Shred Academy – Free Guitar Lesson by Zack Uidl

Successfully
Using Arpeggio Inversions

By
Zack Uidl

Being
able to properly apply the use of arpeggio inversions can be one
of the most helpful and useful tools that can be used in lead
guitar playing. An inversion is a triad, chord, or arpeggio that
has its lowest note on any of the notes that are part of the musical
concept you are playing. For example, if a G minor arpeggio were
played, the notes would be G, Bb, and D. If it started on the
first or the G note in this case, it would be considered root
position. If it started on the third or Bb in this case, it would
be considered first inversion. And if it started on the fifth
or D in this example, it would be considered second inversion.
Knowledge of this can allow you to play numerous arpeggios without
changing position to reach a root note to base the arpeggio upon.

Let us take two-arpeggio sequence such as a five-string D major
arpeggio, followed by a five-string A minor arpeggio to begin
with. If you were to play these arpeggios both in root position,
you would either be starting with D major on the fifth fret of
the fifth string or on the seventeenth fret, which is just an
octave higher. To play the A minor arpeggio, you would have to
play it on the twelfth fret of the fifth string. There are some
major positions changing which cause problems that cause a lot
of inefficiency. Let us simplify this. If you play the A minor
arpeggio in root position on the twelfth fret, you could also
play the D major arpeggio on the twelfth fret by using the second
inversion. This allows a much easier transition, and in my opinion,
adds a lot of diversity because the inversion will have a very
different a distinct sound.

Now that you understand the concept, let us take it a step further
by making a progression that is longer by increasing the number
of arpeggios used. Here is the list, in the order of the progression,
of the arpeggio that we will be using:

1.
A minor (A, C, E)
2. D major (D, F#, A)
3. G major (G, B, D)
4. B diminished (B, Db, F)
5. B diminished (B, Db, F)
6. C major (C, E, G)

I want you to play five-string arpeggios for this exercise. If
you are not familiar with five-string arpeggios, start of with
three-string arpeggios and then move to the five-string ones.
I want you to start with the A minor arpeggio starting on the
twelfth fret of the fifth string. Try to find the inversions that
will encourage as little movement from this position as possible.
I would recommend that you play the arpeggio on these frets in
these inversions:

1. Am = root
position (12th fret)
2. D = second inversion (12th fret)
3. G = first inversion (14th fret)
4. B? = root position (14th fret)
5. B? = root position (14th fret)
6. C = root position (15th fret)

To play all
five different arpeggios, we only moved a total of four positions
(we only move four frets). If we were to play all of these arpeggios
in root position only, we would have had to switch positions at
much less efficient areas, mainly from the Am to the D arpeggio.
It would have been like this:

1.
Am = root position (12th fret)
2. D = root position (15thth fret)
3. G = root position (14th fret)
4. B? = root position (14th fret)
5. B? = root position (14th fret)
6. C = root position (15th fret)

Try to apply this knowledge to your own songs or a song that you
may be familiar with. There are several ways to play one particular
section. However, there will often be a much easier way through
the use of inversions. You will notice a difference in your efficiency
if you put this information to good use though practice and application.

Zack Uidl
zack@zackuidl.com