String Skipping Arpeggios Part 2

Rob Schumann: In this second segment we're looking at the rest of the voicings for our arpeggios. We had already covered a major arpeggios with a route on the fifth string. For a riff on the fourth string it will be the same thing ring once again. So we still have the first finger going one fret back and the fourth finger going three frets up and then when we get to the first string where we are skipping over the second, the first finger stretches back to the third fret and the fourth finger goes to the seventh fret.

For our minor arpeggios, we are going to change our fingerings slightly. So I will still have the second finger on the route note on the fifth string. Now I will start by skiting my first finger back one fret, so I will be going from the fifth fret here to the third fret on the fourth string and then hammering on to the seventh fret of that fourth string.

So that's the beginnings and then when I go up to hit the next note, I will be on the third fret of the second string once again but I won't have to stretch quite as far, with this fourth finger I will just be going to the sixth fret of the second string. You may want to use your third finger there. So that the fourth finger is still ready to go back to that seventh fret. See I have a little stretch here from the third fret to the sixth with your third finger on that second string.

When we get to the fourth string, our fingering will be the same. So that gets us through major and minor chords. To get through a diatonic key there is only one other kind of chord we need and that's a diminished chord. And that would be the seventh degree of you measure scale. So to do a diminish fingering you want to start with your third finger on the route note. In this case fifth fret, fifth string. We use the third finger on the third fret of the fourth string and just this is a very easy span here, we use the fourth finger on the sixth fret of that fourth string.

And now we use the same fingering on the second string. And then the same thing, on the route note being on the fourth string. And so that gives us our diminished arpeggio and that one is useful because it's really a connecting chord. When you hear diminished chord, it's almost always on it's way somewhere and they are also useful in some chromatic types of applications. So that's one that you will definitely use at some point.

So in our next segment we will be taking these arpeggios that we just looked at. We will put them in a key and then we will look at an application where we can look adding a little bit more musical of the setting.

Jeff Carlisi: Hi, I am Jeff Carlisi from 38 Special, nice to be with you today. The technique once again is holding the pick between the thumb and the forefinger and then using third and fourth fingers to pick the chord as I hold you read.


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