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CAGED Soloing | I - ii Progression (1) • G Shape (Patreon)

Published:
2020-03-30 19:06:09
Edited:
2022-08-12 22:28:42
Imported:

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Content

New here? Wondering where to start? Click here

WATCH IN THIS ORDER: 

(1) G Shape (current lesson)

(2) C Shape 

(3) D Shape 

(4) A Shape 

(5) E Shape 

Hi everyone! I highly recommend you watch these in order! I filmed them all in order, so I frontloaded a lot of information in the first few videos. For that reason, I'm putting all the PDFs on this one video as a reminder for Patrons people to start here.

Other than that, this series is pretty straight forward - if you're not familiar with the roman numeral system, I recommend watching my first few Music Theory Monday lessons.

Oh! And here's the jam track: https://youtu.be/L8JBqEVTnqY

I've also attached the audio track for you to download

Click here for the community post about this specific lesson to ask questions, post pictures or audio, or to see what other people are saying about this lesson.

Check out the Lesson Archive for more Soloing lessons.

This lesson is part of my CAGED Soloing | I - ii Progression series

Files

CAGED SOLOING * G Shape * I - ii Progression

This is "CAGED SOLOING * G Shape * I - ii Progression" by Scott Paul Johnson on Vimeo, the home for high quality videos and the people who love...

Comments

Michael Ting

Scott, I can't seem to find the answer to why it's necessary to play over the chord notes, as opposed to playing simply over the scale notes. Not only does it complicate soloing so much, especially if I'm trying to play along old blues tracks, but I also don't feel playing over the chord notes to necessarily sound better.

Scott Paul Johnson
>>102551123

It's like this: When you're soloing using the scale, you might get lucky sometimes and find particular notes that really feel nice. Then you might wonder "how did I do that? Why did it sound cool? How do I do it again?" This CAGED solo practice puts you on the path to find those notes, know what they are, and be able to repeat something cool you've done. A good musician gets lucky sometimes, a great musician knows what they are doing. Does that help?

Michael Ting
>>102551123

Hi Scott, thanks for the reply. Your explanation makes sense, but I can't really relate to it from my personal experience. For the past one year I've been playing along, improvising to old blues tracks for hours in a day. I rarely find the improvisation to sound good because I hit a lucky note. I find I was able to create some strong contrast in the improvisation that to me, sounds really sweet with the overall music. In contrast, whenever I try playing within the chords, I find that it's much harder to create those contrast that I really enjoy, and that things sound uninteresting to my ears. I find that there is a boundary that prevents me to play a strong contrast solo to the music. I don't know why my experience is different than yours. Maybe it's the different way people create music? I have far less experience in guitar than you so I'm just curious to why I can't seem to enjoy playing notes in the chord. But I'm happy that I can get a good thoughtful answer on this topic. Going to guitar channels in youtube, everyone seem to just advocate to this method, but I can't seem to find an answer to why it's better to play that way.

Thao LE

OMG! Scott! You're super 👍. How long it's took you to figure those out Scott? I'm appreciate it very much, this is what i need to looking for. I never see anyone else explain the way you do. Very easy to understand and so easy to digest. Hat off to you Sir. Thousands thousands Thanks!!!!

Armel Chiza

I was happy just noodling, then the theory came.

Armel Chiza

Great content, and support materials.

Larry Howes

This will help me gt out of the rut of just going through the pentatonic in order, knowin if you start in the A shape you have the C lower and the G higher on the neck. But where i need the practice is what your teaching, Having to Know the notes of the neck, and then being able to apply the formula for the major scale theory. M m m M M m deminished. I had shoulder surgery 5 weeks ago, so i can't play right now, so i am just starting to watch the videos. Thanks for the Lessons.

Josh Karnofsky

Thanks for the video Scott, this is definitely what I need to help wrap my head around using the pentatonics with the progression. One question - it looks like the moveable Am chord shape creates the same shape at the C shape pentatonic. Is this essentially jamming over a "I ii" progression by just switching between the G shape and C shape pentatonics in the same position (with an emphasis on the chord tones)? Or should I not be looking at it like that?

