Great idea, Brian. Do you want most of the concepts to be linked to a lesson you can reference? That would probably be the most useful way to categorize them.
John

I LOVE this idea, Brian!

Here’s a few ideas that resonated with me:

1. Partial chords. Playing or implying a chord with just 4, 3, or even just 2 strings
2. The A6 to A9 move, or E6 – E9 – E7#9 and so on
3. The BB King “box”
4. Finding Major 7 chords from E-shape / A-shape chords
5. Harmonized 6th and 3rds – how to find them based on chord shapes
6. Sus chords
7. Identifying a scale pattern in relation to a chord shape
8. Quickly finding a IV and V chord from the I chord
9. “Keith Richard” thing I-IV chord
10. Typical chord progressions for blues, jazz, ragtime etc

That’s all I can think of now. From now on I will be making notes on all the other takeaways I discover 🙂

Brian,

This is a great idea. All the licks that are tied to scale patterns and caged chord shapes that you have been featuring recently would be appropriate.

I’ll start making notes to refer to specific ideas.

Bill

For me, the recent example of three ways of using diminished chords. A definite lightbulb moment! There was also something similar a while back on using an augmented chord to get back to the 1 chord in place of the V chord.

One off the top of my head was your open G slide lesson. You go up 4 frets from the root fret and play the 1 and 2nd stings and that is a 7th of the root fret you moved from.

Splendid idea, Brian! Along the way, I have jotted down quite a few notes on things I wanted to incorporate in my playing. Now is the time to dig it out and organize it.

Hey Brian,
I think of EP 356 as one huge takeaway lesson. It applies the caged system in different positions. Going from the G chord to C and then D in the middle neck position just using 3 strings was an eye opener!

Just listening to the AMJammers BB King piece reminded me of the idea of using space to help with phrasing.

AMJammers is jamming on EP237 this time, and the takeaway is something like “using chords to develop your own composition” or it could also be “matching your melody with chords” or “playing the scale using chords” or ???.

The Santana style lesson – EP178 – was a breakthrough for me when it came to actually applying the Dorian scale.

There are several good ones for learning slapfret style, like EP187 & EP292.

Working with the BB King box is a good takeaway for anyone. Like EP041. EP102, LEG029, and others.

All of the “in the style of ___” lessons are chock full of good licks and techniques from different artists.

The “call and response” technique is an essential takeaway, and there are dozens of lessons that illustrate that, EP235 being a good example.

Mixing major and minor pentatonic scales is another good takeaway, and lessons illustrating that go way back as far as EP025.

Hi Brian,

I think this is a great idea. It would make an excellent reference for all the takeaways I’ve forgotten!
The ones that resonate most with me are the simple rules you can adopt with minimal thought when improvising.

e.g.
1) From your most recent lesson EP359. When playing a minor chord, you can freely play the same minor chord shape to frets higher to add interest. Plus the equivalent of playing the same major chord two frets lower when playing a major chord.

2) The location of ‘fill lick boxes’ near commonly used chord shapes. Such as the ‘pattern 3’ box on the lower three strings immediately above any CAGED E shaped major chord.

Hello Brian,

fantastic idea, it really will help me to understand better what I’m playing.

I’m interested on easily explanations and examples of some modes – dorian, aeolian, mixolydian.

Further on open tunings and techniques of the slide guitar.

thank you
Dieter

Great Idea. I have been slowly putting together a catalogue of all the content in the lessons, as there are so many gems that are hidden ready to be found under various headings and because I just wanted to have a one source reference because it helps with learning. Yes, it is a big job (over 400 lessons) but it will be worth it so all the lessons can be treated as a whole project rather than a sum of parts.

Some take-aways have been:
1. Taking advantage of the E and B strings when playing in the Key of E,
2.Licks with no open strings are movable and can be easily transposed to another Key.
3. A relative minor of a major is the 6th. (Ml013 a good lesson on A and its minor relative F#m as a 2 chord jam).
4. You can play an arrangement with just one chord (EP206,EP230)
5. Turn-arounds and intros/endings from various lessons.
6. You can play a harmonized lead composition with just double stops.(Ep157-is so good!)
7. The ‘sweet spot’ diagram where major and minor pentatonic scales cross-over. (EP130)

Breakthrough lessons have been EP 340 for composing your own arrangement.
and Ep199 for playing 3 CAGED shapes in 3 positions with A,D,E.

Roll up, roll up! Get your takeaway lightbulbs here at AM. Hand made over the range here in Tennessee. No need to risk life and limb in a hardware store anymore.

