Stacking the Arpeggios to the max

Remember to watch the two previous instalments of Arpeggio study before watching this to get the deepest possible insights on the theory of Arpeggios unless you are already up to date on the Triads and the theory of Inversions. 

The Major seven

So this time we are going to continue from where we left off with the Triads, the theory you may know by now is that we take every other note in the scale that we work with, and in the example I'm using I work in the C Major scale giving us a C triad arpeggio. So if we continue from the fifth which theoretically is the last note in the triad - in the first inversion, our next note in the scale if we continue the idea of skipping one note, this then gives us another major third interval and we land on the note B and if we play all four notes then we get a C major seven arpeggio. So the intervals we get all together is from the root note to the third we obviously get a major third interval, the from the major their we go to the fifth and the interval from the major third to the fifth is a minor third. This then gives us a pattern called a major third interval plus a minor third interval gives us a major chord or major triad. Conversely if we change the intervals around and get a minor third interval plus a major third interval we get a minor chord or a minor triad

The Major nine

After adding the major third interval to our major triad we got the Major seven arpeggio. Being able to play those notes in a Sweep picking Arpeggio you have to be a little creative and you can see what I do is to add the ninth which is a D, I add it as a hammer on and pull off when I descend, on the D string and on the high E string

The Major thirteen

Finally we add the thirteenth, now I must add to this that to get to the thirteenth, before doing that, you theoretically also have the eleventh, but as I state in the video, the eleventh does not necessarily sound that awesome, of course its a matter of taste but often you will raise the eleventh to a sharp eleventh but then it would not fit into the Major scale, that would fit into the Lydian mode instead. so I'm skipping the note F would would have been the next third interval and go directly to the A intend to get the C major thirteen.

Arranging the notes on the guitar

As you can see below, this is how I personally play those kinds of highly stacked arpeggios, but you don't necessarily have to take my example, you can also by just using theory arrange the notes onto the neck in a way that makes sense to you