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Rock Guitar Lessons: E Minor 9 Arpeggio

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This next arpeggio is an E minor nine.
This is what the chord sounds like
[SOUND], and
I love the sound of this chord, and I love
the sound of this arpeggio.
And this is gonna fit into our same
concept of playing arpeggios in octaves.
And I think this makes it easy.
It certainly makes it easier to visualize
than any other fingering I can think of.
So let's look at how it looks.
It looks like this.
I'm starting from the top and coming down.
In terms of the direction of the notes.
And we've got three notes on a string.
[SOUND] And two notes on a string.
[SOUND] Actually we've played this before
as an exercise when
we did our three and two.
we've already had a little taste of this
But to really make the most use of it, I
wanna play it in three different octaves.
And that is gonna be easy, because every
octave is gonna have the same fingering.
All we have to do is take our pinky, find
with the top note is [SOUND].
So G and take that same G along the lower,
[SOUND] and do the same shape.
Like magic we have got the octave lower.
Find another G [SOUND].
To the same shape,
you have got another octave,
this is so easy.
I, I just love the fact that,
that my brain doesn't have to learn all
these different shapes.
Just learn one shape.
It fits into those three octaves.
Now, the more you do this, cuz we already
did this with triads,
we're gonna do it with this.
And, the more you get used to that octave
idea, the more every arpeggio you find,
you can use the same technique.
And you'll start to get really used to
that, that jump, that position shift,
where you have to move down to the next
move down to the next one.
So, although it may be tricky,
in, in the initial time you try this, to
do those shifting positions.
It's, I think it's really worth investing
in this technique
because it will allow you to do so many
arpeggios so easily.
I'm just, I'm excited about this.
So the best way to, to get that down is to
work on the transitions.
So, let's work on the first note that we
have to do in a different position after,
we do the initial notes,
and that's gonna be our pinky on G.
[SOUND] So lets try that.
That's a big jump.
But, if you practice it you can do it.
All right.
Let's look at what techniques we're doing.
Cuz I'm putting in hammer-ons and
In this case, just pull-offs.
So, I'm picking the first note.
Let me see cuz sometimes when I improvise,
I do different things.
I want to check and make sure I'm giving
you the right thing.
So the thing I'm actually doing is picking
the first note,
picking the next two,
with a down and an up, [SOUND] and
then a down stroke there.
you could probably pick less, but for some
reason, that's worked for me so
I wanna show you something that I know
And that is down stroke two pull offs
[SOUND] and
a down stroke [SOUND] and and up.
That's the pattern by itself.
[SOUND] And lets follow that with a down
stroke [SOUND] on this picky note.
Now we can do it.
All right,
let's try this, let's add a couple notes
to this bottom one.
Let's just do the three, [SOUND] pulled
off notes, starting with the down strokes.
So we'll go.
That's a great exercise right there for
the position shift.
Let's try that slow.
One, two, three, four.
let's, we could loop it, but I want to
leave a little space,
I wanna make sure we're ready for the next
one, let's let that space go.
It's okay, three four.
One, two, three, four.
it gives you time to compose yourself for
the next one.
Kinda nice, cuz gives your break too.
All right, once you can do that,
the next part's easy cause you, you've
already played this an octave higher,
you already have the technique.
And you can try the,
the jump to the next string.
Should feel just like what you did before.
Again initially you may go
its kinda strange jumping around with my
pinky like that.
But with a little bit of practice, this is
so useful.
All right, lets go all the way down,
starting from the top.
One, two, three, four.
All right.
Now the interesting thing about this, in
the world of phrasing is these are five
note phrases cuz we're only descending
these five notes.
One, two, three, four, five.
So, if we multiply that by, by three
That's not a bad place to end.
Let's, let's hear it a little quicker and
just see how it feels as a, as a phrase by
One, two, three, four.
I don't mind where that ends at all.
That's kinda nice.
And, so try speeding it up a little bit.
Let's try, kinda quiet.
One, two, three, four.
A little space go by.
Compose ourselves.
Enjoys the feeling of nice notes.
That's such a beautiful [SOUND] arpeggio
for that chord.
Now, of course, we could go up, as well,
And here's the exercise I wanna give you.
So practice both up and down.
I wanna find a good rhythmic length and
I already have the answer so I'm just
gonna give it to you.
We're gonna start at the top,
and we're gonna go as far as this D note
with our pinky.
That's, that's the place where we're gonna
turn around and we're gonna come back up.
We're gonna be, we're only gonna play it
We're not gonna double up on it so let me
play this so you can get it in your ear.
One, two, three, four.
All right,
so, the thing that I like about that is,
the amount of the length that that goes is
a nice rhythmic length.
And it starts, it ends right on a good
Three, four.
Let's speed it up a little bit.
One, two, three, four.
That's a nice phrase.
here's the exercise, that's really gonna
help you play this.
I'm going to take the top note away.
So we're gonna start on F sharp this time.
And I'm going to go down one note lower,
basically I just shifted the whole thing
By taking the top note off, and adding a
note from the arpeggio on the bottom.
And that's going to sound like this.
Three, four.
All right, so
it's the same length but it's, it's
changed the place where we're starting,
and the place where we're ending.
Let's listen to that again.
[SOUND] Sounds so nice with this chord.
Because we're really accenting the 9th.
[SOUND] That note, and and
that's really giving us a sound of that
chord, a special unique 9th sound.
One, two, three, four.
Alright, that's a nice sound.
