Shaun Baxter con­cludes his se­ries look­ing at us­ing Mixoly­dian reper­toire over dom­i­nant 7th chords, in dif­fer­ent keys and CAGED shapes on the fret­board.

Guitar Techniques - - Contents -

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.

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