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    Toaz - Info Edocpub The Caged System and 100 Licks For Blues Guitarpdf PR

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    Fernando Agosto

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    THECAGEDSYSTEM &00LICKSFOR BLUES GUITAR ‘noplay the blues rv ‘The Caged System and 100 Licks for Blues Guitar Published by www, fundamental-changes.com (Copyright @ 2014 Joseph Alexander ‘he moral ight ofthis author has ean asserted. All rights reserved. No par ofthis publication may be reproduced, stored in retzievaleytem, or transnattd in ‘any form or by any means, without the prior pennisson i ‘writing ofthe publisher. ‘The publishes aot responsible for websites (o their content) that are not owned bythe publisher Fundamental Changes ‘ewveundamental-changes.com Also By Joseph Alexander ‘undamental Chanass in Jaze Guar: The Mair iV ‘Minor ii Masaru for loa Cuitar Jaze Blues Solving for Guitar (Guitar Scales in Context ‘The Complete Technique, Theory and Scales (Compilation for Guitar ‘Sight Reading Mastory for Guitar AIL Audio fles in this book are available from, eww fundamental-changes.com /audlo-downloada Introduction ‘Melodic freedom on the gitar is hard to come by, in ‘oc, most gultrits stay looked into the same patterns and sealechapos for youre unsble to broak out of the habit and licks they fst learnt as & beginner. This leads to creative stagnation, boring solos and a sense that something wi fakeays be missing fom the playing sk youre his: ‘When you solo do you normally go straight to that ppentatoni wale shape? Do you normally play in a Timited range of ‘ery’ keys, lke A, #, Gand CP ‘Would yor like to have complete fredom to wisualise and playin any key in ay postion on guitar? o you ordy use Minor Pentatonie scales, or rarely use relrsounding modes to enliven your playing? ‘fthe anewor to any ofthe above questions is yes hem this book i definitely for you. This book helps you spread out your playing all over ‘the guitar neck. It frees you from playing the same ideas ‘over and over aguin. This book spurs ercativty by opening up the mock, and most imporcamds, teaches you an Incredibly strong visual method to ‘hang’ seales and licks off ‘easy to remember chord shapes. ‘The CAGED System for Blues Guitar exvers boll Major fand Minor Pentatonic Seales, The blues Seale, and The ‘ixolydian Mode, With 25 liek for each scele covering all S positions, youll nover be short of something interesting 12 say on your instrument Contained within are the tricks and secrets that professional guitarists goto unlock the neck 0 they ls hhave something fresh to play. The most important concept Is the CAGED system which will help you 10 seo the fretboard lke the back of your band and to play easly in any key in any position. ‘Thief a Book about seals. Thee are over 100 blues ‘guar Hoks in that you will memorise easly, and wil form the basis of your new, improved solos. YouTl learn to hang there of each chord shape, x0 wherever yon are on the ‘ita, you'll ever lose the groove Each link ie domonstested with ex individual sudio ample which yor ean downloud fromwew-fandamental-changes.com/audio- downloads, There is over an hour of adi ineaded and igh telored bcking tacks, Tig is the method taught at the London College of DMusl's Gutar Institute and Tan very happy to share these powerful concepts with you in my book Have fan, and good luck! Joseph Alexanter Chapter One - What is the CAGED System? ‘The goiter ia umbqoe amongal instruments in thet it ‘isn't linear. Imagine a Keyboard; the notes go in one Girection and thore is only one wey 10 play each pitch ‘When you compare that withthe guitar, you wil notice that we have more that one way to play most pltehes, and that the notes move both horizontally and vertically across the eck. ‘What we neod i a simple way to male sense ofall this {nformation; a way t0 organise the neck Into conventent ‘hunks to remove confusion and help us venture into areas ‘that we might nat be confident to explore. ‘The mote of the neck we know, the more erestive, expressive and musteal we ean be, and the move satisfied ‘with our playing we wil fel “This is where the C aystem enmesin. ‘The CAGED system divides the guitar neck into anagaable chunks based around Give different chord shapes te chord shape of the chord slepe of A, and the chord shapes of G, Band D, {Look at these barre chor shapes. See Ifyou