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B MINOR TRIAD & ARPEGGIO POSITIONS
When setting each chord/arpeggio down, emphasize that the lowest sounding tone of the triad is hammered down first.
Follow by making an attack by the other fingers on the adjacent strings as they are hammered down. Each arpeggio pattern should help coordinate the fingers with definition of attack... lowest to highest in sound.
Treat each triad as part of a whole, independent chord in its own right. All necessary chord tones needed are present in each diagram to complete the harmony for the chord.
The second part of this lesson shifts into using the same identical material for B minor arpggios in different positions. And then reversing and returning back to the starting place.