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Diminished Arpeggio (Guitar Lesson)


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Brad Henecke

Diminished Arpeggio

Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.

Taught by Brad Henecke in Rock Guitar with Brad Henecke seriesLength: 19:00Difficulty: 3.0 of 5
Chapter 1: (00:29) Introduction To kick off lesson 45, Brad plays through a set of ascending fully diminished seventh chords. He follows this ascending chord pattern with arpeggio licks that outline a fully diminished seventh chord. This brief introduction provides you with a sample of the dark, unstable texture that diminished chords and arpeggios produce.
Chapter 2: (00:42) Diminished Chords and Arpeggios In this lesson, Brad will demonstrate a few common fretboard patterns for diminished arpeggios. He also explains the theory behind the construction and function of diminished chords.

Listen as Brad plays a diminished seventh chord. This is a very dissonant sound! In the following scene, you'll discover how this dark, harsh sound is applied to compositions.
Chapter 3: (06:06) Diminished Chord Diminished Triad

Brad explains the theory behind a diminished triad. Remember that a triad can be built from every scale degree in the major scale. (Refer to the list of diatonic triads of the major scale in the "Supplemental Content" section for a quick review.) A diminished chord is built from the seventh degree of the major scale. In the key of C, the seventh scale degree is B. Count up in thirds to find the other two notes in this chord (every other note in the scale.) Thus, the other notes in the chord are D and F. B to D is a half step + a whole step, or a minor third interval. D to F is the same interval. As a result, a diminished triad consists of two minor thirds stacked on top of each other.

Fully Diminished and Half Diminished Seventh Chords

The arpeggios demonstrated in this lesson outline a fully diminished seventh chord. These chords are written with an open circle followed by the numeral seven. For example, A fully diminished seventh is written as Ao7 in the context of a chord chart.

Fully diminished seventh chords are not the only diminished seventh chords that find their way into compositions. The half diminished seventh chord is almost as common. This particular chord is written the same way as the fully diminished seventh chord with one exception. A slash is drawn through the diminished circle to indicate that the chord is half diminished. These chords can also be written as MI7(b5) chords. This chord suffix is most commonly used in the jazz genre.

Spelling Diminished Chords

A fully diminished seventh chord consists of successive minor third intervals stacked on top of one another. Since the same interval is stacked on top of itself, the fully diminished seventh chord has a completely symmetrical structure. The spelling of this chord is 1, b3, b5, bb7. An A fully diminished seventh chord (Ao7) is spelled A, C, Eb, Gb.

A half-diminished seventh chord is spelled as follows: 1, b3, b5, b7. In this case, a major third interval occurs between the b5 and the b7. The regular minor seventh chord is spelled 1, b3, 5, b7. The b5 in parenthesis is an alteration made to this formula. This gives us 1, b3, b5, b7. This is the same spelling as a half diminished seventh chord.

Symmetrical Structure of Fully Diminished Seventh Chords

Due to the symmetrical nature of fully diminished seventh chords, there are only three possible chords of this type. Any note within this chord can be considered the root note. If you begin with the diminished chord voicing that Brad demonstrated in the first scene and move it up three frets, you have reached an inverted version of the original chord. Study the spelling of the diminished chords listed below:

Ao7: A, C, Eb, Gb
Co7: C, Eb, Gb, A
Ebo7: Eb, Gb, A, C
Gbo7: Gb, A, C, Eb

Bbo7: Bb, Db, E, G
Dbo7: Db, E, G, Bb
Go7: G, Bb, Db, E
Eo7: E, G, Bb, Db

Bo7: B, D, F, Ab
Do7: D, F, Ab, B
Fo7: F, Ab, B, D
Abo7: Ab, B, D, F

Notice how the four chords in each group are spelled with the exact same notes.

How Diminished Chords Function

Dominant

A diminished chord functions as a dominant chord to the major or minor chord a half step above it. For example Bo7 functions as a dominant chord when followed by either a C major or C minor chord. Also, diminished chords are frequently used as passing chords between two diatonic chords that are a whole step apart. For example, consider the following chord progression: CMA7 C#o7 Dm G7 CMA7. In this case, the C#o7 chord functions as a passing chord between CMA7 and Dm. The root notes of these two chords are a whole step apart.

