Chords for Paul Gilbert Arpeggio Lesson
Tempo:
83.5 bpm
Chords used:
Em
D
G
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[Em]
[F#]
[D#] [D] [Em]
I want to talk to you about arpeggios.
And in the world of guitar, many people use the sweep picking technique for arpeggios.
And I've done it myself, but I really prefer a lot of [F] other methods.
So I want to introduce you to those, and we'll let the sweepers of the world take care of the sweeps.
Arpeggios.
My favorite way of doing arpeggios is string skipping.
There's a couple different ways to string skip.
The most basic one I would want to show you would be this E [Em] minor triad.
Two notes on the E string, and then two notes on the G string, and then one note on the D string.
I'm doing that with three downstrokes, and all the rest of the notes are pulled off.
I like those pull-offs because they make the licks sound very smooth and natural.
And that kind of shape allows me to do different phrases, hammer-ons and pull-offs.
To me, that kind of phrasing is very natural and very musical and very useful in tempo.
So experiment with using those in different [Gm] tempos in your music.
[A]
[Gm] [Em] [D] It's a cool way of throwing in arpeggios with almost more of a pentatonic style of phrasing.
Another way of doing arpeggios is to take a short or small shape.
For example, this [Em] shape.
Very simple.
I'm using the same frets, 7 and 10, on the low E and low A string.
And this happens to be all the notes in an E minor 7th arpeggio.
[E] It's got [G] the root in the 3rd, [B] it's got the 5th and the 7th.
That's all you [G] need.
So let's take it up an octave and start it here.
Same fingering shape, just an octave higher.
[G#m] And once again up [G] an octave.
So real slow.
This is a really cool way of visualizing how to play an arpeggio.
Because you have the same shape in three places.
[B] And all you have to do to be able to find those places is know where your octaves are.
So I'm looking for the B here, here and here.
And you can even practice moving your first finger between those B notes.
[G#] That way your hand gets used to the technique and your eye gets [B] used to visualizing that [G] position shift in order to make that arpeggio happen.
Let me show you a couple more examples because this is a really good technique for even more complex 7th arpeggios.
For example, how often do you play a C sharp minor 7 flat 5 arpeggio?
[B] Probably not very often, but that's because you don't know one.
Or at least I didn't until [Em]
I [B] learned this very simple shape.
It's B and C [C#] sharp, [Em] then E and G.
That's it.
That's all you have to know.
And then just put that in the octaves.
Up an octave starting on B.
Up an octave starting on B.
Same shape every [C#] time.
Then just experiment with it to try to find hammer-on and pull-off sequences that allow you to go between the positions.
By coincidence, [G#] this [A] arpeggio to me sounds really good over an A7 chord as well.
It's sort of a chord substitution.
The jazz people can explain it to you better than I can.
But it sounds nice over this chord.
[C#]
[E] You can even add the [A] A, the root of the chord, into the arpeggio by [C#m] sliding [Em] into your original [Am] shape.
I do A, slide up to the B, and then I've [C#m] got my original [A] shape.
And I can do that each time.
Here's the A.
Here's the A.
That's a nice sounding arpeggio.
[C#] [N] [Em]
[N] It really allows you to travel over the fretboard in new ways that you might not have found before.
And they're pretty easy to visualize because they're all the same.
You can even do something as simple as a bend.
And do that in different octaves.
This is again using the octave idea to expand your playing.
Those are all B going up to C, a half-step bend.
Or add a little [D] phrase to it.
Any lick you have, you can do in different [F] octaves.
[D] You could do a cool phrase like this.
[D#] [D] [E] [C#] [Dm]
There's so many different ways of using octaves to get over the fretboard.
[G#m] Three note per string scales work that [G] way as well.
[E] [Dm] [E]
So I [A] recommend learning [G] those octaves and suddenly the world of arpeggios [D] will come flying open and you can enjoy them and rock and roll.
[F#]
[D#] [D] [Em]
I want to talk to you about arpeggios.
And in the world of guitar, many people use the sweep picking technique for arpeggios.
And I've done it myself, but I really prefer a lot of [F] other methods.