Scott Paul Johnson
>>34581753

Hi Josh! This is a great question - may I use it in a video? The answer is essentially yes you can think of it as switching to a different pentatonic scale, BUT it would be missing the point that you want to start and end on notes in the chord happening. There isn't a work around for that because the scale contains more notes than the chord does.

Scott Paul Johnson
>>34581753

I do see that you acknowledged focusing on chord tones - yes. But there is more to it than that. I'll try to clarify in a further video.

Josh Karnofsky
>>34581753

Cool, thanks for the reply! Yeah feel free to use it in a video, definitely interested to learn more about that.

Ben Young

Love your work Scott. With YouTube tuition vids I'm never sure which vid follows on from what. Would you give us a list of the order with which to view them. Thanks you're a great teacher.

Brainjo

Awesome video. Thanks so much. Question: you mention the utility of knowing the names of the notes you're playing (at least I think you said this). Knowing the scale patterns (and how to locate them based on key) and the locations of the 1, 3, and 5 for each chord within those scales is clearly important, but it seems like knowing the names of the notes is extraneous (at least from a practical standpoint). Is there another benefit that I'm missing?

WonSeob Cho

Hi! Thank you for your teaching !! I I memorized G shape's (I) and (II) chord positions. But I still don't know exactly what notes I'm pressing when I play solo. Is it important to memorize all notes, not just the position? What are the benefits of memorizing all notes, not just positions?

Scott Paul Johnson
>>34759969

Its more important to know if you're playing the root, thirt fifth etc of a chord than to know what actual note it is. I'll try to get more into this as we go along.

Scott Paul Johnson
>>34759969

Also, knowing the shape is good enough for now - you may not yet need to know which note is the root, third, or fifth. we'll get into more detail as we go along.

Scott Paul Johnson
>>34677048

Names of root notes is really important. From there I think its more useful to know the root, third, fifth, seven of a shape than to know what actual note you're playing. Stuff about this is coming up!

John

Where can I download a blank worksheet like you use in the video, to aid in my practice?

Patrick Vliegen

Hello Paul, about the 'system' representing the Major Key Chords (video CAGED SOLOING • G Shape • I - ii progression - timing 1:26). You list something like: I ii iii IV V vi viidim. Is it something I just have to remember and accept or does it come from some logic or theory I am not familiar with yet ? Why are those minor chords/note/degree (what is the right term here) coming at positions 2,3,6 and 7? I have seen on another document I own the same but for the Minor Chords and it looks like this: i ii III iv v VI VII Again there no idea why it is shaped this way. If you have the opportunity to explain/clarify this at some point it would be nice. Thank you

Scott Paul Johnson
>>34895353

I also attached the note name scratch paper to this post. I'll keep attaching it to videos where I use it!

Scott Paul Johnson
>>34902555

Hi Patrick! I used your question for an upcoming video, but essentially all these questions will be answered if you watch all the Music Theory Monday posts starting with the first one!

Priyavrat Soni

HI Paul, You have infused a new life in my guitar learning. But I am confused at two fronts:

Priyavrat Soni

1. Which video of yours should be seen first and so on as it become more organised for me learn. Secondly it seems its very important to mug up the fret board which obviously will take time. Can you suggest some literature as well to read up. I sincerely could not understand 100% of this lecture. Thanks

Priyavrat Soni

Also if it is possible to download the video to see at a free time as due to prevalent lockdown in India, we get some time now a days in office. But there is no internet there. So if we can download and see there, it will be great help. I dont know how that is possible.

Greybeard

Scott, great content. i am loving it. Glad to be here.

Scott Paul Johnson
>>35204257

Definitely watch the Music Theory Monday series starting from the first one.... that should help everything else make sense!

