> The Major Arpeggio Formula
A major arpeggio contains three notes: the root, major 3rd, and perfect 5th. In interval terms, this is 1 - 3 - 5. These are the same notes that form a major triad chord.
Major Arpeggio Construction:
Root (1): The note that names the chord
Major 3rd (3): 4 semitones above root
Perfect 5th (5): 7 semitones above root
Example in G: G (root) - B (major 3rd) - D (perfect 5th)
The major 3rd gives the arpeggio its bright, happy character. This is the defining interval of major tonality. When you hear a major chord, you are hearing this interval relationship.
> The Minor Arpeggio Formula
A minor arpeggio also contains three notes: the root, minor 3rd, and perfect 5th. In interval terms, this is 1 - b3 - 5. The only difference from major is the flattened 3rd.
Minor Arpeggio Construction:
Root (1): The note that names the chord
Minor 3rd (b3): 3 semitones above root
Perfect 5th (5): 7 semitones above root
Example in G: G (root) - Bb (minor 3rd) - D (perfect 5th)
The minor 3rd creates the darker, more melancholic sound of minor tonality. Notice that the 5th is the same in both major and minor. Only the 3rd changes.
> The One-Note Difference
The 3rd is the most important note in any arpeggio. It defines the chord quality. On guitar, this means one fret determines whether you are playing major or minor.
Major vs Minor on the Same Root:
G Major Arpeggio: G - B - D
B is 4 frets above G on the same string
G Minor Arpeggio: G - Bb - D
Bb is 3 frets above G on the same string
When you know where the 3rd is in any arpeggio shape, you know exactly which note to raise or lower to switch between major and minor. This awareness lets you adapt instantly to any chord quality.
The root and 5th provide foundation and stability. The 3rd provides color. In soloing, emphasizing the 3rd on strong beats makes the chord quality unmistakably clear.
> CAGED-Based Arpeggio Shapes
Just as CAGED gives you five positions for scales, it gives you five positions for arpeggios. Each chord shape contains an arpeggio shape. The notes of the chord are the notes of the arpeggio.
Each shape covers a different region of the fretboard. Together, they tile the entire neck. Learning all five means you can play any arpeggio anywhere on the guitar.
> Visualizing Inside Scale Shapes
Arpeggios exist within scale shapes. When you play a C major scale in any position, the C major arpeggio notes (C, E, G) are embedded within that shape. The arpeggio is the skeleton; the scale adds the connecting tissue.
Finding the Arpeggio in a Scale:
- 1. Play a major scale in any CAGED position
- 2. Identify the root notes (degree 1)
- 3. Find the 3rd degree notes
- 4. Find the 5th degree notes
- 5. These three degrees form the arpeggio
The other scale degrees (2, 4, 6, 7) connect arpeggio notes but are not part of the arpeggio itself.
This visualization transforms how you see the fretboard. Instead of a collection of notes, you see structures: the chord tones that define harmony, surrounded by passing tones that add melodic movement.
> Connecting Shapes to Chord Forms
Every chord you play is an arpeggio waiting to be unlocked. When you hold a chord shape, you are holding all the notes you need for its arpeggio.
This connection works in both directions:
- Chord to arpeggio: Hold any chord shape. Pick the notes individually. You are playing the arpeggio.
- Arpeggio to chord: Play an arpeggio shape. Fret all the notes simultaneously. You are playing the chord.
This is not coincidence. Chords and arpeggios are the same notes used differently. Understanding this connection lets you switch between rhythm and lead playing seamlessly. You see the chord when you need to strum, and the arpeggio when you need to pick.
Practice Connection:
1. Play a D major chord (open position)
2. Pick strings 4-3-2-1 individually (D-A-D-F#)
3. You just played D major arpeggio notes
The shape never changed. Only your approach did.
> Common Mistakes
Shapes are patterns. Notes are music. Always know which note is the root, which is the 3rd, which is the 5th. This knowledge transfers between keys.
Each CAGED shape offers different fingerings and sounds. Master all five to have options everywhere on the neck.
Minor chords appear constantly in progressions. The ii, iii, and vi chords in any major key are all minor. You need minor arpeggios just as much.
Always practice with the chord sounding, either strummed first or as a backing track. The arpeggio should reinforce what you hear harmonically.
> Applying Triads in Real Music
Major and minor triads cover most popular music. Rock, pop, folk, and country rely heavily on these two chord types. When you master their arpeggios, you can outline most progressions.
Consider a I - IV - V in G major: G, C, D. All three are major chords. Their arpeggios are:
G major: G - B - D
C major: C - E - G
D major: D - F# - A
Playing these arpeggios in sequence outlines the entire progression melodically.
Now consider I - vi - IV - V in G: G, Em, C, D. The vi chord is minor. Its arpeggio uses E, G, B instead of E, G#, B. That single note difference creates the emotional shift.
> PRACTICE THIS
Open the Arpeggio Trainer and select G Major triad. Play through all five CAGED positions, identifying the root, 3rd, and 5th in each shape. Then switch to G Minor and notice how only the 3rd changes position (one fret lower). Compare the sound and feel of each quality.
Open Arpeggio Trainer