Major triad arpeggios:
exercises on root position
Hi everyone, and welcome back to another lesson from ebassacademy. In this one we will dive deeper into the major triads by playing them in all keys over the circle of fifths.
Now that you know the different options to play the major triad in the key of C, it’s time to familiarize with all the other ones, considering that, for the most part, you will be using the same fingerings as C (as I said in the previous lesson, just move your fingers up or down on the fretboard, following the same pattern) .
In order to improve your fretboard knowledge, in this and the following lessons we will practice major triads over the circle of fifths, on the lower octave. More specifically, in this first one we will play major triads over the circle of fifths, in root position.
If you need a quick refresher about the difference between root position and inversions, check this webpage. For a more detailed overview, head over the Wikipedia page. As always, I recommend to start at a slow tempo (60 bpm) and progressively increase. So, let’s practice together, starting from ascending major triads.
1.1.a – Ascending major triads (I-III-V)
Next we will play descending major triads.
1.1.b – Descending major triads (I-V-III)
And lastly, we will combine the previous two exercises.
1.1.c - Ascending (I-III-V) and descending (I-V-III)
With the previous three exercises, you learned to play the major triads in every key on the lower octave, in root position. Definitely not an easy task, congratulate yourself!
Disclaimer: if you can’t play the previous exercises all at once, feel free to practice one or two keys at a time, until you are comfortable to move on to the next ones.
As I already said, practicing over the circle of fifths will give you extreme confidence over the fretboard, and using different fingerings to play the same notes will help you to think about the notes played, avoiding the auto-pilot mode.
One last tip: be creative with the previous exercises! In other words, replace the quarter note with different rhythmic divisions. Here are few examples:
1.1.d Quarter for eighth notes:
And this is what the new rhythmic division would sound like, when applied to the first four bars of the ascending major triad.
1.1.e Quarter for dotted eighth and sixteenth note:
1.1.f. Quarter for eighth note triplet:
1.1.g Quarter for sixteenth notes:
Apply the previous divisions to exercises 1.1.a, 1.1.b and 1.1.c: this will help you to develop a stronger right-hand technique, and improve the right-left hand coordination. As always, start at 60 bpm and progressively increase the tempo.
That was it for this time. Use the previous charts as a tool to expand your knowledge of the fretboard, and take your time to absorb those positions. Also, refer to the previous lesson about fingerings to play major triads with different positions.
Thank you for watching and happy practice!