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Latest reviews
Totally recommended
Published on 28-Nov-2011
My experience with Jean Pierre lasts for less than a year and I must say that he is the right choice for any guitarist who wants to open up his musical journey

Motivation and Artistry
Published on 23-Oct-2011
I first met Jean Pierre when I was fifteen years old, having learned guitar for two years, and in desperate need for renewed motivation to improve both my knowledge and technique concerning guitar playing as well as the application of these skills in regard to songwriting.

Flexible Teaching
Published on 21-Oct-2011
I feel such honoured and privileged to be given the possibility to appraise my guitar mentor in such a public place. In my opinion, it is the least that I can do to return, in part, what he has given me over the last year from when he decided to take me under his wing... moreover when I know that such reviews helped me to choose Jean Pierre as my guitar tutor!
Guitar Lessons
Lesson 19 - Arpeggio Shapes-Major 7
Like I said in my last lesson regarding Dom7 arpeggios today is the time to move to Major 7 shapes.If you got the hang of how the Dom7th ones go then it shouldn't be a problem to tackle these.

Published on 17-Nov-2011

The difference between the spelling of a Dom7 and a Maj7 is very minimal but very effective indeed!The construction of a Dom7 chord/arpeggio is 1 3 5 b7 out of every major scale.Using the key of AMajor with the notes ABC#DEF#G#A resulting from the WWHWWWH Major scale formula you'll end up with these notes A C# E G.Those were the notes plus some extensions(added notes from the scale to create 9ths 11ths and 13ths)used in our last lesson.Today we're using the Maj7 chord/arpeggios with a new formula..1 3 5 7 out of every Major scale.That's the formula for the Maj7 hence in the key of AMajor it's just taking out the 1st 3rd 5th and 7th degrees of the scale.Result will be A C# E G#.This is the key I used for the tabbed examples but do move them in all keys!Very important to do with everything you learn.

The usage of the Maj7 arpeggio and the Maj7 chord is the same with the only diffrence lying in the way they're played.So if you're soloing in a Major key just change the pitch of the shapes to that you're playing in.Remember that the Maj7 chord/arpeggio is the I and IV in every harmonized major scale harmony.So for example if you're playing in the key of A with A being the root i.e. the I chord then all the shapes will work just fine except the last one Maj13#11 which will work only if A is still the root but coming from the IV of another Major scale which means ALydian key(the 4th of EMajor scale).The difference between these two scales is that the Lydian has the same notes as the Major scale except the 4th degree which needs to be sharpened(#).That's why #11(octave higher than the actual #4)which means the D from AMajor scale needs to become D# hence the new scale ALydian ABC#D#EF#G#A.We'll go in more detail in regard to modes and chord/arpeggio extensions in the near future.

But for today just go and learn the shapes using the 'right' fingers and picking directions I written down.Then when you feel you got the hang of how they sound and work out on the fretboard use them in your next Major feel solo.Use them to begin/end runs with or just as a spring board to create your own ideas.Remember to memorize the shape the sound the location and in what key they work out.This should give you that push to try new stuff in your playing because an arpeggio can add that missing link in creating a great solo.So go ahead and 'burn' your fretboard with these! Next time we'll talk about the Minor 7th ones.

Good luck

Jean





JeanPierre Zammit
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