So I want to introduce you to those, and we'll let the sweepers of the world take care of the sweeps.
Arpeggios.
My favorite way of doing arpeggios is string skipping.
There's a couple different ways to string skip.
The most basic one I would want to show you would be this E [Em] minor triad.
Two notes on the E string, and then two notes on the G string, and then one note on the D string.
I'm doing that with three downstrokes, and all the rest of the notes are pulled off.
I like those pull-offs because they make the licks sound very smooth and natural.
And that kind of shape allows me to do different phrases, hammer-ons and pull-offs.
To me, that kind of phrasing is very natural and very musical and very useful in tempo.
So experiment with using those in different [Gm] tempos in your music.
[A]
[Gm] [Em] [D] It's a cool way of throwing in arpeggios with almost more of a pentatonic style of phrasing.
Another way of doing arpeggios is to take a short or small shape.
For example, this [Em] shape.
Very simple.
I'm using the same frets, 7 and 10, on the low E and low A string.
And this happens to be all the notes in an E minor 7th arpeggio.
[E] It's got [G] the root in the 3rd, [B] it's got the 5th and the 7th.
That's all you [G] need.
So let's take it up an octave and start it here.
Same fingering shape, just an octave higher.
[G#m] And once again up [G] an octave.
So real slow.
This is a really cool way of visualizing how to play an arpeggio.
Because you have the same shape in three places.
[B] And all you have to do to be able to find those places is know where your octaves are.
So I'm looking for the B here, here and here.
And you can even practice moving your first finger between those B notes.
[G#] That way your hand gets used to the technique and your eye gets [B] used to visualizing that [G] position shift in order to make that arpeggio happen.
Let me show you a couple more examples because this is a really good technique for even more complex 7th arpeggios.
For example, how often do you play a C sharp minor 7 flat 5 arpeggio?
[B] Probably not very often, but that's because you don't know one.
Or at least I didn't until [Em]
I [B] learned this very simple shape.
It's B and C [C#] sharp, [Em] then E and G.
That's it.
That's all you have to know.
And then just put that in the octaves.
Up an octave starting on B.
Up an octave starting on B.
Same shape every [C#] time.
Then just experiment with it to try to find hammer-on and pull-off sequences that allow you to go between the positions.
By coincidence, [G#] this [A] arpeggio to me sounds really good over an A7 chord as well.
It's sort of a chord substitution.
The jazz people can explain it to you better than I can.
But it sounds nice over this chord.
[C#]
[E] You can even add the [A] A, the root of the chord, into the arpeggio by [C#m] sliding [Em] into your original [Am] shape.
I do A, slide up to the B, and then I've [C#m] got my original [A] shape.
And I can do that each time.
Here's the A.
Here's the A.
That's a nice sounding arpeggio.
[C#] [N] [Em]
[N] It really allows you to travel over the fretboard in new ways that you might not have found before.
And they're pretty easy to visualize because they're all the same.
You can even do something as simple as a bend.
And do that in different octaves.
This is again using the octave idea to expand your playing.
Those are all B going up to C, a half-step bend.
Or add a little [D] phrase to it.
Any lick you have, you can do in different [F] octaves.
[D] You could do a cool phrase like this.
[D#] [D] [E] [C#] [Dm]
There's so many different ways of using octaves to get over the fretboard.
[G#m] Three note per string scales work that [G] way as well.
[E] [Dm] [E]
So I [A] recommend learning [G] those octaves and suddenly the world of arpeggios [D] will come flying open and you can enjoy them and rock and roll.
100% ➙ 84BPM
Em
D
G
A
E
Em
D
G
_ [Em] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [F#] _
_ _ [D#] _ _ _ [D] _ _ [Em] _
_ _ _ I want to talk to you about arpeggios.
And in the world of guitar, many people use the sweep picking technique for arpeggios.
And I've done it myself, but I really prefer a lot of [F] other methods.
So I want to introduce you to those, and we'll let the sweepers of the world take care of the sweeps.
Arpeggios.
My favorite way of doing arpeggios is string skipping.
There's a couple different ways to string skip.
The most basic one I would want to show you would be this E [Em] minor triad.
