Active Melody

Learn to play blues guitar.

Part 3 – The CAGED System (A Shape) – Using the C,E & A shapes in a blues lead – Guitar Lesson EP558

Description

This week’s guitar lesson is a continuation of the CAGED System series in which we’ll be doing a deep dive on the A shape and learning how to play major and minor chords, scales and arpeggios within that shape. We’ll also combine the C, E and A shape to create a soulful, minor key blues lead.

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Comments

  4. Jimmy W says

    Brian, the lessons just keep getting better and better. They are really challenging my my playing. This is exactly why I am here. I can;t wait until next Friday . I am addicted to these sessions. The in depth explanations you provide really increase the chance of understanding the material. Best Regards.

  6. Robert Burlin says

    This is epic guitar knowledge and polishing off all the work I have done for so many years. I am starting to see these patters in my head even when there is no guitar in my hands. Plus I know you will come up with even greater peaks in the future lessons. I am so thankful for this knowledge and how much fun it is to learn and practice your methods.

  9. Mike R says

    The songs you are coming up with just keep getting better and better. I am learning a lot! Please keep up with the entire series. The sound that is possible to create just keeps growing and becoming richer. Just more colors to play with like you said. Learning these lessons are helping me a lot to see the chords and scales associated with each bucket. It’s beyond cool when you can just play a single note up or down and change the entire sound of the piece. Really sounds sophisticated. Wishing this song was a little longer because I didn’t want it to end.

  12. Mark v says

    Sorry but I’m confused.
    The song is in Dm, so the 4th chord is a Minor Chord, the 5th chord is according to the theory also Minor?
    But Brian tells the 5th chord is a Major chord (A7).
    Is this just how he has made the song and he is stepping out of the theory?

    • Rob N says

      Hi Mark,

      It’s a common move in a minor blues i iv v to make the fifth chord a V7 (major dom 7th. ). See, for just one example, The Thrill Is Gone (in Bm, the fifth chord is a F#7).

      If you play the chords of the song and hold on that A7 it feels like it needs to resolve back to the Dmin – so it ‘works’. It would work with a Amin too, but this isn’t any rule that it should be an Amin unless you were setting out to write a song that was totally (and strictly) in the key of D Natural Minor, in which case you have just imposed a rule upon yourself.

      If you want to think of this in theory terms as long as the key is clearly established you can change the polarity (major to minor and vice versa) of some chords without it sounding out of key…and often it sounds great! (Plus, of course, there’s nothing wrong with a song where the key isn’t clearly established…just that those are rarer.)

      Hope this helps

  13. Michael J says

    G’day Brian,
    I have no idea what I did there, but just to say that, apart from my glass of wine, I appreciate so much everything that you give us every week.
    M.J. Kilmore, Australia.

  15. Gopal S says

    This is really a very good lession for me including other’s two which are already out. I can do lots of things stay in one area, rather than moving too many frets up and down the beck.
    Great lession.
    Thanks Brian.

  17. Rob N says

    I think this is the first Active Melody lesson where everything made perfect sense in real time (didn’t have to pause and think about it) and I could play along (albeit very roughly!)

    Love that Gm6 going to the Dm9 (bar 16-20)!

  18. John A says

    Brian
    I’m getting a lot from this series. For some reason I’ve shied away from minor keys. I’m seeing them now in a new light. Lots of stuff for my tool bag.
    Thanks

  19. David W says

    Great lesson thank you. I’ve done my grades and learnt arpeggios, scales and modes etc. Fairly accomplished at jamming with mainly pentatonics but never really mastered following the chords with chords tones. Best lesson yet.

  20. Daniel H says

    Brian,
    . . . back to an unanswered question: you chose to use Natural minor (3b, 6b, 7b) over Dorian mode (3b, 7b) for one of your minor scales on the cheat sheet. What melodically is the difference? In what melodic situation would you apply one (flat the sixth) rather than the other? … or am I overthinking this?

