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All arpeggios come from scales and the chords they produce. You can use a Cmaj7 arpeggio over a Cmaj chord to really outline the sound. Try to find some of these arpeggios within the basic scales. For example the C major scale contains the following arpeggios

Cmaj triad, Cmaj7, Dm triad, Em triad, Am triad, Fmaj triad, B diminished, Gmaj triad, Fmaj7, Am7, Bm7b5, Em7 etc

You can mix these together to make some really melodic passages. One advantage of using arpeggios is that you automatically start using wider intervals and chord tones forcing you to break away from merely playing up and down the scales. Arpeggios are you best friend when it comes to jazz playing as it is often to confusing to play over chord changes with a scalar approach.

Arpeggio substitution

So far we have talked about playing the arpeggio over its relative chord. For example playing a Cmaj7 arpeggio over a Cmaj7 chord. We can create some much more interesting sounds by playing different arpeggios over other chords from within the scale. A good example would be playing an Em7 arpeggio over a Cmaj7 chord. This gives us a Cmaj9 sound as the Em7 arpeggio contains the third, fifth, seventh and ninth notes of a Cmaj chord.

You can really get some interesting sounds using this technique. Another common example would be using a relative major arpeggio over a minor chord. An example of this would be playing a Cmaj7 arpeggio over an Am7 chord giving us an Am9 sound. This is because the Cmaj7 arpeggio contains the minor third, fifth, minor seventh and ninth note of an Am chord.

All these arpeggios can be played in any order. Try using different sequences to really get the sounds underneath your fingers. For example try playing the Major 7 arpeggio 1,5,3,7 etc. Come up with your own patterns. Experiment with this technique and see how far you can take it

The table below provides a quick overview of all the main arpeggios and how they are constructed.

Major triad arpeggios

A Major triad is made up of only three notes. The intervals are

1, 3, 5

In the key of C this would translate as

C, E, G

Although they are very simple harmonically, these arpeggios can be used to create some far more interesting sounds using a technique known as arpeggio substitution.

Using arpeggios in your solos will force you to break away from scale type passages and create much more interesting lines with wider intervals. Jazz players have used arpeggios extensively for many years to navigate through difficult chord passages. Using arpeggios is one easy way to outline the underlying chords and harmony in a song.

Practice playing through Triad arpeggios in all keys and in different positions across the neck. Once you are comfortable with this then you can try combining several Triad arpeggios together to create longer passages e.g. CMaj Triads and FMaj Triads.

Minor 7 arpeggios

The minor 7 arpeggio has four notes. Its is basically a minor triad arpeggio with an added minor seventh note. It can be made from the intervals

1, b3, 5, b7

In the key of C this would translate as

C, Eb, G, Bb

The obvious use for minor 7 arpeggios is in playing over minor 7 chords but try playing them over different chords from the Aeolian scale to get some more interesting effects.

Dominant 7 arpeggios

The dominant 7 arpeggio is a four note structure which is used to outline a dominant 7 chord. It has the intervals

1, 3, 5, b7

In the key of C this would translate as

C, E, G, Bb

Diminished arpeggios

Diminished triads have a really dark and classical sound to them. The intervals are

1, b3, b5, 6

In the key of C this would translate as

C, Eb, Gb, A

If you’ve ever listened to anything by Swedish guitar virtuoso Yngwie Malmsteen then you will have a pretty good idea what this scale sounds like. It also crops up frequently in classical music.

Lets look at the chords of the harmonic minor scale. We can see that they are more interesting and unusual than the standard major scale chords. Note the more harmonically rich augmented and diminished type sounds.

The Harmonic minor scale

The harmonic minor scale is a really nice scale with some interesting and exotic modes. You don’t often hear about the other modes of this scale but the harmonic minor and phrygian dominant modes are quite common in classical and rock music. The harmonic minor scale is made up of the intervals

1, 2, b3, 4, 5, b6, 7

In the key of C this translates as

C, D, Eb, F, G, Ab, B

Make sure you learn the chords of this scale as they can be really useful when composing

The chords of the C harmonic minor scale are

Cmin/maj7, Dm7b5, Ebmaj7#5, Fm7, G7b9, Abmaj7, Bdim7

The Locrian natural 6 mode

This dark sounding second mode is made up of the intervals

1, b2, b3, 4, b5, 6, b7

In the key of C this translates as

C, Db, Eb, F, Gb, A, Bb

The Ionian #5 mode

The third mode of the harmonic minor scale is a really nice augmented type sound for playing over Maj7#5 chords and is made up of the intervals

