Map it slowly
Find E♭ on string 5 at fret 6. Play string 5, fret 6; string 5, fret 10; string 4, fret 8; string 3, fret 6; string 3, fret 8. Use a relaxed position and release pressure between repetitions. String 1 is high E.
Arpeggio · E♭7 · Guitar
The E♭7 arpeggio is E♭ – G – B♭ – D♭ — chord tones 1 3 5 ♭7. E♭7 is the V chord — the engine of every cadence, and every bar of a blues; its sound is tense, pulling toward its resolution. Below, every E♭, G, B♭, D♭ on the fretboard is marked, with the root in gold. Press play to hear a one-octave arpeggio, or tap any note.
Visualizer
Guitar · standard tuning
Piano
Play loops the arpeggio up and down one octave (switch Loop off for a single pass) in the position starting at fret 6. Tap any marked note to hear it. “Show” switches or combines the fretboard and keyboard; “Sound” picks the instrument you hear. Audio is synthesized in the browser.
Your next 10 minutes
Find E♭ on string 5 at fret 6. Play string 5, fret 6; string 5, fret 10; string 4, fret 8; string 3, fret 6; string 3, fret 8. Use a relaxed position and release pressure between repetitions. String 1 is high E.
Play E♭ – G – B♭ – D♭ in quarter notes at 60 bpm. Repeat starting from G, wrapping back to E♭. Do not speed up until every attack is even.
Alternate G and D♭ above a sustained E♭. These are degree 3 and ♭7. End a four-bar phrase on either one instead of always returning to the root.
Listen for this: E♭7 has the colour “tense, pulling toward its resolution”. Name the degrees as you play, so you can recognize the sound in another key rather than remembering only a shape.
Understand the sound
The third and flat seventh form a tritone. Hear those two notes first, then hear how they move when the dominant resolves.
Here the third is G, and degree ♭7 is D♭. Play E♭ in the bass and compare these voices individually before combining them.
Try G – B♭ – D♭ – E♭ as quarter notes, then repeat the first note and omit the last. The second phrase uses the same harmony with a different shape.
Sound the strings separately before playing them together. If a note is muted, adjust the finger angle instead of squeezing harder.
Start with E♭ on string 5, fret 6. The next note G is on string 5, fret 10. Name both notes aloud before playing, then find the same two pitches in another octave.
Before moving on, close the diagram and name the notes: E♭ · G · B♭ · D♭. Then play a two-bar phrase from memory and leave two bars of silence.
On piano
Reference
| Chord tone | Note | Interval from E♭ |
|---|---|---|
| 1 | E♭ | unison (0 semitones) |
| 3 | G | major 3rd (4 semitones) |
| 5 | B♭ | perfect 5th (7 semitones) |
| ♭7 | D♭ | minor 7th (10 semitones) |
Goes with: E♭ Mixolydian (E♭ F G A♭ B♭ C D♭). Voicings: E♭7 voicings on guitar.
Take it to the bandstand.Practice Radio streams endless changes to play the E♭7 arpeggio over through all twelve keys, with the chord and scale shown live — plus ear-training and call & response modes.
▶ Open Practice RadioCommon questions
E♭ – G – B♭ – D♭. As chord tones: 1 3 5 ♭7. Played one after another instead of together, that is the arpeggio.
E♭7 is the V chord — the engine of every cadence, and every bar of a blues. Its character is tense, pulling toward its resolution.
E♭ Mixolydian (E♭ F G A♭ B♭ C D♭) — the arpeggio is the skeleton of that scale, so practise them together.
Start on the root E♭ on the A string at fret 6 and play A-string fret 6, A-string fret 10, D-string fret 8, G-string fret 6, G-string fret 8. Then play it descending, then in eighth notes with a metronome, then use it in a short phrase over a suitable chord.
Keep going
Same arpeggio on piano · Dominant 7th hub · chord-scale theory.
Other arpeggios from E♭