    • Brian says

      I didn’t include Dorian mode because it was just getting too heavy – I also left out the other modes … augmented chords, diminished, 6 chords, 9 chords, all the chord extensions, etc. etc. You could literally include anything that is playable musically in any of these shapes… but I tried to narrow it down to the basics. Dorian is just another flavor of minor chord.. same as the natural minor but with a raised 6th.

  22. Georg B says

    Hello Brian,
    Your series really is a milestone. I am certainly one of many who has been trying to understand the fretboard for decades. What I’ve learned from you so far and now with your series on the C-shape, E-shape, A-shape, etc., there is a new level of clarity that is great and can’t be found anywhere else on the internet.
    Absolutely superb!
    Georg

  23. John S says

    Brian,

    Each of these lessons are helping me unlock the fretboard and am beginning to see the regions as containers that allow me to understand and select items to play.

    This takes a lot of your time which is greatly appreciated. As input in the work, I’m learning that playing isn’t as difficult as I once thought.

    Great lesson series. Please continue with the last two positions. 👍

  27. klox says

    Great set of lessons Brian. Apart from the theory, the songs bring together the use of chords, arpeggios and scales in combination, as well as your usual valuable tips & tricks.

  28. Joe N says

    HI Brian
    Please contnue with the G& D shapes. Very well explained and I love the tune you created for this lesson. Bravo. This whole series is very valuable to me and many others out there and I appreciate your hard work.

  30. Jay F says

    This is a really great series for me…..tons of information here. Maybe the most important thing is I am starting to ‘hear’ where I want to go.
    Thanks!…….I’m still amazed at what you put together every week.

  33. James W says

    I was playing with the Dm shape/ Pos IV minor scale, and noticed I can throw in that major 7th in spots (g-string 6th) and it really works. I thought in minor progressions you cannot play major – is that just because this is the 7th?

  35. daniel M says

    Im one of those that find this particular series unlocking the fret board in a way that i have never seen before. I’m able to hear it all distinctively and know where i’m going! Please carry on…

  36. Michael D says

    Thanks, Brian. I have spent much time staring at the cheat sheets for this and the previous lessons, when I had one of those “head-exploding-moments” that you frequently mention. Imagine my surprise when, while examining the Major Arpeggio, I realized that it contained the essence of all of the triads for that chord, or at least enough of it to create the full versions. In thinking back about the numerous times that you have mentioned how you select triads, I should have realized this, but it was not until I studied your “cheat sheet” that the notion took concrete form for me. Thanks again. What a time saver.

  37. Ben D says

    The best lessons ever. Thank you for bringing all these ideas into one place. Please do the rest of the shapes. I can’t wait to hear your comments at the “end” wrapping all this together. I have a feeling it’s not the end but really the beginning…thanks again,

  38. Rick C says

    Brain ! Err Brian… you sounded worried at the last comments… We’re cheering you on man… whatever you come up with will be great. Yes, continue.
    Thank you for the very cool move to a Bb… I never knew how to do much chord and/or in-position playing until I learned your CAGED stuff.
    I follow along each week. I’ve been using Chord Pulse to create progressions… learning to play changes.
    Love Your Work… Thanks.

  39. Ken R says

    I really love this series. It’s pointing out all the gaps in my self-taught mind and straightening out many things that I’ve been playing wrong. I associated the pentatonic scales with the major and natural minor scales all wrong and the way you explain it really makes sense. Like showing how the chord you’re playing fits into either type of scale. I’m pretty good at quickly finding root notes and the 3rds and 5ths starting at the lowest note in the chord, but I need to work on recognizing the 3rds, 5ths and 7ths quicker on the upper part of the chord. I think too much about just the root when practicing my octave shapes.

    Thank you so much Brian!

  41. Patrick J. G says

    Little over my head right now. Takes me awhile to understand a lot of this but that is why I joined. Any one have any tips on how to learn the chords throughout the fret board? Major and minor aren’t the issue,. I know the cage system well but having a picture of the chords above notes would help a lot. I guess by the comments many players are much more advanced than I am. My goal is to get there but it is slow going . Enjoying the heck out of it though!

