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In this section, you’ll explore minor family arpeggios that can be used to solo over minor and m7 chords in your improvisations.

These arpeggios have the following interval structures:

As was the case with previous arpeggios and chord shapes, you’ll keep these minor shapes simple, adding color later on when you mix in minor family scales.

You can think of these arpeggios as broken version of the minor chords you learned earlier, placed in note order on the fretboard.

Then, as Christian often did, you can add color tones such as the 9th, 11th, and 13th, when bringing minor scales into the equation during the next section of this chapter.

From there, you’ll also be able to add chromatic notes, such as approach notes, passing notes, and enclosures, during the nal chapter of this eBook.

To begin your study of these arpeggio shapes, you’ll learn a minor arpeggio from the 6th-string root note.

If you’re working chords, scales, and arpeggios together, this shape can be paired up with minor chords and scales that have root notes on the 6th, 4th, and 1st strings.

When this shape is memorized, take it to a few dierent keys before putting on a backing track and working this shape into your soloing practice routine.

Audio Example 27

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You’ll now learn the minor arpeggio from the 5th-string root note.

This shape can be paired with minor chords and scales that have a root note on the 5th or 3rd string.

After you’ve got this shape under your fngers, practice soloing over a backing track and mix the 6th and 5th-string root shapes together. This’ll help with memori zation, but also help you work on covering more over the fretboard with your minor arpeggio soloing lines.

Audio Example 28

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the 6th-string root note.

This arpeggio can be paired up with m7 chords and scales that have a root note on the 6th, 4th, or 1st strings.

Audio Example 29

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Here’s the m7 arpeggio shape from the 5th-string root note.

You can pair this shape up with m7 chords and scales that have a root note on the 5th or 3rd strings.

When you have this shape down, as well as the previous minor shapes, begin to move between them on the fretboard. This will allow you to compare the minor and m7 arpeggio sounds in your solos, as well as move around the fretboard in your improvisations.

Audio Example 30

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studies on that string set.

This shape can be paired up with any minor chord or scale with a root note on the 4th or 2nd strings, if you’re working your shapes in that manner.

When you proceed to the next shape, the m7 from the 4th string, make sure to play them back-to-back so that you can hear and see their dierences on the guitar. These dierences are subtle, only one note, but they can be eectively used when coloring minor family chords in your improvisations.

Audio Example 31

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The nal m7 arpeggio shape has its root note on the 4th string of the guitar.

You can pair this shape up with any m7 chords or scales that have a root note on the 4th or 2nd string, if you’re working your shapes together in that manner.

After memorizing this shape, take it to a backing track and begin to apply it to your m7 soloing lines and phrases.

Audio Example 32

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You’ll now explore three Christian-inspired m7 arpeggio lines as you bring these shapes into your soloing practice.

In this rst phrase, you’ll use the pure Am7 arpeggio to create a Christian-style line that works down, the back up again, the arpeggio shape.

Sometimes you’ll want to spice up your arpeggios with outside notes, but not always, and this lick is a great example of a classy line built from only chord tones.

Audio Example 33

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The second m7 line uses an approach note, which you’ll explore further  later in this eBook, to set up the rst C in the phrase.

From there, the rest of the line is made purely from the Am7 arpeggio.

By adding in a single approach note, from the diatonic scale, Christian brings a bit of color into the line that prevents the arpeggio from being boring in this phrase.

When working arpeggios in your solos, you can keep them pure, or begin to add some approach notes to bring a bit of color into your phrases beyond chord tones.

Audio Example 34

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second measures, before mixing in one scale note (the B) in bar two of the line.

Christian loved to play triplets in his lines, and they’re anessential rhythm when studying the Christian style in your playing.

Though you can work on arpeggio lines in their pure form, it’s also eective to practice adding in a few scale notes to begin mixing those two sounds in your lines.

As you can see here, just that one note stands out in the phrase, and adds just enough color in the second bar to prevent the arpeggio from being predictable.

Audio Example 35

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