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Patterns in Thress, Week Two

This lesson is part of the course Weekly Guitar Workout with Scott Nygaard.
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This series of exercises will help guitarists learn the fingerboard and expand their knowledge of chord and scale theory, with handy tips on picking and fretting techniques that will improve their sound. Includes 100 workouts.
 
 
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FOUR-NOTE ARPEGGIOS 
 
This series of workouts consists of four-note arpeggios based on the harmonized major scale. You'll move through a series of arpeggios starting on each note of the major scale, in this case all in the key of G. So, for example, the first arpeggio starts on G, moves up a third to B, up another third to D, and up another third to F#, creating a Gmaj7 arpeggio in the process. The second arpeggio starts on A, moves up a third to C, up another third to E, and up another third to G, for an Am7 arpeggio. Notice that all the notes are in the key of G, so you'll get the four-note arpeggios that correspond to the harmonized major scale: Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, and F#m7b5. Once you get to the top string, you'll move downward in thirds once again, but this time the arpeggios start on the seventh of the chord formed by the arpeggio. So, for example, the arpeggio starting on G moves down a third to E, down another third to C, and down another third to A, giving you an Am7 arpeggio that begins on the seventh (G) and moves downward to the root (A).
 
 
 
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PATTERNS IN THREES   
 
PATTERNS IN THREES   
 
Patterns in Thress, Week Two
Patterns in Thress, Week Two
 
Since triads consist of three notes, they’re good things to use to create three-note patterns. Example 1 of Week Two’s workout begins with some cascading three-note arpeggios in the key of G in open position. Starting at the G at the third fret on the high E string, you play a series of triads that move down the scale systematically, beginning each triad arpeggio with the next lowest note in the scale. Example 2 is a bit like Example 1 of Week One, but substituting triadic arpeggios for scale fragments. So it starts by moving upward through a G triad (G, B, D) and then moving downward through an A minor triad (E, C, A), and then continuing up the scale with a triad built on each scale step. Example 3 also moves upward but with downward triad arpeggios starting on the fifth of the arpeggio. So D, B, G is followed by E, C, A, etc.

  Patterns in Threes: Week Two (Available to subscribers)
 
 
 
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    ● Courses
    ● Live Workshops
    ● Instructors
    ● Sample Lessons
    ● Notation Guide
    ● For Beginners
 
 
    ● Vintage Vault
    ● New Gear
    ● Fine Lutherie
 
 
    ● Workshops
    ● Advice
    ● Repertoire
 
 
    ● Recordings
    ● Events
    ● Breaking News
 
 
    ● In The Studio
    ● Live Onstage
    ● Backroom
 
 
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    ● Inside Look
    ● Performances
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