  43. Joe S says

    Learn these lessons in a few hours and spend the rest of your life mastering them!
    Brilliant way to pull together so many concepts that have been taught in the previous 500 or so lessons! This deep dive series will be such a fine asset to have. In future lessons, Brian will be able to reference one of these lesson numbers thus being able to spend more time on the current lesson being taught. I have been spending hours noodling around with these concepts and the results are incredible!
    Thank you, Brian.

  46. Joseph C says

    Just logged on (Monday AM) and was happy to see that you are going to do the next shape!! Awesome. This has broadened my knowledge and comfort level SO MUCH!!

    Each time you have one of these deep dives my self assessment of my playing feels like it takes a downgrade. Just means I am learning more and my playing / knowledge is improving.

    Thanks Brian!!!

  47. David S says

    Brian, Please don’t stop this series till you get the G & D also.Each series makes the next so much easier. Plying improving more than ever before. Thank you so much for this series. Going back to other lessons now and picking up a lot of nuggets missed. Keep up the good work.

  49. Mark N says

    Not only the best series of lessons on each of the caged shapes but to include all that content on scales and arpegios etc but then you top it of with an absoutely lovely little piece like this. Worth my subscription alone in these last few weeks.

  55. Bruce G says

    Hi Brian- this is a great series of lessons! I’ve been an Active Melody member for several years and everything you are teaching in these lessons makes sense to me—but I struggle with really putting it all together musically.

    I would love to hear how you suggest, or others have had that “breakthrough” where once you know the theory mechanics (bar chords, scales, etc.) you can begin to apply them musically to a pleasing solo.

    Mine are not so much right now!

    Perhaps I’d be better off focusing on your recommended practice plan (EP498)?

    Thank you for all you do!

    • Wade O says

      Good day! Hope this helps!
      The first thing I have been doing with this series is restricting my practice to stay within the “Neighbourhood” and listen carefully to the sound(s). Play with the chords and notes. Concentrate on the relationships. It is a lot of effort to try to learn decades of “Brian Experience” into one week of our learning.
      Second, take a song you have learned before, Stray Cat Strut for example, and try to make it fit the “Neighbourhood” but not verbatim to the song but to some of the chords, scales, arpeggios. diads, triads, etc.
      Third, take a chord, try a fill. Listen to the sound. You will get to the point where a flavour-able fill just becomes “what’s next” after the chord or precedes the chord change.

      Always look for one thing you can take away from the lesson. Example, Brian used the words “see the chord coming”. This was important to me because I know in 4 beats, 3 or whenever there is an event about to happen and I can prepare. Like the video game” Guitar Hero” you know what’s coming and, in addition to being present with where you are, you develop your predictive mind.
      Yes it’s a lot of regular practice and the commitment but it’s worth it! Finally, I take a lesson or work on my music just before I go to sleep. For me it’s amazing how what you put in your head at that moment translates into your playing the next day!
      Enjoy the music! Wade

  57. Tim S says

    I’m loving this, it’s helping me develop into what I’ve always wanted to be. Which is a more melodic player not just relying on speed and minor pentatonic’s. It’s easy to get into a rut playing that way and running out of ideas.

  59. James W says

    Challenge to all. Loop this track and play Dm natural at 10 and find most of this but take notice of where Brian follows the melody. This is the difference between just knowing your scales and playing the song.

  60. John S says

    I’m starting to understand that in each of these fret zones there’s a corresponding chord/scale(s) an arpeggio for each CAGED container. So in essence you can pick a fret zone (4-7) and play anything within a certain key

  61. Bobby D says

    Great video series. Gained a much better understanding. Of how to mix the scales in with chord changes. definitely plan to review this series a few times over. Thank you so much for the inspiration these lessons bring. Although I don’t use it all as you play, I do take from it and use what works when I play… The detail sometimes is a bit much for me but each of us can choose how we use each lesson. I would like to see lessons on mixing blues and rock n roll. I’ve been fortunate to see it evolve through the year’s how blue became an integral part of music evolution.