1, 2, 3, 4, #5, 6, 7

In the key of C this translates as

C, D, E, F, G#, A, B

The Dorian #4 mode

The fourth mode of the harmonic minor is made up of the intervals

1, 2, b3, #4, 5 ,6, b7

In the key of C this translates as

C, D, Eb, F#, G, A, Bb

The Phrygian dominant mode

The phrygian dominant mode is a really useful scale for playing over dominant chords particularly a 7b9 chord. It has a really nice exotic sound and it is made up of the intervals

1, b2, 3, 4, 5, b6, b7

In the key of C this translates as

C, Db, E, F, G, Ab, Bb

The Lydian #2 mode

This a really interesting and dreamy sounding mode which is best used over a vamp to really bring out the sound. It can be used over maj7 chords and is made up of the intervals

1, #2, 3, #4, 5, 6, 7

In the key of C this translates as

C, D#, E, F#, G, A, B

The Locrian bb7 mode

This dark sounding mode is very unusual and not used very often. It is made up of the intervals

1, b2, b3, 4, b5, b6, bb7

In the key of C this translates as

C, Db, Eb F, Gb, Ab, A

See if you can make use of these unusual scales. The first and fifth modes of this scale are really useful to know and the other modes can be used to create some interesting sounds for those of you willing to experiment with them. Have fun and good luck.

Once you have mastered these sequences you can apply them to other scales and really open up your practice. Not only will these exercises improve your ears they will provide a serious technical workout.

Exercise 1: 3rds

Exercise 1 is the C major scale played in thirds. All of the following examples are in the key of C major. Thirds are a very common interval so take your time and get to know the sound of them.

Exercise 2: 4ths

The interval of a fourth can be tricky to play on guitar mainly because of the way they sit on the fretboard. Persevere with this exercise because 4ths have a very interesting modern sound to them.

Exercise 3: 5ths

This exercise uses the interval of a fifth to ascend the major scale.

Exercise 4: 6ths

Sixths have a really country sound to them. As you can see the intervals are getting quite large now. Feel free to use hybrid picking if needed to help you with the string skipping.

Exercise 5: 7ths

Much like the previous exercise you may want to use hybrid pickinghere to facilitate the string skips.

Exercise 6: Triad arpeggios

In this final exercise we take these ideas on step further and sequence triad arpeggios through the major scale. This is a really useful exercise that will help you learn the arpeggios and chords within this scale.

I hope you enjoyed this lesson and that it can make your scale practice more interesting. Don’t be afraid to apply these sequences to other scales to really challenge yourself.

An important step in understanding modes is to realize what chord the mode applies to. It is the underlying chord that creates the sound of the mode itself. Therefore you must make sure you fully understand what chords each mode is related to.

Okay let’s get started. The first thing you need to know are the chords of the major scale. Each mode is related to a chord. The chords of the major scale in the key of C are

Practice playing these chords as they will help you hear how these modes are supposed to sound

Below we can see the first position of the C major scale. Play through it slowly to get used to the sound.

Once you have a strong understand of the Major Scale you can begin to explore the modes contained within it. Perhaps one of the most confusing things about learning the modes is understanding that each one is a totally unique scale with its own sound and purpose. The best way to get to know these sounds is to play the scales over a simple static vamp

It is important to learn the scales across the entire neck of the guitar and in every key. This can be achieved by breaking down the scales into several smaller positions across the neck and then gradually piecing them together bit by bit. Practice each one individually and then start creating movement between the patterns. Gradually as you repeat these shapes often enough you should begin to see how the positions lock together allowing you to move freely across the neck of the guitar. Don’t be afraid to break the patterns down into even smaller sections and practice connecting these as many finger patterns will repeat across the neck of the guitar. Make sure you improvise and play around with these patterns and you will soon see that they are nowhere near as daunting as you may have first thought. The key is having all the shapes deeply ingrained into your memory. Once you being to see the logic of Modes they are not all that complex.

Try to play these scales using different interval sequences to make them more interesting. The example below shows the G major scale played in thirds.

Guitar players are very lucky in that they only need to learn one set of shapes for the seven modes meaning that once you understand the Major scale you already have the rest of the modes sitting under you fingers. You just need to understand how they are used.

