 Ways to Play and Apply a Major 7th

This is the very first episode in my awesome arpeggio series and basically what we're going to be doing throughout this series is we're going to be examining ways to play certain arpeggios and then ways to apply those same arpeggios.


Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. 

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This is the very first episode in my awesome arpeggio series and basically what we're going to be doing throughout this series is we're going to be examining ways to play certain arpeggios and then ways to apply those same arpeggios.

I think it's pretty meaningless to just learn shapes without learning how to apply them.

So today what we're going to do is we're going to work through the Major Seventh arpeggio and you can probably guess there's a lot of ways to do this, but we're really going to focus on four different ways to do it today.

And after we teach each method after we learn each shape will try applying it to a Jam track that I provided below which is essentially just two chords. All right, it's going to go G major and B flat major and that's what the Jam track is and this is going to give you a lot of options to take the shape that we're learning and apply them right away between just two easy positions. All right. So let's get into it major 7th chords are basically a route a major third a fifth and a major 7th and we're going to start by doing it in G today and the shape that we're going to learn just goes through all four of those notes right in a row. So we're going to have G our route. All right. We're going to have our major. Third we're going to have our fifth and we're going to have our major 7. All right, so that's the shape that we're doing and the way we'll be playing it today is will be sweeping it. All right, we'll do a down stroke here with our pick and we'll hammer on our pinky. Then we'll do two more down Strokes to our middle finger in our first finger. It's all right. So that's the way up the arpeggio and then on the way down the arpeggio, we'll put our middle finger here on our octave. Okay, which is our next G and then we're just going to do a pull off with an up stroke and then we continue with another UPS. Drove to our middle finger and another up store.

So if we put it together, we have a down hammer down down up pull off up up up down down down up up some very simple little shape here and it happens to this be eighth notes one E and A two e and uh, so you can count sixteenth notes with this pattern very simply one E and A two e and a three e and a four e, alright, so once you've got the pattern down, what you want to do is do it in different. Positions try it way down low where your stretches are much bigger. Like if I was down here on be that's going to be a much bigger task right there. It's gonna be a lot more difficult.

All right, but up here up on you know, see for example is going to be a lot easier because the stretch is a lot smaller.

What we'll do right away though is what we're going to try doing is a few times on G in sixteenth note and then a few times in B flat which means just three Frets up. So here's B flat 13th fret And I'll do the same pattern you can see it sounds pretty cool without even the Jam track in the background. But let's hear what it sounds like with the power chords underneath it. And this is how I would like you to practice it is just between those two cords for right now.

All right.

So what we're going to do is we're going to continue on forward here in we're going to talk about another way to play the Major Seventh arpeggio. We're going to stay in G. And this time what I'm going to do is I'm not going to play any other routes. So I'm just going to go my major third or my route my major third my fifth and my Major Seventh, but then I'm going to skip the following route. So it's just going to be 3 5 & 7 afterwards. It's going to look like this. Here's my room and major third my fifth. Here's my major 7th, and then I'm going to skip Route right here to my major third. Here's my fifth. And here's my Major Seventh. Again. This is also a sweepable shape. I'm going to do a hammer on the bottom and a pull off on top and what I get is this All right, pretty tricky your fingers gonna be doing a lot of work here. All right, but once again, this is easy to count it's 12 notes total. So you can think of this triplet 1 triplet 2 triplet 3 triplet 4 triplet 1 triplet 2 triplet 3 triplet 4 triplet and that's exactly how I want you to practice this. So we're going to do go back to the Jam track again. And this time we're going to practice our new shape sweeping up and down it while counting triplets. This should be a little easier because we're slowing down to triplets. It's going to be Slower, but since it's a bigger shaped probably going to pose some new problems here for us. Let's give it a try one triplet two triplet three triplet four.

All right, pretty cool. You could also play this a sixteenth notes, but it's not going to fill up a A full measure it's only going to count 1 E and A 2 E and A 3 e end and then you'll just be left hanging right there, which is still cool. You could do it in sixteenth notes once you set it up and then leave a little break and then go to your next chord and play the sixteenth notes and leave a little break and that would sound like this.

All right. So taking the same ID and applying it a sixteenth notes and that's you know, one of those things that we're going to want to try and do is always try and permutate something into it into a different variation. Even the 16th note patterns. I'm showing you try phrasing them as triplets or 16th note triplets. It's going to be a whole different world of practice. It's going to give you a lot of stuff to work with moving on. This is going to be the hardest arpeggio shape that I think we're going to do it is sweepable. But there's some hammer-ons in between and some pull offs that make it quite a mess this time. We're going to just go through Every single note of the arpeggio root third fifth major 7th and then over and over again and the shape I'm going to do here is going to look like this I start with my hammer on again.