I'm whipping through that pretty quick, so
let's take a look at a little bit of the
Now this is where all the practicing that
we've done so far is going to pay off.
Because if you look at the number of notes
per string we've got two notes,
and two notes.
So you've already practiced these kind of
So you're, your hands should already have
some intuition about where to do the pull
offs, where to do the picking.
That's what I really wanted to build, with
all those previous exercises.
So you don't have to think about this that
much, it's already sort of
you know you find it a, a two, two, and
you know how to play it already.
Just out of habit.
Two down strokes,
with pull offs in the middle.
Alright, from there.
A pull or
a one pick note with a down stroke and a
pull up.
Alright, let's see how,
let's see what I'm really doing.
Oh, I'm actually picking these three.
Let's see.
let me tell you what I'm really doing.
I think there's no exact way.
I mean, I'm gonna tell you exactly what
I'm playing because I know it works.
But, as long as you pick the first note,
of the string you land on everything's
going to be all right.
After that,
you can keep the left hand driving it.
But, I'll give you my exact stroke so you
can try this out.
So, here we go.
Down, down with pull offs in the middle.
three pick notes starting with a down.
And let's see what happens after that.
I might pick all of that.
Let me make sure.
I pick all five.
Starting with the down stroke.
Alternate picking, but then on the way up,
I do a hammer on.
Then I do an up stroke.
And then some more hammer ons.
Let's see how many.
So, I pick up, down and one hammer.
You could probably pick less than this
but, again, I want to give you exactly
what I'm doing so you can work it out.
Here we go.
I wanna keep speeding it up till I really
get the groove of it.
here it is starting on F sharp our ninth
[SOUND] and
descending all the way down [SOUND] to
that beat.
One, two, three, four.
All right.
Now, all the work that you've done in the
working on three note per string, one note
per string, two note per string and
all those combinations and getting an
instinct of where to pick and
where to do hammer ons and pull offs,
that's going to pay off here.
I didn't plan out in advance, okay, I'm
going to do a hammer on, a pull off here.
It happened intuitively because I worked
so much on simpler licks.
And when I worked on just this.
As I played that
faster I built an intuition of where to
pick and where to do pull offs.
So, when I get into a more complicated
thing like this where I have two notes on
a string,
two notes on
a string,
then suddenly three,
and then two again.
You know, that's, that's a lot to juggle.
So, you really have to start relying on,
on your intuition of the simpler things
you practiced before then.
So, when I'm doing this,
I'm not really thinking about what's
I'm just sort of gliding through it.
I know that I'm picking every time I get
to a new string.
That's, that's the principle I always
When I get to a new string,
the first note is absolutely picked.
Once I'm on it I can do hammer ons and
pull offs if there's more than one note on
that string.
if I've got a little extra juice left over
for picking, I can add a pick note or two.
So, we'll also show this in slow motion
but I'm going to play it fast.
And just sort of take a look at my right
hand and see how I'm not picking every
note and I'm using both hands to balance
the work of playing these fast notes.
One, two, three, four.
Alright, that's a great challenge.
Now let's continue down the scale or down
the arpeggio and this time we'll start,
one note lower on the E.
And again we'll go, we'll go one note
lower on the, bottom end of it as well.
So we'll go.
We're now adding this G note.
Now, normally, in our shape, our G note
would be here,
because we're doing this shape,
with our pinky, but
since we're only doing one note, I want to
make life a little easier on myself,
and since I'm in this position, I'll just
get it right there with my second finger,
that way I don't have to shift down.
I can stay in the same place.
Let's here it slow.
One, two, three, four.
right beautiful notes [SOUND] in that a
minor nine sound.
One, two, three, four.
I love the sound of these.
Lets even go down one further.
We'll start with the D.
Now here's where the secret notes come
into play, because these two notes here
[SOUND] are also available to us [SOUND]
on the high E string.
And in way that's easier to play even
though it's a string skip it's
only two frets away from where we are.
This one's three frets away.
So, I like to jump up there sometimes.
And, instead of starting here, [SOUND] I'm
gonna start here [SOUND].
Same notes just different location.
And I think it's an easier location.
So, it'll have exactly the same sound,
as this.
But a little easier to play.
Okay, now I've got to give you my secret.
Once we get in the habit of having this,
two note phrase on the high string,
I'm going to add another phrase, and this
using notes from the same arpeggio.
I'm going to add D in the 9th of sharp.
And that's going to be my alternative
place to go.
So the first time I might do this lick.
The second time I can jump up, jump up to
that other one.
It's going to have a very similar feel to
my technique.
I'm just sort of moving between two
similar spots.
So let's check out how it sounds.
If I go.
What a nice sound it is,
really melodic and it really sounds like
an arpeggio, to me that you're really
taking this, the notes of those chord,
and just doing beautiful things with them.
In a solid 16th note pattern.
I'm still able to tell the audience where
the beat is, where the accents are.
One, two, three, four.
What a wonderful sound that is.
I really like that.
So I encourage you to play those,
of course, first in just the straight
And connect them.
Maybe try ascending.
And then try a rhythmic section of it.
And then start on each lower note.
One note lower on the E.
And all the way down here on the D.
That's the way you really get familiar and
digest, and become very technically
masterful at this awesome arpeggio.
The E minor nine.
[SOUND] You can use it rock, you can use
it in jazz, it's, it's very all purpose.
Great sounding arpeggio, love to hear you
play that one because the notes are so
good, I could listen to those notes all
And I hope you can too.
All right.
Thanks for listening to my ideas, and rock
that one.