Melodic-Harmonic Framework, Part 2
LAST MONTH, WE covered triad and 7th-chord arpeggios, focusing on the top three strings. Here, in the conclusion of our two-part lesson, we’ll start with the lower three strings and combine those shapes with the ones we learned last month. And whereas Part 1 focused mostly on triads, we’ll now explore 7th-chord arpeggios in greater depth. As before, there will be lots of exercises and licks, plus we’ll top things off with a full-blown solo. Let’s get going!
ROOT-POSITION TRIAD SON THE BOTTOM THREE STRINGS As you’ll recall, in Part 1 we started with an introduction to the three fundamental types, or qualities, of triads that exist within the major scale: major (1, 3, 5), minor (1, b3, 5) and diminished (1, b3, b5). These root-position triads were mapped out along the fretboard on the top-three string set (the G, B and high E strings), in the key of C. Now, let’s follow the same procedure on the bottom three strings.
Take a look at the neck diagram in . The three-dot groupings represent the shapes of the harmonized triads of the C major scale: C (C, E, G), Dm (D, F, A), Em (E, G, B), F (F, A, C), G (G, B, D), Am (A, C, E) and
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