_ _ _ Two notes on the E string, _ and then two notes on the G string, _ and then one note on the D string.
I'm doing that with three downstrokes, and all the rest of the notes are pulled off. _
I like those pull-offs because they make the licks sound very smooth and natural. _ _
_ And that kind of shape allows me to do different phrases, _ _ _ hammer-ons and pull-offs. _ _ _
_ To me, that kind of phrasing is very natural and very musical and very useful in tempo.
So experiment with using those in different [Gm] tempos in your music.
_ [A] _
[Gm] _ [Em] _ [D] _ _ It's a cool way of throwing in arpeggios with almost more of a pentatonic style of phrasing.
_ Another way of doing arpeggios is to take a short or small shape.
For example, this [Em] shape.
_ Very simple.
I'm using the same frets, 7 and 10, on the low E and low A string.
And this happens to be all the notes in an E minor 7th arpeggio.
_ [E] It's got [G] the root in the 3rd, [B] it's got the 5th and the 7th.
That's all you [G] need.
So let's take it up an octave and start it here. _
Same fingering shape, just an octave higher.
_ [G#m] And once again up [G] an octave.
_ _ _ So real slow. _
_ _ This is a really cool way of visualizing how to play an arpeggio.
_ Because you have the same shape in three places.
[B] And all you have to do to be able to find those places is know where your octaves are.
So I'm looking for the B here, here and here.
And you can even practice moving your first finger between those B notes.
_ _ _ [G#] That way your hand gets used to the technique and your eye gets [B] used to visualizing that [G] position shift in order to make that arpeggio happen. _ _ _ _
_ _ _ _ _ _ Let me show you a couple more examples because this is a really good technique for even more complex 7th arpeggios.
For example, how often do you play a C sharp minor 7 flat 5 arpeggio?
[B] Probably not very often, but that's because you don't know one.
Or at least I didn't until [Em] _
I [B] learned this very simple shape.
It's B and C [C#] sharp, [Em] then E and G.
That's it.
That's all you have to know. _ _
And then just put that in the octaves.
Up an octave starting on B.
Up an octave starting on B.
_ Same shape every [C#] time.
_ Then just experiment with it to try to find hammer-on and pull-off sequences that allow you to go between the positions. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ By coincidence, [G#] this [A] arpeggio to me sounds really good over an A7 chord as well.
It's sort of a chord substitution.
The jazz people can explain it to you better than I can.
But it sounds nice over this chord.
_ _ [C#] _ _ _
_ _ _ _ _ _ [E] You can even add the [A] A, the root of the chord, into the arpeggio by [C#m] sliding [Em] into your original [Am] shape.
I do A, slide up to the B, and then I've [C#m] got my original [A] shape. _
And I can do that each time.
Here's the A.
Here's the A.
_ _ _ _ _ That's a nice sounding arpeggio.
_ [C#] _ _ _ _ [N] _ _ [Em] _
_ _ [N] _ _ It really allows you to travel over the fretboard _ in new ways that you might not have found before.
And they're pretty easy to visualize because they're all the same.
You can even do something as simple as a bend. _
And do that in different octaves.
This is again using the octave idea _ to expand your playing.
Those are all B going up to C, a half-step bend. _
Or _ _ _ add a little [D] phrase to it. _
_ _ _ _ _ _ _ _
_ Any lick you have, you can do in different [F] octaves. _ _
_ _ _ [D] You could do a cool phrase like this. _
_ _ [D#] _ [D] _ _ [E] _ [C#] _ [Dm] _
There's so many different ways of using octaves to get over the fretboard. _ _
[G#m] Three note per string scales work that [G] way as well. _ _ _ _
_ _ _ _ [E] _ [Dm] _ _ [E] _
So I [A] recommend learning _ [G] those octaves and suddenly the world of arpeggios [D] will _ come flying open and you can enjoy them and rock and roll. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [F#] _
_ _ [D#] _ _ _ [D] _ _ [Em] _
_ _ _ I want to talk to you about arpeggios.
And in the world of guitar, many people use the sweep picking technique for arpeggios.
And I've done it myself, but I really prefer a lot of [F] other methods.
