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CAGED Soloing | I - IV Progression (5) • D Shape (Patreon)

Published:
2020-08-31 13:01:01
Edited:
2022-08-12 22:30:23
Imported:

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Content

New here? Wondering where to start? Click here

Watch in this order:

(1) C Shape

(2) A Shape

(3) G Shape

(4) E Shape

(5) D Shape (current lesson)

Hi Everyone,

If you've been following my CAGED Soloing series, you know whats going on. In this installment, we'll be working through how to solo over a I-IV progression using all five CAGED shapes. The idea here is to give you a few bite-sized ways to think about and practice soloing over chord progressions.

This is the fifth lesson in the I-IV series and we're focused on the D shape.

As always, thanks so much for being here and I hope you learn a lot while you're here.

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 - IV Progression series

*here is a link to the jam track, which I forgot to include in the previous videos and have gone back and added. I'm also going to update the PDF asap as someone has pointed out a minor but important error.

Files

CAGED Soloing_I-IV_D Shape_v1

This is "CAGED Soloing_I-IV_D Shape_v1" by Scott Paul Johnson on Vimeo, the home for high quality videos and the people who love them.

Comments

Kenneth Knapton

Hi Scott on soloing 1 to 4 chords the PDF says its a a major but then your PDF also says its A minor chord at the top . then chord chart says its A major am assuming its a major chord thats a major, ? thanks

Olivia

Hi Scott, great video, but I was just wondering... Is this method better, to memorize all the different chord shapes/ chord overlays and learn to both switch between these within one pentatonic shape but then also switch between the pentatonic shapes and their matching chord shapes/chord overlays, than to memorize the notes on the fretboard and use that knowledge togheter with the pentatonic shapes to target chord tones in solos/ melody creation?

Scott Paul Johnson
>>54328184

Hi Olivia - This is a great question. Imagine you move into a new neighborhood and your task is to get to know the neighborhood. You could look at a map or you could walk around OR you can do both. Your "learn the whole alphabet all over the fingerboard" is an excellent idea - kind of like walking all around the neighborhood - and my "using the CAGED shapes" thing is kind of like having a map of all the roads and the paths in the neighborhood. Both methods are valid and useful, but both methods (plus maybe other methods) would be even better. The thing is, once you learn all the notes on the fingerboard, these shapes will start to appear, kind of like if you wandered around a neighborhood for years and THEN looked at a map - the map would look familiar and would probably help you understand those streets even better.

Olivia
>>54328184

Okay, that makes a lot of sense thank you for explaining so thoroughly, I like your analogy, but it also made me wonder… and I tried to make sense of it myself but I mostly confused myself haha…since everything is movable on guitar and the chord overlays all together contain all the diatonic notes, could you also then superimpose those shapes and that same way of thinking on to the major and minor scales? And if so why wouldn’t you? Cause the point of the pentatonic was to remove the half steps but now we’re implementing them every now and again when the overlay needs them Or why not just use the full diatonic scale, memorize what "step" is what interval in the 7 different patterns and then use that to target the chord tones? would it still be better/preferable to first memorise the chord overlays/shapes with the pentatonic scales? Why? Greetings from Sweden:)

Scott Paul Johnson
>>54328184

Hi again Olivia - I drove through Sweden once! Lovely countryside. Essentially, the pentatonic is nice for two reasons: 1) because it fits your hand so nicely on guitar specifically with two notes per string and 2) because 6 of the 7 modes can easily be overlayed onto the pentatonic scale without adjusting the scale at all. So you could learn the diatonic major/minor scales and ignore the pentatonic, but the pentatonic is the root of *all* the modes. On top of that, many many melodies are actually pentatonic melodies and the scale itself has its own place in music separate from the major/minor scale. But the approach you're mentioning is one of many fine ways to get going with targeting chord tones. Eventually all methods converge on the same thing so it's really just about picking one that works best with your brain. The more you get to know this stuff from ANY angle, the more it makes sense and the easier it will be to understand, adopt and adapt to other methods of using and understanding music theory. So don't worry too much about picking the "correct" method! Dive in where it makes the most sense! The methods I'm providing are merely the ones that work best for me and are the easiest to explain when it comes to how music theory interacts with guitar, the instrument.

pizza seven

this video made no sence kill me

Ken Keffer

One can say about this wonderful set of lessons on I-IV and all its friends precisely what one can say about all of Scott's Patreon lessons and musings: not a single second is wasted time! Just when you prepare yourself for the predictable, some new insight and gem of wisdom for guitar is given.

Lee Brooks

Really liking these CAGED Soloing lessons .I'm hoping the I - V will be here soon.. Thanks Scott. Keep them coming

Ken Keffer

My second time through the soloing set. Even better second time through! The focus on note names below the shapes begins to open up the fretboard, unlock it, you could say. The fretboard is locked and shortcuts don’t open it up. The only way to open it up is thoughtfully, through the note names. I Ike your skill and honesty: it’s work and it could take years.

Jean Oliveira Santiago

How should one behave when there is a song with many chords? Here we have only two, but what if we have 5 chords and we want to make a melody/solo for that? Should the notes always fall at the exact chord which is being played right now or is there an easier method approaching this case?

Scott Paul Johnson
>>71837803

Hi Jean. Think of it this way - in a song with more chords - lets say C Am F G - would it be ok to continue strumming G while the rest of the band moves on to G? It's not going to sound right. It's the same with soloing, although you can get away with a lot more. Generally speaking, if the band is on G, accenting notes in a G chord while soloing will sound harmonious and deliberate. If you're still soloing on G while the band moves to C, it's not going to sound as harmonious. But most of what I'm trying to teach here is mindfulness. Keeping track of the chords while you're soloing is difficult, so I start with just two chords at a time,

william rubenstein

Scott. I have actually only gone through to the iii-I progression but I am wondering why there is not V-I lesson or above? Maybe you explain it in the ones I have not seen yet, but I want to get the ii-V-I progression down. Thanks again for boiling this down to basics.

Scott Paul Johnson
>>92046196

Hey William - these videos were taking a LONG time to make when I was making them and I felt they weren't quite doing justice to the concepts, so I started making this new series that ties in with CAGED Basics I and II better https://www.scottpauljohnson.com/caged-soloing It's incomplete, but it's getting there. I should have new episodes coming out soon