recognise ‘the open position chords that you probably learned as a beginner, The square dots are the root notes and eech chord has been alee eve as arcing of A Majer Wo use those chard ehepea a divide up the nock when we eolo, What you ar going 0 learn is how to Aang scale shapes and licks of ech chord shape, This does take tine, bt ill never leave yor alike “Seeing the Metrix? Using each of these shapes we ean Section off he necks one shape fr one postion. Fr the moment, Jet ns werk in ome Key, the key’ of A. Here ar all he chords above shown w differnt wotcings of sm A Majer chord spreed out on the neck ‘Ac fiat glance thia may Jock confasing, but look again arf, Can you se all the bare ehord shapes from the previous page on the nck diagram above? Use the square opt notes io help you orientate youre. ‘Way is this important? This concept is vital to our ability to solo in any position. For example, 1's in the key of A Major and my Jefe hand 1s located in the oth-ieth fret area, 1 will be visuliing the ‘© Shape I¢Lovant to playin the ged to Fret range, Taew a °G Shape. Uhave many Hels and Tnes in iy head that ( visualise around esch chord shape so ‘woorever am on the guitar, | always have aomething to ley? ‘The real trick to allthis is being able to see dearly all the root notes for the key we are playing in. Koot notes in this book will always De shown a5 a square dot in any agran, Yeu should now under that ‘We have 5 chord shapes whish eoparate the eek into 5 Indisdual areas, ‘We use these shapes as visual aid to help us navigate around the fretboard. ‘We wil lear ou sesles and leks in conjunction with cach chord shape When we visualise exch chord on the meek, we will ‘immediately have the voexbulary to playin each postion. That is the beeuty of the CAGED system. In the next hapter we wil Icrn to hang’ sealee off exch chord shape 0 that whes you sec the chord shape, you soo all he licks you know, The chords I have shown above are all, for the ‘moment, malor ebords, We would visualise them ifwo were playing major secs and licks: If we are soloing with major scales, we use majoe ‘enords I wo are soloing using minor scales, we use minor chords f we are soloing with dominant 7 scales, we use ‘dominant 7 chords. Don’t forget, all the audio examples in this, ‘book are available for free from equaflundamental-changes,com/audio-downlosds- Chapter Two - The CAGED System with Minor Pentatonic Scales In chapter one, wo looked at how wo con wee Major (Chord shapos 9 dside up the meek in the key of A Bajo. “We will bo coming back to those shapos in chapter 12 when ‘we ook atthe Major Pentatonie seal, For mow, we ae ging tn foes on the dinar Pentatone sale as you may already havea grasp of one oF ‘twoofthe common shapas onthe ncek. ‘We will begin by louring your visual euos: the ehord shapes that we wil lear to associate with each scale shape Remernber, we section ofthe neck with chord shapes, ad ‘then mentally’hang’each scale shape from each chars. As wo are lenin the Minor Pontaonie sede, we will earn § minor 7 chord shapes to divide up the neck. Here ze your 5 shapes, alla the key ofA msnor: + Shape 5 i actully an Amn ehord bat this helps to clarify the differenens between shape 7 and sh=pe 5 ‘You will notice also that we have stopped calling these sévords C shape, A shape ete. Now they are just named Shape t shape 2 ard so forth, Exercise ‘Memories these chord Play dhrougl thers individually, taking cae to note the ‘ret numbers on the left. Actaliy sey "A Minor 7 Shape 27 you play each voeing. Learn them ance fhe neck oa shown in example i i Lear thor descending the neck a shown i example ab Play them i alternating postions ike in example 2°. Now you have memorised these 5 important chord soicings, te timeto Tear the Minos Pentstonic scales hat fit around each shape To begin with, foecs in on shape 1Here is the chord Bagram once again, and next to it T have shown how A tinor Pentatanie hangs from the chord shape 1 ig Gear in the above diagcams how the A Minor Pentatonic Shape tft in and around the chord of Am7. ‘The dark dots chow notes that are in the chord and scale “The hollow dots show scale tones ‘oe aquare dots ar she root of tho chord/ecae (in this ewe, '8), Exercise 2. ‘To develop the visual Tinks between the chord and scale shape, playthrough example 2 rarer COP Ets As silly as Ix sounds, every time you play the Am7 chord, say "A minor 7 out ous, Let us now examine this idea