Cre­ative Rock

Fol­low­ing his pre­vi­ous les­son, Shaun Baxter cranks up the pres­sure by halv­ing the amount of time to play your Mixoly­dian vo­cab­u­lary over each chord.

Guitar Techniques - - Front Page -

Shaun Baxter’s boot­camp turns its steely at­ten­tion to­wards one-bar triplet lines.

that reper­toire sys­tem­at­i­cally in dif­fer­ent keys all over the neck.

The idea is not just to build your lick reper­toire so that you have things to play, but also to have in­stant ac­cess to that vo­cab­u­lary when im­pro­vis­ing. To start with, Di­a­gram 1 shows the five CAGED shapes of A Mixoly­dian.

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, purely by se­lect­ing the ap­pro­pri­ate shape.

The back­ing track for this les­son is de­voted to a pro­gres­sion com­pris­ing a se­quence of A7-C7-D7-F7-G7 (one bar on each chord). Ba­si­cally, we go through the al­pha­bet, but have taken away the first chord each time there is only a semi­tone 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; 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 man­ner.

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 ar­eas or po­si­tions shown cor­re­spond to the ones de­lin­eated by the var­i­ous po­si­tion mark­ers 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: Start by play­ing each A Mixoly­dian line A7 Shape #1 (bar 1) A7 Shape #2 (bar 6) A7 Shape #3 (bar 11) A7 Shape #4 (bar 16) A7 Shape #5 (bar 21) 2) Then, take each A7 line and trans­pose it (lat­er­ally) to another part of the gui­tar neck for C7 D7 F7 and G7 (note that you can use the back­ing track to prac­tise this): Shift each A7 line up three frets for C7 Then up another two frets for D7 Then up another thre frets for F7 Then up another two frets for G7 and, fi­nally, up another two frets to get back to A7. Note, as you as­cend the fret­board, you may 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

In or­der to be cre­ative, it helps to know where you are go­ing, and to have a clear un­der­stand­ing of what you have learnt.

one 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.

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