Scott Paul Johnson
>>35282326

At this point I do not want people to be able to freely download the videos. Maybe at some point I will change my mind, but at the moment that does not make sense for my business. Sorry! Thank you for being here though, I really appreciate your feedback!

Darren

Been a busy couple of weeks.. but found some time to sit down, relax and jam along.. brilliant! Cracking explanation and tips :) Thank you

Ronnie Wright

Probably missed it, but is the A Major I - ii Jam Track.mp3 Link somewhere (as opposed to the YouTube link?)

Erick Walsh
>>35439616

Here it is on Patreon. vhttps://www.patreon.com/posts/oops-here-is-jam-35450643

Ronnie Wright

cool, yea I was looking for the mp3 file to download - or did I miss it again) - not the YouTube link.

EZ Whip

I'd buy a shirt that says, "Feels pretty fucked up!" :p <3

EZ Whip

I made a little practice tool out of a whiteboard and some magnets so I can drill myself on the CAGED shapes and roots while eating breakfast, sitting at stop lights, watching movies, etc. I'm also going to make some flash cards so my wife can be entertained by watching me sweat and struggle. https://photos.app.goo.gl/9EH2CpzESqC5nPUH7

Paul Janson

Good stuff, Scott! Keep it coming. Curious why you start with the 2 instead of 4 or 5. Also wondering why you don’t have jam tracks that include movements between say 4-5 or 6-2-5. Is it a master the basics kind of thing?

Rafael Encarnacion

What level of mastery should we achieve on this before moving on to the next lesson?

Scott Paul Johnson
>>40907966

Hi Rafael! Great question! You could watch all of them now, but I'd recommend spending a lot of time practicing the concepts in ONE of these videos until you feel like you are getting the hang of it. Move on once you feel you can create a handful of phrases that start and end on notes in the chord

Don Kerkhan

Scott, hoping for a light bulb moment......the 1- ii progression in A.......over the 1-A chord.....the penta scale to play would be the A scale in the G shape......now.....to get to the next penta shape in that box area.....I hope I'm using the right terms.....wondering how that works......I get up and down the neck using the penta scales.....I'm seeing the shapes and learning the roman numerals of the notes and trying to learn the notes as well.....but my mind sees shapes and numbers easier than seeing the notes.....although I do know that knowing the notes helps w locating the same root somewhere else.....so.....does this make sense.....I'm looking to make sense of where the ii penta shape would be and what it's root note would be......please help me Scott when you can.....just signed up and trying to make sense of navigating the site.....I'll get it.....and thank you man !!!!!

Scott Paul Johnson
>>42490534

Hi Don! Thanks for joining. Did you see the link in the description about where to start? This series may help you with what you’re asking about, but watching Music Theory Monday and Music Theory for Guitar course will get you up to speed on this video

Don Kerkhan

Thought this lesson started in A using the G shape penta scale.....ooops.

Eric Scalera

Scott, enjoyed your soling instructions. The instruction with the colored dots outside Patreon is very cool. My question is, if I hear a song that I like that has maybe three chords, how do I solo over that? Would it be possible to show a process step by step or even dissect a particular song. Song I see are not all I iii or I iiii progressions.

Scott Paul Johnson
>>42571915

I can certainly break down soloing over a whole song or progression at some point! Which songs would you like?

Eric Scalera

Actually been working on the backing track and it just doesn’t sound right.

Eric Scalera

https://www.youtube.com/watch?v=p8rp5LNqRy0

Eric Scalera

Would be nice to break this down since it has 4 chords.

Benjamin Carter

It would be super handy if you could zip all the attached documents from each lesson into a single file. Then i could easily have a document repo and practice structure/week by week lessons in entire parts easier than needed to download each document and organize them as such. Just a though! Love the content and thanks for taking the time to teach us all guitar!

viantria

I think that's really cool, that we have this extra notes in Bm chord. Very interesting. It creates a lot of new possibilities. Thank you for this lesson, I learned a lot from it!

albergo

What about the notes in the pentatonic not included in the arpeggios? The A is the 1 for the root chord and the flat 7 for the ii chord. Should we restrict that note only to the I or could we use it also when playing over the ii? And the C# is 3 for the I and 2 for the ii. Sometimes those notes outside the 1,3,5 of the chords sound good and sometimes not. Any advice or rules or theory about those "extra" notes? Or is it best to avoid them and only use the notes that are parts of the A or Bm chords?

