Shaun Baxter concludes his series looking at using Mixolydian repertoire over dominant 7th chords, in different keys and CAGED shapes on the fretboard.
Shaun Baxter takes a look at creating one-bar phrases using 16th-note patterns.
play, but also to be able to have instant access to that vocabulary when improvising. Diagram 1 shows the five CAGED shapes of A Mixolydian.
Once you’ve learnt one scale in all areas of the neck, you can transpose this information to allow you to play from any other root note. ultimately, this leads to you being able to access any scale at any time, wherever you are on the neck, purely by selecting the appropriate shape.
the backing track for this particular lesson is devoted to a progression comprising a repeated sequence of A7 to C7 to D7 to F7 to 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 little you learn about c if you’ve simply moved up a semitone 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 very 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/positions shown correspond to the ones delineated by the various position markers on the fretboard.
Practise 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); and A7 shape #5 (bar 21).
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 three for F7; another two for G7; and, finally, up another two 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.
next, use the backing track to work in just
This exercise acts as solid preparation for playing over chord changes as it requires you to have to think of two things at once.
one position of the neck using a different CAGED shape (and associated Mixolydian line) for each chord. 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. You can use the backing track to practise your own licks for each of the five Mixolydian CAGED shapes. If it’s hard to take all this in, read through again until all becomes clear; persevere, as the information here can move your playing on to new heights and your knowledge to expand concurrently.