  65. Dennis F says

    These lessons are beyond excellent. You basically spoon-feed the basic principles behind the lesson, which most of us here need, but then add little “sidebars” that enable us to follow that thread and discover additional relationships and patterns on our own. Let’s face it – there are certain aspects of more advanced playing that can’t be directly “taught,” such as seamlessly weaving chord tones in with scale playing. But like a good guru, you point the way! You often talk about hoping that lightbulbs are going off. I’ve got so many lights lit up now that jets are trying to land in my driveway.

  69. Greg P says

    Excellent lesson. Quick question: I notice sometimes your fingering changes when showing something measure by measure, compared to when you play the full piece during the slow walkthrough. Are your fingering choices more based upon what chords are coming up, or due to the specific guitar you’re using at the time, or am I missing something important? Thanks-

  70. Harmen S says

    Thank you Brian. This is absolutely amazing stuff! I love the fact that you combined the three shapes into one composition. I hope to see after this series an advanced lesson where you combine all 5 in something really challenging.

  72. Slimpicker says

    You truly were put here on this planet to be a beacon of hope pickers who want to be better players.
    Thanks for the passion and expertise you bring to every lesson. This series has been the most helpful to me and countless others.
    Looking forward to G and D shape tool boxes.

  75. Marc G says

    This whole series on CAGED is pure gold for me. Alas, I can’t follow with your pace of uploading videos. I have to revisit these videos quite often. But I think it’s safe to say that this series is the most comprehensive out there. I started as premium member just 1-2 weeks before the first CAGED video and already learned a lot. I mean really a LOT.
    Keep it up 😉

  76. Lawrence B says

    Thanks brian..
    Ive been through this whole CAGED series… and i keep coming back to these ideas you discess.. listening as you go through the parts discribing whats going on..
    So I sit… Playing as you go…. connecting your conversational points with what my hands are doing, at times playing verbatim at other times improvising on what you did…
    There is so much here!
    For me.. Its Huge!
    Can’t thank you enough!

  77. Mark W says

    Hey Brian:

    You mentioned at the end of the lesson (EP558) that you thought these CAGED lessons were getting long. Well, they are but they are definitely worth the time. I am working though them for the second time. Personally, I have spent a great deal of time learning the CAGED system – shapes, major minor and pentatonic scales, arpeggios as well as the triads that are formed from each of the shapes. I agree that this is a lot but I have come to believe that this is all necessary to develop any approximation of fretboard fluency. You should be proud of this. With all of the internet “influencers” out there peddling how you can “effortlessly play across the entire fretboard with their method,” this is actually how one can accomplish that, but it most certainly will not be effortlessly,

  78. Peter T says

    I’m really enjoying this series of lessons. With the solo sectionsI find that I have difficulty in coming up with subsequent verses that follow the theme but sound different. Is it possible to have some example phases that could be mixed and matched to create a second /third verse.

  79. Lynne R says

    The lights went on when you said to visualize the chords and arpeggios WITHIN the Dmi scale . This way you can target the appropriate notes over the progression.

    I noticed that the STAIRSTEP of the “A” shaped DMI triad on the top 3 strings is conveniently right next to the stairstep of the “E” shaped A7 arpeggio. Wow!

    I have focused on EP 556,557,558 over the past month and have really worked hard on these lessons. Frustrating at times but it has really paid off. I have also learned to listen to the backing track first and familiarize myself with the chord changes before learning how to play the notes. All a work in progress with an excellent teacher.

  81. Dean C says

    Hi Brian,

    This series is super-helpful. There is so much to learn in each lesson that it’s taking time to soak it all in (which is why I’m late to the party in leaving this comment). It’s been so worthwhile and helped me to really understand how it all comes together.

    Cheers,

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