This lesson revisits the triad arpeggios, showing several inversions (inversions are just arpeggios or chords started from a different note). Each triad has 3 notes, so that means we can start the triad from any of these 3 notes. When we start from the first note, there is no inversion going on (we call it the root arpeggio). Starting from the 2nd note gives us the first inversion, and starting from the 3rd note gives us the 2nd inversion. In this lesson we will play inversions for the Major and Minor triad across 5 strings.

This is not an inversion. We refer to this as the root arpeggio, because it starts from the first note of the D Major triad (i.e. it starts from the D). The exercise is just like part 3 of the Major triad exercises, but we are playing a D Major triad instead of a C Major.

Here is the Major triad arpeggio shape that you have probably seen before, if you have checked out the Triad Arpeggios lesson.

By now I don't think you need any instructions on playing arpeggios... If this is your first arpeggio exercise, please see the Triad Arpeggios section to learn about how to play arpeggios.

Now we are going to play an inversion of the D Major triad. The 2nd note in the D Major triad is F#. So we simply start from that note. We want to continue playing 5 string arpeggios, so we go down to the 7th fret. We then add the 3rd note, then the first, etc. By doing so we end up with the shape shown below.

This is a convenient arpeggio shape, because you can use one finger to handle the D, G, and B string. There is a pretty good sized stretch though from the 3rd to 8th fret on the E string.

Play this like any other arpeggio. Make sure that you roll finger along the D, G, and B string so that notes are not bleeding into one another.

Now we are going to play the second inversion of the D Major triad. The second inversion starts from the 3rd note of the triad. The 3rd note in the D Major triad is A. So we simply start from that note. We reposition ourselves at the 12th fret and then add the 1st note, then the second, etc. By doing so we end up with the somewhat awkward shape shown below.

This is a rather awkward arpeggio shape, because you have to do some barreing across the A and D string, and the B and E string.

The thing to watch out for here is the barreing across the A and D strings and the B and E strings. It is easy for notes to bleed into one another when barreing, or even worse, for notes to not sound. So take this one really slow til you have no trouble with the barred notes.

This is not an inversion. We refer to this as the root arpeggio, because it starts from the first note of the E Minor triad (i.e. it starts from the E). The exercise is just like part 3 of the Minor triad exercises, but we are playing the arpeggio 1 octave lower.

Here is the Minor triad arpeggio shape that you have probably seen before, if you have checked out the Triad Arpeggios lesson.

Use the sweep picking technique as desribed in the Triad Arpeggios lesson to play this exercise.

Now we are going to play an inversion of the E Minor triad. The 2nd note in the E Minor triad is G. So we now start from that note. We want to continue playing 5 string arpeggios, so we go down to the 10th fret. We then add the 3rd note (B), then the first (E), etc. By doing so we end up with the shape shown below.

This is not an easy shape as far as arpeggios go. There is some barreing required and a wide stretch on the E string.

With this exercise, make sure that you play the barred notes cleanly. Your fingers have to do a lot of work to pull this one off.

Now we are going to play the second inversion of the E Minor triad. The second inversion starts from the 3rd note of the triad. The 3rd note in the E Minor triad is B. So we simply start from that note. We reposition ourselves at the 14th fret and then add the 1st note (E), then the second (G), etc. By doing so we end up with shape shown below.

This is a rather unique looking arpeggio shape. It involves 2 instances of barred notes to pull thw whole thing off.

With this exercise, it will be easy for all those barred notes to bleed together or cause other problems (like notes being muted, etc). So make sure all notes are sounding.