with the other 4 chord shapes: sane sna [As you leara exch shape above, in your minds eve fouls the dark dots om your guitar neck, Your ability to 4o this wil improve quickly with practive. Beample 20 teaches you to practice the other swale positions, just ike we did with shape. mmo. {Look at example 26, Notice that each time you play ‘through the seae, you Bean from the lowest note in each namernesee ‘postion. Do not just stact from the root. ‘The sequenceis Pley an say the chord, Play through the seale ascending and descending. Play and say the chord. ‘Once you have become reasonably confident with this, start to play though each position but with the seale descending and then ascending. have shown this dea with Shape gin example af ‘Repeat this for all; postions. ‘Once you have got that under your Singers, ty example ag: this momuter exsese links everything » together When you can ploy example 2g, do the previons Finally, Practice this exercise by ascending one shape ‘exercise with descending sales, ‘and thon deseendng the next lke in example 2 ‘To make sure you're playing these exercises correctly, practice them with the eoresponding audio examples playing in the background. Try to syne in with the recorded guitar. When you feel confident, speed them up with a Memorising anything can take a while. Spend time on ‘thie chapter ast forms the basis of everything we will do in ‘the ret ofthis book. a the next chapter we will staet to develop your blues ‘guitar Yoeabulary by teaching you musical Lick and phrases foreach shape. Chapter Three - Minor Pentatonic Licks in 5 Shapes Playing seales isn't playing music. Thre is mo point in learning all these positions on the qultar unless we have something to say in each one, We all need 0 start somewheze with our vocabulary, and just as we learned to ‘alk by copying our parents, we lear to play by copying the people we ike to listen to. ‘Wo wil frst lok at 5 Pentatonte leks for each shape, remetnber to visualise eaeh chord shape from the previous chapter on the neck 28you use these Ines ‘Blues licks are difficult to write/read accurately in notation and ta. Listen and syne your playing to the audio xamples to get an idca of the sctual phresing and Practice these ideas by first learning an individual dea, and then playing it over backing track one: Slow Blues nA Minor. Try learning one Tine from each shape frst, rather ‘than learning five lines in one postion. Take it In turns to play one lek in each position ascending the guitar neck. When you ean do that, move on to learning a new line ftom each shape and repeat the xercae. Dont be too strict with yourself about rhythm and. phrasing at chia stags, Were just learning to move positions. Im chapter 4 ww will discuss some very useful ways to practice these lines and how to use them fo be ereative ix your ows salaing. Minor Pentatonic Shape 1 Licks Here are 5 lines built around Shape 1. They are all played es audio examples ‘Example 3.12 Example 3.1b ‘Baample gue Minor Pentatonic Shape 2 Licks Horo are § lines bullt round Shape 2. They are a played as audio examples. Beample ge Beample 3.28 Minor Pentatonic Shape 3 Licks 4 Here are § lines built around Shape 3, They are all played as andi examples Example 5.3 Example 3gb Example 3¢ Minor Pentatonic Shape 4 Licks 1) Here are § Hines built around Shape 4. They are all played as audio examples. Example 3.42 Example 34b coi Minor Pentatonic Shape 5 Licks ere are § Hines built aroand Shape 5. They aze all played as sudo examples. Example 3.58 Example 3.sb vaste time trying to get your lines to sound exactly ike Runpleso rin. = you pein to chnge mys as mb as paar wean Lamas *s*Wamng! ~ Dont be too stret with yourself about pleying the ics perfectly, Bluse (e all about phrssing and {mprovintion There fsa right way to play any one Mek sa a beter to feces on a eeonth, mateal souaing line then Chapter Four - How to Practice Now wo have specie voeabulary that plays to the strungths of exc individual shape, ee cae look at ways ‘corporate the ics into your own soles and make ther: your oven. ‘There is wrest debato on the subjoct of licks yorsus -spontanoous improvisation, however Tinka good volo Ie ‘eamblnatlon af both approaches, ‘When you first Jesrned to speek, you copied the odd ‘word from your parents, gradually you put them into semtenees and now you dont even think about how to tall- ‘Your own ideas just come out at you desire thea to However, If