Scott Paul Johnson
>>51173221

Hi Albergo - you can use notes that are not part of the chord, but its helpful to think of the notes that ARE part of the chord as starting and ending notes for your phrases when soloing. I recently put out a Music Theory Monday three part series about making Melodies, I recommend you check those out! Making melodies is basically the same as soloing except soloing can be sloppier and is generally (though not always) done on the fly.

albergo

Thanks for that explanation. You clear that up for me very well in the A shape I-ii video (and the first melody video) so I realize now I sort of jumped ahead. I’m finding the I-ii videos very useful.

Daniel Fischer

"It feels pretty f*cked up". I needed that in my life haha. Great video, thank you.

Russ Cobb

I think I get the idea of playing each chord using all 5 chord shapes going up the neck (C with the C shape, C with the A shape, C with the G shape, etc.), but after that, I lose the thread. For example, at about minute 9:00 in the lesson, you refer to the middle diagram as "G-shaped." So I guess my question is, while I know what a G-shaped chord is, what makes a scale G-shaped, or any other scale "some-letter-shaped?" Thank you!

Cesar Labarca

I get your explanation of the theory Scott and I know the A, G, and E shapes from memory, but my problem is remembering the specific notes for each chord and where they are on the fretboard. what's the best way of learning the notes?

Emily Raw
>>59165703

Here's my tip - Find a whole note you want to practice (leave sharps/flats for now), use a metronome and with each beat go from fat string to thin string, of just that 1 note on each string. :) the metronome timing forces you to make quick decisions and helps it imprint where the notes are. Then when you've mastered that one note with a metronome at a decent speed, move to the next whole note. Once you knew where all the whole notes are, you know the gaps where the sharps are! :D

Emily Raw
>>58850791

I'm not Scott, but here's my answer! Look at where the root notes are situated in each shape. Take a C shape first and have a look at where they are. Then look at another chord in the C shape - the roots are in the same place. :) The thirds/fifths will also be in the same place in each shape, but it's easier to spot roots I think at first!

Frank TP

All of your PDFs are golden Scott. Awesome info.

Lee Brooks

Scott, do we need to keep to the G shape pentatonic scale for the Bm chord or can we use the Amin shape to use over the ii chord ,just wondering .

Scott Paul Johnson
>>69702042

Lee - the Am shape SCALE will actually fit in the key, but keep in mind that this series is about targeting the specific notes in the chords. Think of the CAGED scale shapes as a basic scaffolding and a way to remember what key you're soloing in. Then think of other chords (like Bm) as a specific set of notes to target inside of that scale. It might be time for me to do a lot more lessons on soloing

Lee Brooks

I understand that we are trying to target the 1 3 5 of the chord B D F# for Bminor .So we trying to limit our self's to the G shape ??.I was only wondering if we could use the Amin shape because to get the 3rd of Bm. D is out side and inside this G shape and thats why I was asking about using the Amin shape at the 2nd position for when the Bmin chord is played on the jam track ..? Yes more lessons on soloing please

Scott Paul Johnson
>>69707519

I see - yes. The Am shape chord is what you're aiming for to get the third of the chord. The G shape is the basic scaffolding, we're only limiting ourselves to that area of the neck, not limiting ourself to notes in the pentatonic scale. Does that help?

Lee Brooks

Yes that helps were limiting ourselves to 2nd position G shape but not problem going outside or inside to get the chord tones that we need and this go's for the other CAGED shapes as well...Many thanks

yao

Every lesson ist so so so great！Thanks you ，paul！