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Rock Guitar Lessons: Arpeggios - Minor Triad

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All right,
we've done the major triad arpeggio in the
last section.
Now, it's time for the minor.
And this is so easy, I love this because
all we have to do it to take
our major triad [NOISE] which you're
familiar with because you've practiced it.
And we have just had to change one note.
We take our third.
There is our third.
One, two, three.
And we are gonna make it minor.
Instead of major.
So, all we have to do is change the shape.
And we do that in each octave.
And the same octave down here, same shape.
There we go.
That's awesome.
Suddenly, we have a brand new arpeggio
with very little new learning to do.
That's what I like about this.
It's easy for the brain.
And especially when you play fast, how
quickly you can think about where those
notes are is just as important as, as to
how well, how good your technique is.
So, let's take a look at this.
In the last one, we, we practiced doing a
section at a time [NOISE].
And I think it's, it's worth doing that
with this one as well just to get used to
that new shape cause it's a little bigger
of a stretch.
Last time we only had to stretch three
This time we have to stretch four.
But we're pretty high up on the neck, so
this high up on the neck,
I think we can do it.
Same picking,
an upstroke, a pull off and a down.
Because this is a nice, strong triplet.
And, the thing again, to visualize,
is your pinky always is starting on the A
which is the fifth.
One, two, three, four, five.
And we're gonna find that same A note
an octave lower
And find the A note an octave lower again.
So, really, your, the targets for
your pinky are here.
You can even do that as an exercise.
Just to be able to visualize where those
As are located.
Cuz obviously we're doing string
skipping here.
If you're not used to these kind of
shapes, it's, it's really helpful to be
able to just go for just target notes
[SOUND] with your pinky.
I'm not concerned at all about how your
picking it down or up.
It doesn't matter this is pure
visualization technique.
Just going, I know where this A is.
[SOUND] I can find the next one.
[SOUND] And I know where this one is.
[SOUND] It just sort of, you know,
teaching your brain to find those As.
Once you do that you can almost lock your
hand into that triad shape.
[SOUND] Find the next A.
[SOUND] Find the next A.
[SOUND] And that's gonna give you [SOUND]
a nice D minor sound.
All right.
So, let's practice this and we're gonna go
Let's do it that tempo and stop.
One, two, three, four
That sounds good.
Keeping our picking with up, down
With that pull off in the middle.
Making sure your transitions are clean.
So much of this is about how you think
about it.
I don't think it's that challenging for
the fingers.
It's just really a matter of just being
able to do that jump.
[SOUND] And you have to know it's coming.
So, you have to get ready with your mind.
It's like okay pinky is here now, but it's
going there.
[SOUND] And once you're there, just do the
same pattern you've been doing.
[SOUND] But you have to know where you're
going to jump.
[SOUND] And it's right there.
[SOUND] So that's really the, the
challenge of this lick is finding that A
each time.
But with practice, it gets pretty easy.
All right.
Now, I wanna do the thing again where we
And then [SOUND] when we ascend, we're
gonna go back to the middle one.
[SOUND] But I'm gonna still play it as an
ascending lick.
[SOUND] Just because I'm so used to that
pattern, this is a good place to start.
And it sounds good.
Lets try this.
One, two, three, four.
And when I wanna make these triplets.
I'm doing at a 16th of a feel there so I'm
gonna go one, two, three, one, two, three.
Okay here we go.
Ad one, two, triplet, triplet.
They are some nice minor triads.
[SOUND] All right.
Let's try speeding them up a little bit.
One, two, three, four.
That's awesome.
Let's see if we even get them quicker.
Let's do
[MUSIC] Yeah. One, two, three, four.
That's a burning triad lick.
I can't resist.
I gotta put some distortion on that.
One, two, three, four.
All right.
That's fantastic.
this last note that I played reminded me
of something that's really important.
We've got a D note, which is our root, in
kind of a convenient location.
It's, I'm, I'm gonna think of it as our
secret D note.
[SOUND] And the reason it's secret is
because it's not contained.
The fingering is not contained in what
we've been doing so far.
Here we go.
But, we've got this D here.
A good note.
It's a note in the triad and it's, it's
sort of waiting for us to play it.
So, let's try this.
This is another pattern we can do that's
really useful.