Available in different wattages: 100w for the really hot ones like bending up to the note from a semitone below instead of playing the note. And Esus4 using the D shape on strings 1 and 2 is the same as A major (lesson EP350).

Fluorescent and incandescent. Guaranteed to last at least 10,000 hours.

EP346 and others:
Form “A” bar chord anyplace on neck in any key. Right there, play pattern 5 notes going back toward nut, and/or pattern 1 notes going forward toward bridge (can always play these notes over chord). This works great to achieve snappy major pentatonic melodies in any key without thinking.

EP335:
How to play a suspended chord over the “A” bar shape chord. Right over this chord, can play pattern 4 minor pentatonic scale for cool effects. And when you do this, you will see that pattern 4 of the minor pentatonic scale is just mainly the notes of the “A” shaped minor bar chord right there on the neck. So whenever you are playing an “A” shaped bar chord anywhere, just play pattern 4 there to find the minor pentatonic scale. (Same principle as when you are playing an “E” shaped bar chord anywhere on neck, just play pattern 1 there to find the minor pentatonic scale.)
Larry

Awesome idea! I think it would be a fantastic resource. Some of this may be redundant with what has already been said above, but here are a few I can think of right now…

– How each chord shape in CAGED connects to scales (what pentatonic positions both Major and Minor, full major and minor scale).
– What additional notes can be added to the pentatonic scale in each position, both major and minor, that are outside of the scale. The blue note being just one example.
– Places where you can easily mix the minor and major pentatonic scales.
– Additional notes that can be added to chord shapes in CAGED to add embellishments, both major and minor.
– Any licks based off of chord shapes rather than scales.

Hi.

Something about Tempo, swing maybe ? not to sound always on the same beats.
Something about use of picks (up/down strokes)
Expression, how use same note, same position but express something different (attack, decay, vibrato, etc..)

rgds.
David B.

Hi Brian,

I think, EP 356 is one of most import lessons. It combines chord voicings at some fretboard aereas in connection with parts of minor-/major pentatonic scales. It’s really worth, continuing that theme.

Dieter

I agree with Dave…There are a million things in all the CAGED lessons

Anything is a bonus,..wouldn’t mind here as well .I’ll keep it in mind but off the top I have no questions,..(I watch you explain and convey much everything needed for each lesson..but all above yes read the replies and agree anything is good quick reference..like you do in the micro lessons.

My biggest takeaway to date is learning how to solo using arpeggios and chordal arrangements. You have to know where your are in the song and where the song is going. The teacher in me wants to make a football analogy to better illustrate this. Hall of Fame running back Franco Harris credits his college coach Joe Paterno for his miraculous reception in the AFC playoff game against Oakland because Paterno always told him “Run to the ball, run to the ball.” Well, it’s the same principal in guitar. Anticipate and move to the next chord, with fills and licks. Make sure you know where all the song’s chords are in at least 2-3 places up and down the neck. It’s like weaving a big blanket. You can do this with slow melodic arrangements as well as up tempo blues and rock. Two lessons that come to mind here that provide a great opportunity to do this are EP 237 and EP 280.

Great idea, it makes the learning process more exiting, little bit sophisticated and easy.
Lights.

Here’s some notes I’ve made recently. Great minds think alike!

4 chord then minor 4 chord then 1.

Use sus2 & sus4 chords for imbellishments instead of just playing the chord.

Any time going from the 1 to the 4 chord, play the 4 chord of the 4 chord and then the 4 chord. Instead of just G to C, do G to F to C.

EP 359

Rhythm idea. With minor chord can go up 2 frets. With Major can go down 2 frets.

G6
G B D E

A9
A C# E G B

On eBG strings only slide 6 chord down 2 frets and get 9 chord. When playing A chord shape.
eg

D6 at 7th fret
D F# A B

D9 at 5th fret
D F# A C E

EP 170 A blues jazzy.

Use a D9 instead of a D in the shuffle for 2 beats then a Adim7 for 2 beats then the A.

Can slide the 6 chord down 2 frets & back up again. Use for the 1,4 or 5.

Then play 5 chord E9 then 2 beats Adim7 at 8th fret, then slide down 3 frets & play it again for 2 beats then back to A.

1 more use for dim7 chord. To go from 5 in 9th bar to the 1. In 10th bar instead of the 4 chord play the 1dim7.

EP 358

1 to 4 change: Instead of just straight change you can do the 2,5,1 of the 4 chord.
eg instead of A to D use A to Em to A To D.

