Lightbulb!

In the words of Gru (Despicable Me) LIGHTBULB!

Not majorly important for most of you guys as you'll already know it! I've just realised that arpeggios are not something to learn on top of the major scale, they are just notes within it... G major 7 arp = 1 3 5 7 notes of the G major... Oh my god I am so stupid, I cannot believe I never looked at intervals and chord structures this way before! shock:

Cool!

That is a big revelation.

Notice a Pattern here?

G B D F#

A C E G

B D F# A

C E G B

D F# A C

E G B D

F# A C E

G B D F#

That's fine until you have accidentals, in which case your arpeggio is no longer made up of notes within the scale of the key.

To most people, arpeggios are chords played one note at a time.

On the other hand, making chords out of the notes of a scale and back again is pretty useful stuff, and a good place to start.

Serendipity. Those are the moments that stick. Good on you, keep pushing.

Cool!

That is a big revelation.

Notice a Pattern here?

G B D F#

A C E G

B D F# A

C E G B

D F# A C

E G B D

F# A C E

G B D F#

I thought I did at first... But no lol... I'm too slow :shock:

Unless that is all the maj7 arpeggios...

... All the maj7 arpeggios for each of the notes that find themselves in the G major scale...

... F# being the only sharp note, hence it's key signature of one sharp + and the relative minor key of E! (circle of fifths is kickin' in)!

Oh and with regards to the pattern, yeah I see it now :razz:

That's fine until you have accidentals, in which case your arpeggio is no longer made up of notes within the scale of the .

huh?

I thought I did at first... But no lol... I'm too slow :shock:

Unless that is all the maj7 arpeggios...

... All the maj7 arpeggios for each of the notes that find themselves in the G major scale...

... F# being the only sharp note, hence it's key signature of one sharp + and the relative minor key of E! (circle of fifths is kickin' in)!

Oh and with regards to the pattern, yeah I see it now :razz:

Don't overthink it. It's the G major scale, harmonized.

Arpeggios are one of the keys to opening up the fretboard...seeing chords as pools of notes and not boxed in shapes is crucial...it's also important for anyone who wants the content of their solos to reflect the harmony underneath...

Many guitar players say "play this scale OVER this chord." With arpeggios, you see the notes ARE the chord...

huh?

Just what I said. As soon as you have an accidental (the F# in G major is not an accidental), and it's used in the harmony of the piece, you no longer have a situation where every note of every chord is contained in the scale of the key of the piece.

Let's see an example...

Sometimes in blues pieces, there's a transition that's not directly IV to V, it's IV to IVdim to V. The root of that diminished chord is not in the scale of the key. So that diminished chord cannot be made strictly from the notes of the scale of the key. If you played that diminished arpeggio, the tonic note of that chord is not in the scale of the key.

Thorpey, those aren't all maj7 arpeggios. G B D F# is. A C E G is not -- it's a min7. In a major scale/key, the I has a major 7, and the IV has a major 7, but not the other notes. You're right on about the signature and circle of fifths.

Just what I said. As soon as you have an accidental (the F# in G major is not an accidental), and it's used in the harmony of the piece, you no longer have a situation where every note of every chord is contained in the scale of the key of the piece.

Let's see an example...

Sometimes in blues pieces, there's a transition that's not directly IV to V, it's IV to IVdim to V. The root of that diminished chord is not in the scale of the key. So that diminished chord cannot be made strictly from the notes of the scale of the key. If you played that diminished arpeggio, the tonic note of that chord is not in the scale of the key.

Thorpey, those aren't all maj7 arpeggios. G B D F# is. A C E G is not -- it's a min7. In a major scale/key, the I has a major 7, and the IV has a major 7, but not the other notes. You're right on about the signature and circle of fifths.

Oh, I got you...

Just what I said. As soon as you have an accidental (the F# in G major is not an accidental), and it's used in the harmony of the piece, you no longer have a situation where every note of every chord is contained in the scale of the key of the piece.

Let's see an example...

Sometimes in blues pieces, there's a transition that's not directly IV to V, it's IV to IVdim to V. The root of that diminished chord is not in the scale of the key. So that diminished chord cannot be made strictly from the notes of the scale of the key. If you played that diminished arpeggio, the tonic note of that chord is not in the scale of the key.

Thorpey, those aren't all maj7 arpeggios. G B D F# is. A C E G is not -- it's a min7. In a major scale/key, the I has a major 7, and the IV has a major 7, but not the other notes. You're right on about the signature and circle of fifths.

Wait a second. The root of the IVdim is the 4th degree of scale of the key. You probably meant to say "...IV, #ivdim, V..." then the rest of your statement makes more sense.

Raiding my thread with in depth theory when my lightbulb started from pure neanderthal theory :mrgreen:

You're right. Darned fingers!

It should be #ivdim.