you bada't gone through that phase of ‘using, {Your parents leks’, you'd have never developed the ebility {ospeakatall. ‘The following eystem tsa famtastle way to make your ‘Yeks sound natural and to alao help incorporaie new vocabulary Into your playing, thus making tt sound our ‘own. It will so teach you o organically develop an idea in atruly musical way. {a the first exeroie Twat vou to fous on just one Line, Jets ty this one from example 3.18 ‘Aayou ean se, this is a2 ar lick. ‘We wil play this idea over the space o 4 bars. The frst. 2 bars will be the Hck; the second 2 bam will be at Improvised answering phvese. Example 4a shows how Start by putting on Backing Track 1 Slow Bluse in. A Minor and be careful to focus om the exercive, Don’t let yourself start noodling around the seales. He sure to stick ‘0 2 bars ofthe ick, then 2 bats of your improvised answering phrac. Don't wory for now about the qualtty of the Improvised line you play, but imagine thar the lek In the St half is question and you're playing an answer ‘There are abillon possibilities, ‘When yours comfortable with that, move om to your other lines in the key of A. ry i with wach lick in wack of the g positions. Remember, i's easy to lose focus and start ‘wandering, but keep pulling yourself back tothe exerese “The second exorcise wo wil try isto reverse exorcise 4a, Stat with 2 bare of improvisstion and try to seamlessly ‘Dlend shat into a Uck that you learned in chapter 3. Example qbshows you hove : f fhery Again, ey this with enh lick the postions. inally, and most importantly, ook at example 4: SS = ‘As you can see, n this example we begin with « shor: piece of improvisation, menge it nto « phase we know and Athen reseed mae improvirtion, ‘Once you have done this with al the leks in chapter 3, you should be wall on your way to playing « convincing Dluos sol. Chapter Five - Changing Keys Part 1: Five Keys in One Position ‘Now that you are abletofmprovise an play nes using the § shapes ofthe Minor Pentatonic scale spread over the neck, we wil now move on to the extremely important subject of changing keys i one postion, Hfyouhave had any experience of blues soloing before, you will probably have taken this approach: Playin the key af A~ Use Shape 1 Pentatonic a the sth fret Play in the key of & - Use Shape 1 Pentatonic at the sath est. Pliy nthe key of - Use Shape 1 Pentatonke a the gr or agth free While the above approach is technically correct and Allow you to Sump right in’ to your solo, you ean probably See that this is somewhat limiting in terme of the range of ‘he guitar you uee, andthe licks that you end up paving. ‘We are ging to earn bow to mie all shapes in diferent keys while staying in the same position (let ranged onthe guitar. “The 5 diferent kay eens ve wil bo using are Ay Cy D,FandG. We will kep our fretting hand only in the fet span of the 5th 8th frets "reTho sceret to changing keys is knowing where the wots of each chord Iie in this position ++" yout should be ableto see each minor scale built around ‘The dark squares the diagram above show where the root / tonie of each key centre les on the guitar neck Denveen the sth and ath frets, For exemple, the note “Gis onthe 4th sing, sth Get [Now we can see where each root note is, we simply ‘overlay the appropriate chord shape from chapter 2 as fellows, making sure the root of each ofthe 5 chord shapes, aligna withthe roots shown above: Hore fs an exerci that will teach you to play in eae ey contre: Justa we did in chapter 2, we will play each Minor Pentatonie shape ascending end descending, but this time ‘we play in each key centre in turn without moving our nan position on the nodk..Frst in the key ofA, then ©, Dy Fand 6. “hy this fost without a Backing Track. Start by playing the chord of Am, then ascend and deseend the A Minor Pentatonic seal. Next play Coy and then play the sssocinied Minor Pentatonic scale. Do this with Dany, Biny ‘and G7 in ura. I will ook ike example 5: 43 soon es you fel able, try this iden without plying oa the chord fist, just visualise the 5 different key centres, Du this with Backing Track 4as shown in example gb cm 4s you become better at playing and visualising the shapes at the same time, move on to playing each shape deseending fist and then ascending like example 5: “This time ascend one shape and descend the next. Notice pret Oe thot tha idca takes two eyclos to completa. Practice this = {doa with Backing