Learning the Fretboard with Arpeggios: Seventh Chords Video Lecture | The Ultimate Guitar Course: From Beginner to Advanced - Class 6

back with more arpeggios for friends I'm
Shawn Daniel I'm Justin Mitchell and
today we're gonna dive into seven chords
that's very specifically a major and
minor seven chords so I'm gonna playing
some chord voicings and he's gonna be
our pesha ting all over this right all
over and now we're going to show you how
you can add and they're really you know
the major set major seven is probably my
favorite interval it's it's beautiful
any time I get a chance like I like it's
my spirit chord yeah yes yeah right
major seven yeah and if we're really
gonna talk about arpeggios and in you
know I believe usually the major seven
is typically the five of that minor
relative minor chord okay you know so as
you're playing like you're seven you it
it fits perfectly into yeah into it so
I'm just gonna play what are we gonna
play I'm gonna play D minor seven to C
major so okay so I get four in the key
of C this would be like a two one two
one having a little higher I need so I'm
gonna play I'm here and back alright
so there you go so this is just going to
be kind of like a couple positions as
you can use and you know surprise use
with friends because we have our cheese
plate out Stella and honestly I thought
that we would kind of compare different
arpeggios to different types of Jesus oh
man I am yeah we have two right so we've
got a we have cheddar which is a major
chord man I'd be a major triad yeah mac
and cheese and cheddar you know I guess
right major as it gets and then I guess
the opposite of cheddar would probably
Swiss right so those would be minor yeah
major seven would be why what do we have
you like smoked gouda
I feel like this smoked gouda right here
is major setup over what else we have
here we've got a yeah well what is this
I think it's a blue cheese or don't eat
it it could be Marvel no it's cheese no
I have definitely two different cheese
so this is half diminished minor seven
five five or full diminish I hate blue
cheese I don't know what would like
American cheese beer oh man that's hard
cuz American cheese could be minor maybe
like a major no those would be like
Dixie Chicks power chords yes yeah so
yeah I don't like Luigi's yeah which is
gross no ma'am anyways we're gonna get
into what let's do major seven first
right it's my favorite listen you know
and first before we're gonna rule out
using a string right that's right but
first I want to do one thing where we
just look at a chord voicing that is an
arpeggio and that's the one that I was
using earlier on the C majors have right
so if you like your sister staircase the
root note is whatever in the D string is
right this is the C this is an octave C
6ug
and then staircase it down a string back
of front so this is one of the few
instances on a guitar where he in
perfect order from string to string kind
of goes and it's a great illustration of
a 1 a 3 and 5 and a major 7 so you get
arpeggiator so that's just a chord
voicing that can double as an arpeggio
most of the time you have to like share
like a string shares like two notes
maybe three notes mm-hmm
so Jessica please educate us on perhaps
an a string rooted well first we'll
briefly cover something that we did in
the in the last video so we're just
gonna make the plain old major shape and
since we're doing see we're doing D
minor to C major so I'll just start on
the third fret of the a string and I'm
gonna make you guys do that big pinkie
reach yeah jump that's right three seven
right so then we're gonna do the role
that we talked about with our middle
finger here and actually all of the next
three notes are on the same fret this
fifth fret right here so it's three
seven switch to the D string five switch
to the g string also five switch to the
B string five again you guessed it and
then right here is where we're gonna
finish for now which is the third fret
of the high E so again it's so you'll
notice that I roll this direction but
usually when I come back I only use my
middle finger for these two and then I
allow my index finger to catch they're
on the fifth fret of the D string which
would be the 5 and then pinky on the 3
back to the 1 so
all right just a basic shape so what
makes a major seven chord well you've
won three and five unless you got a
major triad and then the major seven is
seven from the major scale see you would
be a beat right that's right now a quick
tip by the way if you ever want to find
the seventh note in any scale in any key
it's way easier to count backwards but
it is so much they say if it's like safe
secure not that familiar with right huh
they say you don't really play in the
key of F that's right and so every like
okay F whole step G whole step a so on
and so forth just go back to the note
before after it hears that right half
the major seven will always be one half
step below right behind in the minor
seven which would be the flat seven of
course in that and will be one whole
step that's why I think a lot of people
kind of get like stuck you know always
thinking a spot and going forward like a
linear way of learning because we use
numbers a lot in music that's right and
that's how we're kind of taught to count
right but really music even though it
uses numbers and letters and stuff it's
not a thing it's like a circle that goes
forward and back yeah exactly so good
habit to get into to be able to go for
him back to the arpeggios but also think
of what's behind the root note yeah yeah
just what's ahead of it especially once
we begin to connect shapes because the
the goal is to inspire your creativity
so that you see these patterns
everywhere and you you have no limits
and you can just explore and that that's
the goal so to continue here we have the
C major so one three five instead of
rolling to this game we're knees our
index finger right here on the fourth
fret of the g string to hit the beat
right and that's the major seven and see
if you if you did the previous video and
you're here you probably got that on
your under your belt pretty easily so
we're just gonna move on to add the the
major three here right which is the
fifth fret of the B string so here be
here right yeah let's all reach four so
you're gonna do another jump or step to
the seventh fret of the high e so we
have and so I'm when I play things like
this I I like to think in in triplets
because of these shapes are so triplet
friendly so it's you know kind of
awesome like go three notes at a time
back you know and then up right right
like so one two three one zero see it in
your mind's eye first
that's right then how you manipulate it
is this up to what you know your style
what kind of thing you're going for yeah
and if you're a little more advanced in
in your you know kind of kind of bored
by this you can always try string
skipping you could try doing like the