Embellishing

A diminished chord is often used to embellish the chord that follows it. Such chords are often referred to as "common tone" diminished chords. A diminished chord can be used to embellish another chord that shares a common tone. For example, compare the spelling of the following chords:

Ebo7-Eb, Gb, A, C
DMI7- D, F, A, C

As you can see, these chords share two common tones. As a result, Ebo7 can be used to embellish a DMI7 chord.
Chapter 4: (05:41) Diminished Arpeggio Exercise Brad presents a very common diminished arpeggio pattern in this scene. This pattern can be quite useful since it is very simple from a visual standpoint. This pattern can be transposed anywhere on the neck. This particular pattern starts on G, so it can be played over G, Bb, Db, or E fully diminished chords. Remember that a diminished chord repeats itself every minor third interval.

Practicing the Pattern

When practicing through this diminished pattern, isolate each individual measure. It is always easier to learn anything new when you break it up into smaller, more manageable pieces.

As you practice through this arpeggio, you will notice that it follows a repeating fretboard pattern. This is a result of how the open strings are tuned. The strings on the guitar are tuned a forth apart from one another. However, there is one exception to this rule. The G and B strings are tuned a major third interval apart. Due to the interval change between the G and B strings, you have to jump up two positions within the diminished pattern when making this string crossing.

What Goes Up Must Come Down

Once you ascend the pattern, descend back down. Always play the ascending and descending pattern when practicing any scale or arpeggio.
Chapter 5: (06:03) More Diminished Arpeggio Action Diminished Tapping

When ascending, this exercise / pattern is exactly the same as the pattern you learned in the previous scene. However, when descending, Brad alters the pattern by adding some tapping. The descending pattern is played in a steady eighth note triplet rhythm. He taps the note that is a minor third above the highest note on each string. Whenever you perform a pull-off, whether it is tapped by the right hand or preformed by the left hand, always pull straight down. This produces the loudest, clearest tone. The volume of the pull-off is determined by how far you flick the finger away from the string and the velocity with which your finger performs this action.


Video Subtitles / Captions


Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.


toolfan88toolfan88 replied on April 10th, 2008

thats a cool lesson. id love to see other lessons like this. suspended arpeggio or even just major and minor apreggios. keep itup

Rock Guitar with Brad Henecke

Found in our Beginner Lesson Sets

In this Phase 2 series Brad Henecke will school you in the art of rock guitar. You will not only learn how to play some of your favorite songs in this series, but you will also learn how to create your own.



Lesson 1

Basic Rock Guitar

This lesson covers the absolute basics of rock guitar. Learn about the electric guitar, pickups, amplifiers, changing strings, and more.

Length: 52:09 Difficulty: 0.5 Members Only
Lesson 2

Learning Chords

The first step of your rock guitar experience is learning some of the more popular chords and that is what this lesson is all about.

Length: 42:30 Difficulty: 1.0 Members Only
Lesson 3

Barre Chords and More

Brad Henecke introduces common strumming patterns and barre chords.

Length: 42:23 Difficulty: 2.5 Members Only
Lesson 4

Your First Song

In this lesson Brad covers some of the more advanced barre chord shapes. He applies these shapes to the song "Hotel California."

Length: 41:31 Difficulty: 2.0 Members Only
Lesson 5

Blues and Scales

Rock has its roots in the blues. Brad helps you explore the wonderful world of blues in this lesson. He also covers some chord theory.

Length: 48:14 Difficulty: 2.0 Members Only
Lesson 6

Tricks and Lead

This lesson is all about specific techniques used by lead guitarists.

Length: 52:02 Difficulty: 2.5 Members Only
Lesson 7

Jammin' with Scales

This lesson details how to improvise with the blues scale.

Length: 27:27 Difficulty: 2.5 Members Only
Lesson 8

3 Songs

In this fun lesson, Brad Henecke teaches you riffs from 3 classic rock songs.

Length: 28:28 Difficulty: 2.5 Members Only
Lesson 9

Power Chords

Power chords help give rock music that "punch you in the face" feel. Learn basic power chords in this lesson.

Length: 13:22 Difficulty: 2.5 Members Only
Lesson 10

2 New Songs

Are you ready to learn "Ain't Talking About Love" by Van Halen and "You Shook Me All Night Long" by AC/DC? That's what this lesson is all about.

Length: 27:32 Difficulty: 2.5 Members Only
Lesson 11

Pentatonic Scale

Brad teaches the first pattern of the minor pentatonic scale and explains how it relates to the blues scale.

Length: 14:30 Difficulty: 2.5 Members Only
Lesson 12

Second Pattern

Brad covers the second pattern for both the minor blues and minor pentatonic scales.

Length: 9:07 Difficulty: 2.5 Members Only
Lesson 13

Message in a Bottle

Learn the classic rock song "Message in a Bottle."