Truck 5 as chown in example sd Poe ee inally ey using Backing Track 6, (dominant 7 chords, 2 bars per chord). Instead of playing scales for cach ly honge, try 8 short Hick in exch appropriate key, ‘This is show in example 5. Chapter Six - Changing Keys Part 2: Other Areas of the Neck Now you have done the hard work In chapter 5, the abllty to play in any key in any area of the neck should ‘besome much easler. ‘You now understand the concept that you ean hang a liek or seal offa chord shape, you just need to know whece fxeh root note is on the neck. There are 5 fret ranges (cositions) that we ean playin on the gular. a6 58 710 2019 a5 We discussed 5-8 extensively In the previous chapter solo us extond this dos othe rst ofthe neck. Here are the locations of the ront notes A, CD, ¥ and G incl positions: So, if you were playing around the grdogth fret and you were in the key of C, you would use shape 4 licks because its root note best aligns with the C on the sth string, sr fret. Ifyou were playing in the r2th to agth fret range anc you were in the key of D, you would use shape 2 licks because shape 2 isthe best ‘it to cover the root onthe 4th string, 12th fret. ‘The key of Fin tho 10th — sath fret range would be ‘covered by all your shape 5 biaes ess. ‘The most important thing isto Tear your 5 root notes {in eaeh position. Then you will be easily able to soe the ‘most appropriate chord shape to visualise while you solo Now you can see the 5 root notes in each position on ‘the guitar, so back to ehapter 5 and play all the exercises Ueew in each new positon, stil eying around the key centres, C.D, Fand G. Ascend and descend each key/shape in turn, (Backing ‘Track 4) Deseend and ascend each Key/shape in turn. (Backing ‘Track a) Ascend in one key, descend in the nest, (Backing Track 2 Deseend in one key, ascend in the next. Backing Track 2 Use Backing Track 6 with 2 bara per chord to play tick fox each key exntve Do the above § exercises in ALL g positions. IF yon can't see the raat notes on the neck well enomgh yet, ‘use the diagrarss on the previous page to help you. I hve included an example of how to ascend ard descend in each -key/abape in the 10th-1gth fret range to get yon started in ‘example 6a. Chapter Seven - The Blues Scale ‘The blues scale is strongly related to the Minor Pentatonic scale, in fset they are exactly the same apart from the addition af one single note, This noe, however, i almost definitive of «blues solo {would goas far as to say that I've never heard a blues solo played that does not contain this extra note at some point. “This isn't a book about music theory, so if you understand that wove adding a bg (fattened 5th) to the Minor Pentatoaie scale that’s great, if you dos", ten all, ‘you need to know is how to play these excellent sounds. Lee's compare the notes of A Minor Pemtatonie to the notes of the A Bluos Seale: ‘The additonal note is loeated in the lower actave on the pth string and in the upper octave onthe gr string While it may seem like a small addition, this is one of, the most powerful ideas we cam use in blues soloing. ‘As you have already done so rach work in chapters j- 6 in studying how to use each scale shape in any ey, we fortunately shosldn't need to do all that agai. This time I simply want you to Tear where the blues note ations He In each ofthe 5 shapes, Here are how the other 4 shapes change: Oy On +4 ‘When you are familiar withthe blues note variations, start examining the lcs for cach shape below. Onee again, there are g licks fr each shape, Notte how each lick makes ‘use of, and resolves, the extra bs note, Blues Scale Shape 1 Licks Semple7ae ber cee be coy ee pS oe SS] Example 71d Example 7.10 Blues Scale Shape 2 Licks Example 7.22 Example7.2b Blues Scale Shape 3 Licks Fenn? Blues Scale Shape 4 Licks Sees Blues Scale Shape 5 Licks Remade: same ‘Example 7.5d [ott . co Example 7.92 pS pny pel = Example 75¢ Remap ier es a === —— Chapter Eight - The Blues in 5 Different Keys ‘The above 2g leks are a great sarcng point for your oma improvisations; however: to really internalise thera it {simportant that you learn them around the chord shapes ‘as discussed in eaier chapters. This means that you should 00 every lick you playin relation tothe minor 7 chord you visualised when fst learning the blue scale. Since you have the ACDFG exercise fresh in your mind from chapters § and 6, we are oncx again going to mee that concept to help