Practice all these scales slowly, in different rhythmic groupings and in all keys across the neck. With enough practice these sounds will quickly become second nature. Start slowly and absorb the information bit by bit, breaking things down into easier parts if necessary. There is an awful lot of information here but patience and persistence is a virtue with these kinds of things.

Okay here we will look at each mode in more detail. Remember to try practicing these scales in other keys. Transposing is easy on guitar as all the shapes are the same in every key.

Ionian mode

The major scale is also referred to as the Ionian mode. The Ionian mode is the first mode of the major scale. It is made up of the following intervals

1, 2, 3, 4, 5, 6, 7

In the Key of C this would translate as

C, D, E, F, G, A, B

The scale has a major third and a natural fourth. If we played the C major scale on piano it would be all the white keys.

G major scale (position 1)

The fourth note of this scale can sound dissonant over a major chord and consequently we often refer to the fourth note as an avoid note. One way around this is to use the Lydian mode over the Maj7 chord.

Dorian mode

The Dorian mode is the second mode of the major scale and perhaps one of the most used modes. It is a natural minor scale with a raised sixth note. Although it contains the notes as the C major scale it is clearly has a very different sound when played over a Dm7 chord. It has a minor third, minor seventh and a natural sixth.

The Dorian mode is made up of the following intervals

1, 2, b3, 4, 5, 6, b7

In the key of C this would translate as

D, E, F, G, A, B, C

G dorian scale (position 1)

Carlos Santana uses this scale all the time. You can also hear most jazz guitarists using it to play over min7 chords.

Phrygian mode

This is one of my favorite scales. It has a very dark and Spanish feel. It’s rich sound can be brought out when it is played over a sus4(b9) chord. This dark sounding mode is built from the third note of the major scale and is often used in flamenco music.

The Phrygian mode is made up of the following intervals

1, b2, b3, 4, 5, b6, b7

G phrygian scale (position 1)

In the key of C this would translate as

C, Db, Eb, F, G, Ab, Bb

Flamenco guitarists like Paco De Lucia use this mode extensively. Think of spanish guitar and you should be able to imagine this sound.

Lydian mode

The Lydian mode is a much more interesting scale to play over major chords than the Ionian mode but may not always be appropriate. The sharp fourth is much more pleasant than the harsh natural fourth of the Ionian mode and subsequently there are no real avoid notes in this scale. Play this mode over a Cmaj7#11 vamp to get a feel for the sound

G Lydian scale (position 1)

The Lydian mode is typically played over the following chords

Maj7#11, Maj7, Maj9, Maj9#11

Mixolydian mode

The mixolydian mode is the fifth mode of the major scale and the only dominant mode that we have seen so far. It is the same as a major scale but with a flattened seventh note giving it is unique sound. It is used to play over dominant chords.

The mixolydian mode is made up of the following intervals

1, 2, 3, 4, 5, 6, b7

G Mixolydian scale (position 1)

In the Key of C this would translate as

C, D, E, F, G, A. Bb

Listen to Deep Purple guitarist Steve Morse to hear this scale in action.

Aeolian mode

The Aeolian mode is commonly referred to as the natural minor scale. It is the sixth mode of the major scale and is the most commonly used minor sound.

It is made up of the following intervals

1, 2, b3, 4, 5, b6, b7

In the Key of C this would translate as

C, D, Eb, F, G, Ab. Bb

G Aeolian scale (position 1)

Locrian mode

The Locrian mode is an unusual and sinister sounding scale. It is not used that often except for when dealing with m7b5 chords and it has a distinctly diminished sound to it. The dark sound of this scale lends itself well to metal and heavy music.

G Locrian scale (position 1)

It is made up of the following intervals

1, b2, b3, 4, b5, b6, b7

In the Key of C this would translate as

C, Db, Eb, F, Gb, Ab, Bb

Metallica guitarist Kirk Hammett uses this scales dark sound to create some really heavy riffs.

I hope you enjoyed this lesson on the modes of the major scale.

We create a drop 2 voicing by dropping the second voice down to the bottom of the chord. For example a C major seven chord has the notes C, E, G, B. We can drop the G down to the bottom of the chord to give a voicing of G, C, E, B.

We have three sets of voicing for each chord type. There are chord shapes for the low, mid and high strings. It is important to learn all three types so that you can call on them when required. Try playing some simple chord progressions and see if you can switch between the chord shapes in different parts of the fretboard.