So I want to introduce you to those, and we'll let the sweepers of the world take care of the sweeps.
Arpeggios.
My favorite way of doing arpeggios is string skipping.
There's a couple different ways to string skip.
The most basic one I would want to show you would be this E [Em] minor triad.
_ _ _ Two notes on the E string, _ and then two notes on the G string, _ and then one note on the D string.
I'm doing that with three downstrokes, and all the rest of the notes are pulled off. _
I like those pull-offs because they make the licks sound very smooth and natural. _ _
_ And that kind of shape allows me to do different phrases, _ _ _ hammer-ons and pull-offs. _ _ _
_ To me, that kind of phrasing is very natural and very musical and very useful in tempo.
So experiment with using those in different [Gm] tempos in your music.
_ [A] _
[Gm] _ [Em] _ [D] _ _ It's a cool way of throwing in arpeggios with almost more of a pentatonic style of phrasing.
_ Another way of doing arpeggios is to take a short or small shape.
For example, this [Em] shape.
_ Very simple.
I'm using the same frets, 7 and 10, on the low E and low A string.
And this happens to be all the notes in an E minor 7th arpeggio.
_ [E] It's got [G] the root in the 3rd, [B] it's got the 5th and the 7th.
That's all you [G] need.
So let's take it up an octave and start it here. _
Same fingering shape, just an octave higher.
_ [G#m] And once again up [G] an octave.
_ _ _ So real slow. _
_ _ This is a really cool way of visualizing how to play an arpeggio.
_ Because you have the same shape in three places.
[B] And all you have to do to be able to find those places is know where your octaves are.
So I'm looking for the B here, here and here.
And you can even practice moving your first finger between those B notes.
_ _ _ [G#] That way your hand gets used to the technique and your eye gets [B] used to visualizing that [G] position shift in order to make that arpeggio happen. _ _ _ _
_ _ _ _ _ _ Let me show you a couple more examples because this is a really good technique for even more complex 7th arpeggios.
For example, how often do you play a C sharp minor 7 flat 5 arpeggio?
[B] Probably not very often, but that's because you don't know one.
Or at least I didn't until [Em] _
I [B] learned this very simple shape.
It's B and C [C#] sharp, [Em] then E and G.
That's it.
That's all you have to know. _ _
And then just put that in the octaves.
Up an octave starting on B.
Up an octave starting on B.
_ Same shape every [C#] time.
_ Then just experiment with it to try to find hammer-on and pull-off sequences that allow you to go between the positions. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ By coincidence, [G#] this [A] arpeggio to me sounds really good over an A7 chord as well.
It's sort of a chord substitution.
The jazz people can explain it to you better than I can.
But it sounds nice over this chord.
_ _ [C#] _ _ _
_ _ _ _ _ _ [E] You can even add the [A] A, the root of the chord, into the arpeggio by [C#m] sliding [Em] into your original [Am] shape.
I do A, slide up to the B, and then I've [C#m] got my original [A] shape. _
And I can do that each time.
Here's the A.
Here's the A.
_ _ _ _ _ That's a nice sounding arpeggio.
_ [C#] _ _ _ _ [N] _ _ [Em] _
_ _ [N] _ _ It really allows you to travel over the fretboard _ in new ways that you might not have found before.
And they're pretty easy to visualize because they're all the same.
You can even do something as simple as a bend. _
And do that in different octaves.
This is again using the octave idea _ to expand your playing.
Those are all B going up to C, a half-step bend. _
Or _ _ _ add a little [D] phrase to it. _
_ _ _ _ _ _ _ _
_ Any lick you have, you can do in different [F] octaves. _ _
_ _ _ [D] You could do a cool phrase like this. _
_ _ [D#] _ [D] _ _ [E] _ [C#] _ [Dm] _
There's so many different ways of using octaves to get over the fretboard. _ _
[G#m] Three note per string scales work that [G] way as well. _ _ _ _
_ _ _ _ [E] _ [Dm] _ _ [E] _
So I [A] recommend learning _ [G] those octaves and suddenly the world of arpeggios [D] will _ come flying open and you can enjoy them and rock and roll. _ _ _ _ _ _ _