3 uses for diminished chords.
From 4 to 1 use 1dim7
From 1 to 2 use 1#dim7
For 2 to 1 use 1bdim7 (1 fret above 1#dim7)

eg
(starting from low e string)

Adim7
A Eb C Gb

A#dim7
A#EC#G

Abdim7
BFDAb

dim7 chords are same every 3 frets

Brian, Another idea you may want to pursue is summarizing lightbulb moments in each lesson (maybe in a pdf for premium members). My latest LBM (light bulb moment);

EP 156
Playing lead with chords think about what the scale of the song is and that opens a lot of doors in terms of where you can go with the composition/song. In this lesson, the composition was in E. You emphasized that 1-4-5 is the progression (E, A, B). In the second half of the lesson you did a walk down from B, A, Gm#, Fm# and then E. You then explained that although you said there is only three chords in the composition, the Gm# and Fm# live within the key of E and thus you can make chords out of the notes in that scale and work it into the composition (it fits because it is in the scale). This opens a lot of doors for soloing.

how about some basic technical skills as well
1. the finer points of good palm muting
2. trill drills
how to connect licks to make sense in a lead
3. how to assemble a lead progression from a scale (beginners version)
4. how to put more style in the rythem of a song
some basic stuff like that for beginners to get them going
5. how about starting a lick library members can post a like they like and we add it to the library so members like “me ” who get stuck can look through a collection of cool mover and help them go to the next level???

EP023:
Any major scale and its relative minor scale have the exact same 7 notes. (The A major scale and F# minor scales are compared in EP023).

The main concept above just hit my head for the first time today, after stumbling on EP023 this morning. I think you have said the converse in several later lessons–Any minor scale and its relative major scale have the same 7 notes. Actually, in EP023 the key of the song is F# minor with the A major notes (relative major?) played in the “chorus”, I believe is what you are pointing out.

Larry
P.S. I can’t believe I never learned EP023, which sounds great. This and EP022 are great accompanying lessons. I only learned EP022 because it was a monthly Challenge once, but I had totally forgotten it, until I discovered EP023 this morning

Brian,
One of your best is 045 how to ‘jam with yourself’ I think this is a very important lesson and your concept of holding it together by a rhythmic part and the voicing of the chords etc opens many doors. Its a well packed and fun lesson for which many thanks as always.
JohnStrat

This is a great idea but wonder if it all might end up a tad confusing, a short micro lesson video of the take away lick added to a lesson might be a better way to catalogue these.
Doesn’t have to fall on Brian’s shoulders to do the take away video, we have plenty of highly experienced players on AM who could easily fill.the task.

I am currently hung up on your ragtime lessons, and my favorite run is in measures 10-13 . Throwing that f# in that run is just an awesome progression and yet so elementary , AND, the whole thing is easily transportable, Next in my list is the diminshed 7th chords, but I don’t have a favorite there.
I think the more you play, the more you realize how much is new to other people around you. So, that will make it difficult to develop your list.
You can do some more rag time anytime you feel inspired.

loved the dropped D lessons using open strings
allan

Brian

The one that sticks in my mind is using the “4th of the 4th” when transitioning from the 1st to the 4th chord (Bob Segar’s Night Moves)

That way, of all the things I’ve learned:
To tell a story with three or four notes by combining them and playing on the silences.
Playing for hours with one major and one minor chord, and scales that go well
Don Mati

Has Brian started posting these light bulb/takeaway on the website yet?
I’ve looked and can’t seen to find then anywhere.

One takeaway I particularly liked – when playing in the key of A – playing a D7 with an F in the bass (on low E or 6th string) for your IV chord in turnaround.

CORRECTION – I mis spoke. See Lesson 207 – You pl. ay the A7 as a walk up to the F# on the bass E string in the turnaround. Great idea, Brian.

Make that EP 208.

EP061 Part 2 at the 7 minute mark. Not only am I beating myself into submission to get the feel of this lesson, but this is absolutely the best showcasing of the overlap between the minor and major pentatonic scales that I’ve seen. Sure, the mechanics are all over, but that’s the mechanics. This little excerpt really put it into place for me . AH- a light just went on for good.
Thanks for being so patient.

Thought,why share on Instagram I will never see them, I don’t use it, put them on the site please.Another thought ,Well I suppose most people do use instagram so I’ll just miss out shame………

Sorry take it all back just re read Brians note (it will be on the site and will share on instagram ) this is why I don’t read music notation I get all the notes wrong…😳

would be an awesome addition to the site!

A takeaway from EP377 – finding D7, D6 and D9 from the D chord on position A of CAGED.