you learn your blues licks indifferent keys and positions. ‘he following exercise (which is similar t the one in chapter 6) will wally help you to make strong visual links between the positional chonl shapes and the first nate of each line that you play We will use the exerise of playing through 5 diferent key contros in diforent postions; but instead of plaving simple ascending seal, we will use 1 blues Hek from oach ofthe g shapes. We have 2 bars on exch Key centre, A, D, F and Your job is to once again to stay na single position, e, the 5th to 8th fret, and play one biues lick for each key. (have chosen balow one line from ccc chape that 1 think is ‘rtioulrly suitable for this exerelse, HOWEVER, unlike in chapter 5 where I changed the key of each line for you, this time all the lines are writen in the key of A, and you need to tcanspose them (change thelr key) yousee, First, male sie yom are familiar with these § lines in the key of Now, the erucil idea of this exercise is to visualise GRO. (aid play) the chord associated with each shape Sst, and ole then compare that tothe first note of the associated lek oi froma that shape. o cs For example, in the shape § lick direciy above this paragraph Play the fall chord. Keep itheld dove. Notice where the fst note of the lick is losated in relation tothe chord. (la this easo its on the sueond string, ‘wo frets above the chord note) Understand that whem you're playing in shape 5, the start ofthat lic wil always be in exactly the same place in relation to the chord, whichever key you ein, ‘Try moving the chord ftom the above example down ro the th fret. You are now playing a C minor chord and the lick will begin on the 8th fet. Tay this idea out for alg Lek in ths chapter. Praction moving them to different keys and when you're ready, put (on Backing Track 6 so yon can practice over the sequence A, ©, D, F, G, each chord lasting for 2 bars. As the chon changes, play a new lek In the eorrest key in the same sition. This is exactly the same idea as in chapter example 5, Practice this exereise all § positions on the neck. Chapter Nine - The Mixolydian Mode ‘The Mixolydian made isan extremely important sound In the blues (and also rock guitar). Tt iy rarely used in Inolation; however when combined with the blues seale it ives the missing tonality that your ears may be searching for, Most guitarists use or imply the Mixolysian mode when they solo in the blues or rock style, but when used sparingly itis most reminiscent of players like Stevie Ray Vaughan, Jimi Hendrix and Joe Setrtni, amongst many others. We will again be taking 2 § position approach 10 earning this scale and its voezbulary. First let us lear the 5 positions of the appropriate chond to visualise when we Jearn the seal: the Dominsnt 7 ehord. Mast blues is played over the Dominant 7 chord (or 9). You will see them written as ‘A7’ or 'E7 ete. The ‘Mixolydian modes the sal that most accurately deseribes 1this'7 chord sound. ere az the § Shapes of an Ay ‘Mixolycian’ chord: svrimpostant, do not play the two lowest notes of shape (the ones on the oth and gh strings). Just visualise them while you play the top 4 strings as a basre chord ‘Learn them as you did in chapter 1: Fist ofall, memorise these chords. Play through them individually taking care to note the fret numbers on the let. Actually sy "A7 Shape 4” outloud ss you play each voicing ‘Learn them ascending the neck as shown in example oe Learn them desceraiog the neck a shown in example 9b, ga 8a go 1H ay them in semating poston ike fm example ae. Spe Once you know the shapes af by hear, learn the scale shape for position one, We wil be using this as our workhorse to examine how the Mixelydian mode is used Aad to show how itis eombined with the Blues/Peatatonic see, ‘When you have got the A Mixolydian mode under your fingers, want you to compare it t the A Minor Pentaronic seal, Thy tonotiee where the differences le by studying the ‘carts below and playing through the two seales on your sitar, i) to OOH ‘The most important difference is Iested on the 3rd string, In the Mixolydian mode we play the 6th fret (C#) land in the Btinor Pentatonic scale we play the sth end 70h frets (C and D). 