UNLOCK the Fretboard with Shapes Video Lecture | Guitar: Become a Pro (English) - Music

some things were just meant to go
together peanut butter and jelly challah
notes Rob Thomas fans and poor taste and
also arpeggios and cording so today
we're just going to learn one arpeggio
two chord voicings and link them
together to work our way through the
fret board and it's going to sound like
this so if that's seem difficult it's
really not and we're going to go over
some of the shapes that kind of make
that possible so the first one is really
a very simple D minor arpeggio and it's
not even a I mean you can think of it as
a piece of a scale or an arpeggio it
doesn't really matter we're starting how
to D which is the fifth fret of the a
string now we're taking the first three
notes of the D minor scale so five
a-seven a-eight which is a D and E and a
half then we're gonna add the fifth
right here which is an A and then we're
gonna go down a string to the active and
play the same note so we played the
first three one two three right except
we're gonna play them out of order we're
gonna go one three two so one two three
five one three two okay
and now the fingering doesn't really
matter in fact how you kind of phrase
these with which fingers you use kind of
has a big impact on the sound so the way
I kind of do it most of the time is I'll
start with my pointer finger and I'll
hammer down to that second note and then
I'll slide one right so because that
brings my middle finger in line with the
fifth so I've got five seven eight down
a string and then I can go straight down
slide to that third
note after the active and that lines my
pointer finger up to grab the second
note in the scale right so we got okay
one more time and the cool thing is so
when I'm picking I'm just playing a
finger style you can use a fake of the
exact same thing I've got a hammer on
and a slide so I'm just picking one
string I'm taking the D string and then
I'm taking the g string and just going
slide pull off so you can do it fast
because only one pick per string right
pink pink alright and if you just drill
it a few times you'll get really faceted
and you can do this over a couple
different minor chords right now the
next thing we're gonna do is we're gonna
attach this to a chord voicing this is
going to be a g7 a dominant seven chord
voicing your middle finger is going to
be on 3a your pointer fingers gonna be
on 3 e your pointer fingers you to be on
to a your ring finger is gonna be on 3d
and your pinkie is gonna be on four G so
it's a four string voicing right now I
know this is a g7 because I have the G
its major third via its dominant seven
the flat 7 right there and an octave B
so I'm implying the fifth there's no D
in this corner and the more important
thing about this chord is it exposes the
key MN as being in the key of C because
a seven chord can only technically exist
in kiya as the five chord so I have a D
minor to a g7 so the progression would
be in the key of C it D would be 2 I
have a 2 to a 5 right and all we're
going to do is after we do the the
arpeggio minor scale around or however
you want to look at it
we're gonna go to this voicing we're
gonna play a one note at a time instead
of playing it all together I'm just kind
of going I'm switching it every time to
kind of keep it fresh I'm going to Edie
a beachy right and if you want more of a
burst feel if you want those notes to
blend together just kind of mute the
metric here so all right so all the
other we have right and now we're going
to do is we're going to connect this
with another voicing of the exact same
chord we're gonna go all the way up here
to the spire chord a dominant 7 voicing
now my root note is still a G 10 a gonna
make a power chord right there so 12 D
I'm gonna bar this so it's 10 G and then
12 B but what I really want to grab to
kind of open it up a little bit is I'm
gonna take that root note away and I'm
just gonna do that with these three
notes here so I arrived at this voicing
thinking of a g7 but I kind of like the
sound of this better even though it's
kind of changing the chord really what
I'm left with is a B half diminished I
don't even have to think of that I'm
thinking of a chord voicing I might be
more familiar with and I'm connecting it
here and now I'm going to slide back the
illusion of movement is something that's
important especially when you're
switching between chord voicings so if
you have a hard time kind of going from
this voicing
- this one just kind of drill them back
and forth and eventually your fingers
are just going to kind of find the
commonalities between them for instance
right here the thing that I think of in
helping me get from here to here is that
my ring finger can walk the entire way
down the d-string right so in this
voicing my ring finger is on 3d and this
one is a being on 12 D so this is kind
of I can track this core along with my
ring finger now I'm exaggerating it just
to kind of show how it gets it gets
there eventually you probably want to be
a little more efficient with your
fingers like my fingers aren't really
leaving the string they're just kind of
gathering around here so a good practice
thing you need to do is go from here to
here and back alright and that's a good
way to kind of train maybe your hand to
get into different voicings from
previous ones right so what we're gonna
do all together now is we're gonna have
the D arpeggio into the first voicing
and I'm gonna get into this voicing and
I'm just gonna maybe hit the D string
I'm just gonna play around in it that's
the beautiful thing about chord voicings
is you don't have to make them sound
like a chord you know a shape and the
shape is giving you the notes but you
can pick the notes you can kind of just
hit him I kind of slide them back
there's a lot of different ways chord
voicings aren't just for playing them as
chords is kind of like the important
thing to take away from here right so
eventually it all kind of coalesce into
maybe more of like a lead thing just
kind of an interesting way to use one
scale and one chord to different
voicings to kind of come up with what I
think is kind of like a cool little jam
type thing right so we got the Dean
the g7 back to the scale and then maybe
a just stay here I go here and then
maybe right there it's just something
different it's just really it's not
about learning one specific thing it's
just about kind of having available
options to you so what I did at the end
there is just now I know that I just
came from this note so why not just kind
of do a little flourish there I also
know that since we're in the key of C
the all the open strings are there to
help you which means all the open
strings here would be a fair game
they're all in that key right so I'm
just kind of taking my ring finger
hitting the octave bar the 12th fret and
just kind of moving to backwards to kind
of make like a sound to get you to the
next place right so so basically just a
couple different ideas now the last
thing I want to say about this arpeggio
since we're in the key of C D is the two
right so we're not really using the D
minor scale technically we're using the
D Dorian scale but as far as the notes
we're using the 1 the 2 the 3 the flat
for you and five dorian a minor of the
exact same thing but the reason that's
kind of important is because I can only
really technically do this move and stay
in a key on either the 2 chord or the 6
chord which in any key the minor chords
are 2 3 & 6 now if I were to do this on
the 3 if I wanted to start with an E
right we can kind of repeat this shape
anywhere for any kind of minor chord if
I did it on an E like an E minor
what I'm tanking it could sound good and
you might want to keep it but what I'm
doing here is I'm getting an e I'm going
right to a G and then F sharp so that
have sharp isn't in the key whatever you
know what I mean you learn a couple
shapes
if you hit a note that's out of the key
sometimes it could sound even better but
basically the main takeaway is just to
learn a few voicings kind of play around
in those voicings attach them to our
pezzi O's and scales that you know and
eventually you can kind of incorporate
them in your lead playing or just make
your playing more interesting