F7 chord shapes

These are the dominant 7 drop 2 voicings. A dominant 7th chord has the intervals 1, 3, 5, b7.

F major 7th chord shapes

These are the major 7 drop 2 voicings. A major 7th chord has the intervals 1, 3, 5, 7.

F minor 7 chord shapes

These are the minor 7 drop 2 voicings. A minor 7th chord has the intervals 1, b3, 5, b7.

I hope you enjoyed this lesson on drop 2 chord voicings. They are essential learning for all guitarists and learning them all should be at the top of your to do list.

Because of the symmetrical nature of the scale it only has two real positions on the guitar neck making it very easy to learn and remember. The nature of the scale lends itself to licks based on repeating patterns.

The most common use for the scale is in playing over altered dominant chords. The scale is made up of the following intervals

1, 2, 3, #4, #5, b7

In the key of C this would translate as

C, D, E, F#, G#, Bb

Because of the symmetrical nature of this scale it translates really well onto the fretboard meaning you should be able to learn the sound of this one pretty quickly.

The whole tone scale

Exercise 1

Typically it would be used over altered dominant chords to create an altered sound or over augmented chords. Within this scale we can see an augmented arpeggio. Seeing smaller sub structures within scales like this can create some really interesting lines. Luckily for guitarists this is a really easy scale to get the hang of due to its symmetrical nature. The pattern for this scale repeats itself across the neck. Use this scale when you want to create some really exotic sounding lines.

Exercise 2

Exercise 3

In exercise 3 we can see the augmented arpeggio in action in this repeating sequence. The whole tone scale is ideal for licks like this using repeating patterns.

Try coming up with your own sequences. Thats it for this lesson. Have fun with this unusual scale.

These chords are probably one of the best things to learn when you start playing guitar. They form the basis of hundreds of songs and knowing these chords will let you play real music.

Try to get a feel for each chord shape and practice by just strumming it slowly and carefully, trying to get a good sound out of the guitar. Once you manage to get comfortable with these chords you can start switching between one or two of them to form a chord progression. Many popular songs written for guitar can be played with only a few of these simple chord shapes.

Let’s have a look at some simple progressions to practice. Play these slowly and in time making sure to move smoothly between the different chords. Make sure you play these in time. You can try counting 1, 2, 3, 4 as you play if it helps you keep in time.

Guitar Chord Progression 1

C | Am | C | G

Guitar Chord Progression 2

Em | Am | C | B7

Once you have learnt these shapes you are well on your way to becoming a guitar player. You can really start having fun by coming up with your own progressions and learning some simple popular songs. I hope you enjoyed this introduction to the world of guitar playing.

“How are chords constructed?”

Understanding how chords are put together is not as difficult as you may imagine.

Triad chords

The first thing to understand when learning chord theory are triad chords. Triads, as the name implies are made up from just three notes and they form the basic structures on which all other chords are based. Triad chords are based on thirds and there are two types of third interval

Major third: 4 half steps (4 frets)

Minor third: 3 Half steps (3 frets)

There are three basic triads which are major, minor and diminished

We shall start our lesson on triads by looking at how chords for the C major scale are constructed. The notes of this scale are

C D E F G A B

To create our first triad chord starting from C we stack two thirds on top of the C note. So we have

C E G

1 3 5

The distance from C to E is 4 frets so that interval is a major third interval and from E to G is three frets so it is a minor third. This chord is a C major triad. All major triads have three notes and follow the same formula of Root, major third, major fifth or 1, 3, 5.

Now we will construct a chord starting from the D note of the major scale. D is the root and if we go up to the third note we get to F and if we go up a third again we get to A. So our chord starting on D has the notes

D F A

1 b3 5

The distance from D to F is three frets so it is a minor third interval and the distance from F to A is a major third or four frets. This is a minor triad. All minor triads have the same interval structure. Root, minor third, major fifth or 1, b3, 5.

We will skip forward now to the B note of the C Major scale and construct our next chord. Again using the same ideas starting at B we get B, D. F. This gives us a dark sounding diminished triad with the intervals

B D F

1 b3 b5

All diminished triads have this interval structure Root, minor third, minor fifth or 1, b3, b5.

We have now covered all the different triad types. Below we have a table showing all the chords from the C Major scale