creati ve rock ..........................................................

Shaun Baxter helps you to ex­plore ev­ery dusty cor­ner of the fret­board with this chal­leng­ing and thor­ough work­out through the dif­fer­ent keys.

Guitar Techniques - - Learning Zone -

Our jazz-metal guru, Shaun Baxter, looks at a va­ri­ety of Mixoly­dian triplet per­mu­ta­tions.

reper­toire in dif­fer­ent keys in each area of the neck. The idea is to build your lick reper­toire so that you have got things to play, and also be able to have in­stant ac­cess to that vo­cab­u­lary when im­pro­vis­ing.

Di­a­gram 1 shows the five CAGED shapes of A Mixoly­dian. As you may know, the CAGED sys­tem is a method of scale vi­su­al­i­sa­tion, based around move­able ver­sions of the open C,A, G, E and D chord-forms laid end to end along the length of the fret­board to form a back­ground ref­er­ence or struc­ture to aid scale nav­i­ga­tion.

Once you have learnt one scale in all ar­eas of the neck, it is pos­si­ble to trans­pose this in­for­ma­tion to al­low you to play from any other root note in the same man­ner. Ul­ti­mately, this leads to you be­ing able to ac­cess any scale un­der your fin­gers at any time, wher­ever you are on the neck.

The back­ing track for this les­son is de­voted to a pro­gres­sion com­pris­ing a re­peated se­quence of A7 to C7 to D7 to F7 to G7 (two bars for each chord). Ba­si­cally, we go through the al­pha­bet, but have taken away the first chord each time there is only a semi-tone be­tween two chords. There is very lit­tle you learn about C if you’ve sim­ply moved up a semi-tone from B, and the same goes for E and F. By re­mov­ing B and E, you still have to men­tally ac­knowl­edge where they are in or­der to get to C and F re­spec­tively. But, of equal im­por­tance, by omit­ting th­ese two chords, we’ve ended up with a five-chord se­quence that al­lows us to prac­tise all five shapes of the CAGED sys­tem in each area of the neck in a stream­lined and ef­fi­cient way.

Di­a­gram 2 shows how the CAGED sys­tem can be used for each chord-type in or­der to play in just one area of the neck. Gen­er­ally, the neck po­si­tions shown cor­re­spond to the ones de­lin­eated by the var­i­ous dots on the fret­board. Try build­ing up your ap­proach to play­ing the full ver­sion of the ex­er­cise shown in the tran­scrip­tion (along with the back­ing track) by do­ing the fol­low­ing:

1. Start by play­ing each A Mixoly­dian line: A7 shape #1 (bar 1), A7 shape #2 (bar 11), A7 shape #3 (bar 21), A7 shape #4 (bar 31), A7 shape #5 (bar 41)

2. Then, take each A7 line and trans­pose it to another part of the gui­tar neck for C7, D7, F7, and G7 (use the back­ing track for this): Shift each A7 line up three frets for C7, then another two frets for D7, another two frets for F7, another two frets for G7 and, fi­nally, up another two frets to get back to A7

Note, as you as­cend the fret­board, you may

The idea is to build your lick reper­toire so that you have got in­ter­est­ing things to play; on top of that we also want to have in­stant ac­cess to this vo­cab­u­lary when im­pro­vis­ing so­los.

have to dou­ble back an oc­tave (play the same things 12 frets lower) if you find that you are run­ning out of neck.

3. Next, use the back­ing track to work in just one area or po­si­tion of the neck us­ing a dif­fer­ent CAGED shape (and as­so­ci­ated Mixoly­dian line) for each chord.

4. Then work through the length of the neck (again with the back­ing track), play­ing a dif­fer­ent line for each chord as you shift up through the po­si­tions in the same man­ner as shown in the tran­scrip­tion and demon­strated on the les­son audio.

5. Fi­nally, you can also use the back­ing track to prac­tise your own licks and lines for each of the five CAGED shapes of Mixoly­dian.

What lines do you have in each shape of the scales that you know? You may al­ready know all five CAGED shapes of scales like Mixoly­dian, but what ideas or reper­toire have you de­vel­oped? No one wants to hear you waf­fle up and down a scale shape wait­ing for divine in­spi­ra­tion to hit – you need to have things pre­pared. Start build­ing up a col­lec­tion of your own lines and licks in each of the five scale pat­terns, not just of Mixoly­dian, but ev­ery other scale that you know.

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