first three notes here
you know so you're just skipping your
going forward half and back the other
half or you can just you know skip all
over the place you can do every other
note yeah I mean I personally I think
that's probably best way to like learn
like to really get inside an arpeggio oh
yeah cuz I think that the danger or you
know something that's interesting about
learning arpeggios is you start with the
root note and then the shape forms from
that right I think when you skip you
have a better picture of the whole thing
yeah well then let's go over that let's
do it yeah so basically we're gonna
start here at this C and you know the
next note is them in there and the
destructured arpeggio and this three
we're gonna go to the five instead so
we're gonna go right so from the third
fret on the a string to the D string
fifth fret then we're gonna come back to
what would have been the second note in
the structured arpeggio which is a major
third and then since we're doing jazzy
chords we're gonna go to the major
seventh right and so you know as an
exercise I I'll give you that first half
and then you know just explore the the
second half skipping strings and things
so so skipping intervals in arpeggio to
me is the best way to learn to really
solidly see it in your mind's eye right
because otherwise it is just kind of
muscle memory but once you start doing
that as soon as you start skipping then
it's like okay I really really get from
the right and you can do that with
either the pick or with a pick in your
middle finger so you can actually like
thing or you can like
you know using the instead of skipping
the string with my pick which you know
maybe not have the dexterity to do you
can always just pluck with your middle
finger it'll be just fine yeah so let's
do the mind one do so the the minor
shape we're going to use D so we're
gonna move up to the root note on the
fifth fret of the E string so we know
that for the minor chord we know that
this minor third is what we're gonna go
to next which is always one and a half
step away the minor third is always one
in half so I was waiting for you whole
step and a half step then the five which
is the seventh fret of the D string
and then because this is a minor chord
we cannot play a major seven interval we
have to play a flat seven interval have
to have two which is if we remember it
is will always one whole step away from
the tonic that's right exactly so we
have fifth fret eighth fret seventh fret
of the D string then we're gonna switch
to the g string fifth fret then we're
gonna hit the minor third on the B
string which is the sixth fret and then
right there at the fifth fret of the
high E and then I think that's what I
would pull up you could reach that's
quite a stretch so we'll just we'll
stick to here the eighth fret of the
high E right yeah which would be again
the I believe flat seven so that's just
a lesson in intervals right like they're
so important the way you stack these
kind of like how he was talking like if
you're playing a minor seven
you can't play a major seven again this
is busy you do whatever you can what
about you want Li but so it's like for
an example right so like we talked about
earlier my favourite interval is a major
step introduced we introduce my our
third it's like oh my god yeah we you
get into a harmonic minor territory and
that's where you can do like the you
know like
right ah it's uh definitely like a
flavor beam I want it oh yeah Lauren but
if you're looking for that beautiful
maj7 interval and you for that minor
third in there it's not sorely mistaken
that's right it's gonna be yeah so
anyways so we've got minor 7 arpeggio
right in major 7 arpeggio that's right
let's do it down to 7 our measure to a
dominant 7 arpeggio ok so because we are
doing let's see so we're doing a D minor
in a C major 7 so yeah we got to do a G
thomson 5 chord
alright as we talked about before
dominant 7th chords exist on the fifth
note that's right and so the e FG even
though I think that I may not
necessarily play this shape here I think
we're gonna stick to root on the a
string cool just to keep it simple so
which is also I think in just a bigger
music theory discussion how we just
talked about adding a minor 3rd to a
major seven interval it's kind of nasty
right adding a minor 7 to a major third
interval which is a dominant thing right
is actually a pleasing yeah right bluesy
yes might be the word yeah there's
tension in a much more a socially
acceptable way that's right I suppose
right so it's just like it just kind of
makes you think about intervals and like
how you approach them and stuff like
that tears right yeah and so when you
when you're playing lead and you're
using arpeggios to do so obviously when
you're in the moment you may not be
consciously thinking but you know you're
when especially when you're composing a
solo you're so fancy
you're trying to think about like where
your resolution is going to be until
you're creating consonants and you're
creating dissonance and you're moving to
and from chords and that's another thing
that you know playing with our pages
really helps you do is because you're
you're going to start thinking of this
is the chord I'm at now this is the
chord that's two chords away and this is
what's in between them how can I get
from this to this and still you know
acknowledge the chord that comes in
between especially when you're talking
about improvising improvising is mainly
what I'm talking about for sure yet yeah
so if you're just playing lead over
chords whatever and you know what the
chord progression is going up you can
use this as an opportunity really
absolutely
okay how many seven dominant seven so
we're going to start
with G alright so we have a the tenth
fret of the a-string make you much
easier to do the pinky reach here so for
the three the five is the twelfth fret
here so we have ten fourteen twelve on
the D string and then we're gonna go to
a flat seven interval which is the tenth
fret of the g string so already you can
hear the tradition and that creates so
you're just gonna follow it through the
same exact shape that we've been doing
with everything else there's the three
right yeah so we have twelfth fret of
the B string 10th fret of the high E
then the G there the 14th fret of the
high E so you know yeah last thing I
want you to do for me Jess sure what's
that I'll just take one root note yeah I
should play a major seven arpeggio minor
7 arpeggio dominant seven arpeggio off
the same root no problem so we'll do
with C so we have major seven minor and
then dominant yeah there we go so you
wanna hear some good arpeggio playing
check out this guy's sound oh yeah good
stuff on there there's even some stuff
that I'm guest playing that's right yeah
I'll link you below there'll be a lot
more you know what more to come to come
for sure ah yeah friends our page is a
friend episode - thank you