We're gonna start exactly the same way
with that triad going down.
Second triad going down exactly the same.
Nothing has changed.
But, this time, instead of continuing
down, I'm gonna reverse direction and
start going up.
All right.
So, let's look how that happens.
We're going with our picking, up, down.
Go up in the middle,
up down with a pull in the middle.
But, right after that,
I have to do another up.
To generate that note.
And then I'm gonna do a hammer on.
So, I'm gonna go.
Let's see.
Let's just take this one.
Like that.
So, it's up, down, up.
Up, down, up.
And the hammer on afterward.
All right.
After that, we're gonna do an upstroke.
On our secret D note.
There we go.
the work we did with all those numbered
notes per string licks,
where we had like one note and two notes,
and one note.
Those techniques are gonna pay off here.
Cuz this is exactly what we're using.
Okay, basically one note, two notes, and
one note.
So, we're done this technique before.
But I just wanna go over it again to make
sure you've got it.
So, it would be.
We've got that much.
And then we're gonna come back down.
So, we're, let's, let's take this from the
beginning and get it in our ears.
So, we're gonna go.
That's my goal.
I'm only adding the one note because this,
this shape.
We've already done.
But, we're going up to that high.
D and then descending, so.
All right.
Again, I wanna hear it.
I think listening to it in context is
gonna be the most helpful.
Three, four.
All right.
After that, we're gonna continue just as
we were.
Down to the lowest one.
Let's put this all together.
I think when you hear it, it'll all make
Three, four.
One, two, three, four.
That's a nice sound.
So now,
what we've done, we're descending through
the arpeggio.
We quickly reverse direction.
And then we go all the way down.
And to me, that a little less exercisey
It doesn't sound as much like we're just
Yes, teacher, I passed the arpeggio test.
You know, it's, it's more musical.
It has, it's, it's changing direction and
it's doing it purposefully.
All right.
That's really cool.
After that, we can even go back up.
You know, we can use that secret D again.
We, as soon as we get to the bottom, just
That's an awesome arpeggio lick.
Again, only using three notes.
Just has the root, the third, and the
Obviously in some different octaves and
reversing directions a few times.
I'm gonna play this really slow.
One, two, three, four.
So, this time I am doing 16th notes.
That secret D note has allowed me to
change the rhythmic pattern of this.
And, I just want you to listen to it a few
It's gonna be easier to play it if you, if
you have an idea of what it sound like and
you know what to follow.
So let's speed it up a little bit just so
you can get the feel of the melody.
One, two, three, four.
Very Classical.
Lot of hammer ons and pull offs.
In a way,
this is almost easier than the, the
straight exercisy one.
Because we don't have to shift
positions quite as quickly.
Using this secret note.
We get
to stay in this position a little bit
So, even though it's a little more
complicated of a melody,
I think technique-wise, it's actually
easier to play.
Let's try it one more time, just to get it
in your ears.
One, two, three, four.
Now, I'm using a pretty clean sound.
And these notes, even with the hammer ons
and pull offs are still coming out.
Nice and clear.
But, let me turn on some distortion.
One, two, three, four.
What a great sound that is and
it's all really locked in 16th notes.
You can tell where the beat is even
without me tapping my foot.
My guitar is giving you the information
about the tempo and the accents and
the ending.
One, two, three, four.
see if I can do it with the foot tap.
One, two, three, four.
All right.
So, again, I kind of went through this
pretty quick.
So, when you practice it, do it super
do it in sections, let's try it quiet.
make sure that the timing is really even.
You're not getting string noise.
You just wanted nice triad notes.
But, I think this is a really powerful
technique and
I'm very happy to share it with you.
I haven't seen anybody do this.
So, I, I can't wait for the world of
guitar players to start
improving their arpeggio vocabulary with
this cool technique of playing
simple arpeggios in octaves and making up
patterns with it.
I think it just really expands what you
can do with a guitar.
So I'm really excited about it.
I love to hear you play this exercise or
any other exercises based on this.
Cuz I think you're gonna come up with all
kinds of cool
arpeggio ideas with this technique.
All right.
So, let me see.
I'll give you ideas and advice.
And check out the other students, as well,
playing the arpeggios.
One, two, three, four.
One, two, three, four.