A7 Arpeggio
Learn a form of an A7 arpeggio and use it to play over a 12 bar blues!
A7 Arpeggio
Lesson starts at 1:58 - for the first chorus (0:00 - 0:23) of this 12 bar blues I'm playing arpeggios using the form to the left of the video. After that I use a combination of arpeggios and scales.
Hi, my name is Teague and thanks for checking out my page on the A7 arpeggio!
An arpeggio is a broken chord and an A7 chord has the notes: A C# E G
With this particular form, if we start on the low E string we are starting on C#
The fretboard to the right is the same as the one above, just another way to look at it.
2:54 - I explain each note and you can see the fingers I am using. Basically following the 9th position finger rules. First finger looks after 9th, Second finger looks after 10th, etc.
4:18 -
D7 in 2nd position explained. Note that this is the same form as the A7 above just moved back to 2nd position.
The notes in a D7 chord are : D F# A C
D7 Arpeggio
5:05 -
E7 in 4th position explained. Note that this is still the same form as both A7 and D7 just in 4th position.
An E7 chord has the notes: E G# B D
E7 Arpeggio
5:34 - End
At this point in the video we begin exploring scales and specifically the 5th mode of a major scale called mixolydian.
Since A7 is the V chord in the key of D we can play in the key of D major. However if we play a D major scale from A to A we hear what is called the 5th mode of a major scale and is named mixolydian. So in this case it is A mixolydian (the 5th mode of a major scale).
A Mixolydian
Try playing along with the jam track and using your arpeggios. For more on arpeggios and soloing you can become a paid member where you will find a one chord jam track that allows you to explore just one arpeggio shape to get the hang of it. Plus much much more!!!
Free 3 Part Series on Soloing Over the Blues
This was part 3 of soloing over the blues. Click button below for other parts. It's Free!
- Part 1: What a Pentatonic Scale is and How to Use it
- Part 2: Turning our Pentatonic Scale into a Blues Scale
- Part 3: Outlining Chord Changes with Arpeggios
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