I do my middle of my pinky my middle finger. Here's my major 7th and I hammer on the route, but then I roll my middle finger the next note I get my first finger on here. I get my ring finger stretch and way out and then my pinky finishes up to get my next route. So basically all I did was add the roots in to the shape that we were just working on and the whole thing together looks like this.

Now descending through that is a lot of trouble. I'm gonna do my pull-offs.

All right, so that's one up stroke, but I'm doing to pull offs then my middle finger hits this note and I kind of have to roll it to get to the third string and then right there. I have to be ready for another pull off if I want to do this with straight sweeping.

You can pick these notes, but I think it's fun practice to do it with the hammer ons and pull offs as well.

So that's our full shape. And this one takes up an entire measure of sixteenth notes if you play it up and down take a listen one E and A two Eat and a 3 E and A 4 E and A 1 makes it very easy to move around and try and different positions even just moving at next door is good exercise.

All right, but this is definitely the hardest one for your fingers and you have to go through a lot of variations with the angle of your fingers to get this under control because of the stretches, but even that if we just do it a straight 16th notes it will sound great over our 2 chord Jam track. Let's take a listen.

All right, so I miss the last note there, but you here full measure sixteenth notes all the way across twice and then I switch three Frets up doing the exact same thing. And if it's in there nice and easy, that's a really really hard one to speed up but it sounds great. If you play it slow and just to something like that. I think it's a nice little nice little move to know.

I want to show you one more shape. That's completely different. This is not a sweeping shape. This is an alternate picking shape. Come on, it's something that I first encountered in the under a glass Moon solo by John Petrucci from Dream Theater and he played an a major 7th arpeggio in a really cool way. That was very symmetrical very consistent across and I want to show you to you and this one we're going to do the way I like to think of it as starting with your finger on the route on the first string. So if I put my first finger on G on the first string which is right here, then I can kind of get a good starting point on how to play this arpeggio and let's check it out here. I'm going to put my first finger here on G and then I go up a major 3rd with my pinky.

And these are going to be the top two notes of my arpeggio shape and I do these same two Frets on the second string.

All right, and right there I've got part of my G major 7th arpeggio. All right.

Now what I'm going to do is I'm going to come down three Frets. It's a huge jump for something like this. We're going to come down three Frets and do the same jumps here. I've got that same for fret jump right there. Now. I'm going to descend two Frets and I'm going to come down my neck string and do the same thing.

So each one of these positions. I'm doing a for fret jump between my fingers.

What I have to do is I'm starting here on 15 and then I'm jumping down to 12 and then I'm coming down to 10 but it's gonna be the same pattern every time and those are all the notes of the G major 7 arpeggio, very tricky to shift your fingers around like that, but it's cool because you get a picking pattern and something different. You know, you're gonna get some different ideas when it's a range like this on the way back up.

All right, and then of course, what we're going to do in this track is we're going to move it up three Frets to be flat.

And we're going to the exact same thing.

All right. There's our B flat major arpeggio.

All right. So that's just going up and down and sixteenth notes like that here and what it sounds like and obviously everything that we've just talked about. We're just doing it three Frets apart, but you should be doing these things in every sort of variation that you can possibly think of any time that you're playing in a jam or you're playing a song and you see a major 7th chord coming up realize that any of these shapes are applicable to that court at that point in time.

Sometimes it'll be appropriate to sweep that Corridor that arpeggio.

Sometimes it'll be appropriate to alternate pick it sometimes it'll be appropriate to this slowly go through the notes of that arpeggio, but here's We're ways that you can do it when a chord like that comes up and you want to collect as many variations of this as possible remember for is not that much. Okay, there's a million ways to do this. So I do encourage you once you've got a grasp on these four look for other shapes and look for ways to apply them and then find a specific examples that you could apply. I'm like a Jam track like the one we're using or in songs of your own choosing look for the major 7th chords and then try and inject these into your playing when you're playing over those chords. Okay, so there will be more of these to come please leave comments if you have any specific requests on arpeggios to do No, but I'm basically looking for things that sound cool when you're playing them and then also how to use them in context.

So I hope this helps you get started into arpeggios and I will be referring back to this lesson when we encounter things in the future major 7th arpeggios.

So see you soon, and thanks for watching.


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