Length: 10:22 Difficulty: 3.0 Members Only
Lesson 14

Third Pattern

This great lesson covers the 3rd fretboard pattern of the minor pentatonic and minor blues scales.

Length: 7:19 Difficulty: 2.5 Members Only
Lesson 15

Colorful Chord Tension

Brad demonstrates how open strings can be added to chord shapes you are already familiar with.

Length: 9:09 Difficulty: 2.5 Members Only
Lesson 16

The Fourth Pattern

Brad covers the fourth pattern of the minor pentatonic and minor blues scales.

Length: 8:28 Difficulty: 2.5 Members Only
Lesson 17

Daytripper

In this lesson Brad demonstrates how to play the Beatles song "Daytripper."

Length: 15:21 Difficulty: 3.0 Members Only
Lesson 18

The Fifth Pattern

Brad demonstrates the 5th pattern of the minor pentatonic and minor blues scales. He also discusses practicing and memorizing them.

Length: 13:05 Difficulty: 2.5 Members Only
Lesson 19

"Brown Eyed Girl"

Learn the classic rock song "Brown Eyed Girl" in this episode of Rock Guitar.

Length: 11:23 Difficulty: 3.0 Members Only
Lesson 20

Phrasing

Brad introduces you to the importance of phrasing. Quality phrasing is essential when performing any melodic line.

Length: 14:19 Difficulty: 3.0 Members Only
Lesson 21

Basics of Tapping

Tapping is an idiomatic guitar technique that offers a unique sound.

Length: 14:34 Difficulty: 3.0 Members Only
Lesson 22

Intro to Modes

Learning the modes is essential to the development of your scale vocabulary.

Length: 31:04 Difficulty: 3.0 Members Only
Lesson 23

Understanding Chord Shapes

Brad further explains what chord shapes are and how they relate to barre chords.

Length: 10:15 Difficulty: 2.0 Members Only
Lesson 24

Natural Harmonics

Learn the right and left hand mechanics involved in playing harmonics.

Length: 13:16 Difficulty: 3.0 Members Only
Lesson 25

Advanced Harmonics

Brad covers more advanced harmonic techniques such as harp harmonics, pinch harmonics and tap harmonics.

Length: 16:10 Difficulty: 3.0 Members Only
Lesson 26

The Dorian Mode

Brad moves on in his modal lesson series to explain the Dorian mode. This lesson includes 2 backing tracks.

Length: 22:00 Difficulty: 3.0 Members Only
Lesson 27

Phrygian Mode

Brad explains and demonstrates the Phrygian mode.

Length: 13:33 Difficulty: 3.0 Members Only
Lesson 28

The Lydian Mode

Brad continues his discussion of the modes. You will learn the Lydian mode in this lesson.

Length: 9:27 Difficulty: 3.0 Members Only
Lesson 29

Mixolydian Mode

Brad explains the Mixolydian mode and its practical applications.

Length: 10:00 Difficulty: 3.0 Members Only
Lesson 30

The Aeolian Mode

Continuing with his modal lessons, Brad Henecke teaches the Aeolian mode.

Length: 9:09 Difficulty: 3.0 Members Only
Lesson 31

The Locrian Mode

The final lesson in our modal series covers the Locrian mode.

Length: 9:00 Difficulty: 3.0 Members Only
Lesson 32

The Ace Zone

Brad teaches some licks inspired by Ace Frehley of KISS. Incorporate these licks into your own solos.

Length: 7:18 Difficulty: 3.0 Members Only
Lesson 33

Learn Licks

In this lesson Brad Henecke teaches you some fun licks that can be used in your own guitar solos.

Length: 10:00 Difficulty: 3.0 Members Only
Lesson 34

Blues Licks

Brad Henecke demonstrates some cool blues licks.

Length: 17:00 Difficulty: 3.0 Members Only
Lesson 35

Modes and Scales

Brad Henecke provides an alternate way of comparing modes and scales.

Length: 8:00 Difficulty: 3.0 Members Only
Lesson 36

A Different View

In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.

Length: 7:00 Difficulty: 3.0 Members Only
Lesson 37

One String Scales

This lesson is all about 1 string scales. Learning scales on 1 string is essential to your knowledge of the fretboard.

Length: 8:34 Difficulty: 3.0 Members Only
Lesson 38

One String Ionian Mode

Brad demonstrates a one string version of the Ionian mode. This lesson demonstrates the importance of horizontal scales.