1 i this difference that we often seek to accentuate in our blues plying, and indeed it is this note ‘that sounds s0 goed when we use the two seales together. Jn the A Minor Pentatonic seale, the note C is the minor note. Iti in tae minor chord shape we actoeiated with the sealein chapter 2. In A Mlsolydian, the note Cris the major note Tes in the A7 chord thet we associate with the scale. -Most blues is played over dominant 7 (7) chords, and when we use the Minor Pentatonic scale we often pull that slightly towards the major C# with a bend. Consider this, Fiek fom chapter Look st the fret note in the second bar. This fea clear example ofthe minor note C being palled sighly towards the Ce with asmall end, Another way of using this idea is in the following example ‘The above line begins and ends with common Pentatonie ideas, but implios Mixolydian with the C# in beat 2 This Is by far the most important application of the ‘Mixolydian mode, When you understand this, you will be able to apply it to al § shapes for an instant dominant 7 ‘bho sna ‘The ‘Major gre Ss not the only usefl applieation of the ‘Mixolydian mode, We have also added to rich ‘colour’ notes tothe original A binor Pentatonte, the oth (H) and the 23th (Er), We use those notes to add depth to our blues lines ‘which you will ee in chapter 1. Music is organic, There wil never be a straight Tine between playing this scale over this chord. In chopter 11 have given you 25 Mixolydian blues licks, for each shape, Dut cis important you are aware that in this tye, Hines are normally based around a Peatatonic/blues sale with couple of the ‘colour’ notes from the Mizolydian mode added. Ifyou play straight Mixolydian sesle over a blues, you wail sound cold and ineppeoprate Chapter Ten - The Caged System with the Mixolydian Mode Now we understand how the Mbsoldian mode functions inthe blues, we willlear bow to play the scale in 5 different shapes and then approsch it with the ACDFG ‘method from chapter 2. This will give you the freedom to sce and play the sale and associated vocabulary wherever you are on the guitar neck, Hirst, here aro all 5 scalo shapes in the Key of A. Remember to learn them while viualising the associated dominant chord Let's recap the method for learning these scales in the key of A ‘To develop the visval links between the chord and seale shapes, it play the seale in postion 5; example 108: ‘Everytime you play the A7 chord, say "A7" outloud. Lot us now examine this idea with the other 4 chord shapes: 4s you learn each shape above, in your mind's eye visualise the dark dots on your guitar neck. Your abity to do this will improve quickiy with practice. Example 10b teaches you to practioe the other seale positions, just like we did with shapes. Notice that each time you playthrough the soale you Degin from the lowest note in each position. Do not just start from the root ‘The sequence is Play and say the chord. Play through the scale ascending and desvending. Play and say the chor Repect this forall § positions ‘Once you have got that under your Fingers, try this ‘monster exercise for linking everything together in example tod: ‘Once you have become reesonsbly confident with this, start to play though each position but with the seale descending and then ascending. TThave shown this idea with Shape in example 10: ‘Do the previous exercise with descending geaes. ‘inally, Puetice thls exercse by asconding one shape and then descending the next lke in example oe Again; take your tne. A comforting thought is thst you ‘only need to lear these shapes once. We ise exactly the tmime arale shepes whether we are plying 0 Mixdyfion rede, Dorian mode or Major scale Putting the work i here will pay massive dividends forthe rest of your musical life Chapter Eleven - Mixolydian Licks in 5 Shapes Example 0 Mixolydian / Blues Shape 2 Licks Beample 11.2 Example 11.20 Mixolydian / Blues Shape 3 Ae gy Licks STO Mixolydian / Blues Shape 4 Licks Example 11.34 getter te gene pp } —— 1 Exampletise xample.4a Mixolydian / Blues Shape 5 Licks O10; sxample 1.53 Po oe = zs . poe Peeper) i Example usb Example 115¢ Bxample 1.5¢ Practice and memorise these lines in the same way as in chapter 4. Chapter Twelve - ACDFG with Mixolydian Before you start this ehapter, go back and reeap the Seas in chapters § and 6. You willbe learning to do exactly ‘the same thing withthe Mixolydian mode. Firs et us look atthe fretboard around the sth to 8th frets ‘We can now align our Mixolydian chord shapes to each ‘root note inthis are: Now we simply hang the scale shapes off each chord | , > Soom $ oT 1166 1STIOOK }é 9 o9 99661 500909 179

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