Length: 7:27 Difficulty: 3.0 Members Only
Lesson 39

Aeolian Mode on One String

Brad continues his discussion of single string scales. He explains how to play the Aeolian mode across a single string.

Length: 4:11 Difficulty: 3.0 Members Only
Lesson 40

Octave Scales

Brad explains how to locate octaves within scale patterns. He demonstrates a cool lick that involves playing simultaneous octaves.

Length: 7:07 Difficulty: 3.0 Members Only
Lesson 41

Using Octaves

Brad explains how to use octaves in the context of an exercise. Octaves can also be used to build effective licks.

Length: 5:18 Difficulty: 3.0 Members Only
Lesson 42

Harmonic Minor Scale

Brad introduces the harmonic minor scale. He explains how it can be applied to the solo break in "Sweet Child O' Mine."

Length: 7:00 Difficulty: 3.0 Members Only
Lesson 43

Learning by Ear

Brad Henecke provides valuable tips regarding the process of learning songs by ear.

Length: 23:00 Difficulty: 3.5 Members Only
Lesson 44

Ear Training Game

Improve your ear training by playing "The Tone Is Right" with Brad Henecke.

Length: 29:00 Difficulty: 3.0 Members Only
Lesson 45

Diminished Arpeggio

Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.

Length: 19:00 Difficulty: 3.0 Members Only
Lesson 46

Understanding Time Signatures

Brad Henecke addresses time signatures.

Length: 10:00 Difficulty: 2.5 Members Only
Lesson 47

Diminished Chords

Brad Henecke explains the construction of diminished seventh chords. He also provides a diminished chord exercise.

Length: 10:30 Difficulty: 2.5 Members Only
Lesson 48

Open G Tuning

Brad Henecke introduces open G tuning in this lesson.

Length: 23:50 Difficulty: 2.5 Members Only
Lesson 49

Drop D Tuning

Brad Henecke introduces drop D tuning in this lesson. He explains many advantages of this tuning.

Length: 12:57 Difficulty: 2.0 Members Only
Lesson 50

G Major Pentatonic

Brad Henecke teaches the G major pentatonic scale. He demonstrates all 5 patterns and explains how they can be transposed to any key.

Length: 22:50 Difficulty: 2.0 Members Only
Lesson 51

Changing Scales with Chords

In this lesson Brad Henecke talks about changing the pentatonic/blues scales with each chord in a chord progression.

Length: 11:08 Difficulty: 3.0 Members Only
Lesson 52

Mixolydian Scale and Chords

Brad will show how to use the Mixolydian scale with a blues chord progression.

Length: 6:56 Difficulty: 3.0 Members Only
Lesson 53

Gear and Effects

This lesson is all about gear and effects. Brad begins his discussion with power conditioning and removing hiss from your amplifier. He progresses to discuss a plethora of effects pedals. Brad explores...

Length: 52:48 Difficulty: 2.5 Members Only
Lesson 54

The Wah Pedal

In this lesson, Brad Henecke introduces the wah pedal and demonstrates its many applications.

Length: 15:53 Difficulty: 1.5 Members Only

About Brad Henecke View Full Biography Brad Henecke was born in Cedar Rapids, Iowa on May 5th of 1963. He has been a fan of music for as long as he & his family can remember. You could always find him running around the farm wailing on his cardboard guitar, pretending to be a member of the rock band KISS. Additional inspiration came during his first concert when he got the chance to see Boston & Sammy Hagar in the early 1970's.

This opened up a whole new world of rock and roll music for him; his parents noticed his growing interest in music and enrolled him into guitar lessons when he was 13.

From there he jumped into two years of lessons at a local music store in Cedar Rapids. After discovering Eddie Van Halen, Brad knew that the guitar would always be a part of his life. He took his love throughout the city as he played as a pit musician & jammed at parties for friends.

This made him thirsty for more. He enrolled classes at Kirkwood Community College & also took lessons from the one & only Craig-Erickson (www.craig-erickson.com).

His love for music landed him a gig opening for Molly Hatchet in Cedar Rapids with a band called "Slap & Tickle". He has also played in the Greeley Stampede show for quite a few years with "True North".

Brad is currently playing in Greeley, Colorado with a rock band titled "Ragged Doll". They play a wide variety of music with an emphasis on classic rock from the 60's to present, with Brad playing electric guitar in the five piece lineup.

He currently jams on his all-time favorite guitar: a Paul Reed Smith Custom 24. Beyond guitar, he plays also plays drums & bass guitar. He has also been known to thrash a banjo from time to time. He is still actively playing & passing his 31 years of playing experience on to others (you!).

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