CAGED Soloing | I - iii Progression (5) • D Shape
Added 2020-04-17 21:59:25 +0000 UTCNew here? Wondering where to start? Click here
Watch in this order:
(5) D Shape (current lesson)
Please refer to the first lesson for PDFs!
Watch the jam track here: https://www.youtube.com/watch?v=WlqQ4qh2x0I&feature=youtu.be
Move on to the CAGED Soloing | I - IV Progression when you're feeling good about these concepts.
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Check out the Lesson Archive for more Soloing lessons.
This lesson is part of my CAGED Soloing | I - iii Progression series
Comments
Love the island philosophy 😀👍
Daryl Parker
2021-04-21 23:49:43 +0000 UTCScott, please ,explain in a video lesson( even if it's s redundant ) Marcus Fessele question. Marcus, I'm sure, would like for a nice reinforcement, and those of not as quick as Marcus could use the knowledge. I wanted to comment about your lesson On Elvis "I Can't Help Falling in Love" song. My Dad wrote or better said 'scored music' for one of many Marine Bands he was Director of... any way he took Orchestra music & arranged strings to particular marching band instruments. The point is I get how you really show you're so 'Amazed' by that inserted different 'Key" Em ? & how it hooked back to resolve into the original key. It's math but with 'Art' if one dares to imagine! But, when it's both math/KEY correct and unique Art >>>it's magic !!!
senor suerte
2020-06-09 02:19:47 +0000 UTCYou got it! Part of whats weird about the system is that there are only 5 possible shapes with a major and minor version. There isn't a B shape - but there is a C shape! You've got it.
Scott Paul Johnson
2020-04-24 01:39:03 +0000 UTCHi Scott. I tried to adapt the system to Cmaj with I - V progression and a Cmaj and a Gmaj chord. I have started on the 8th fret and got the g shape for the 1st chord (Cmaj) and the d shape for the 5th chord (Gmaj). Then I moved along to the next shape which is the e shape. I wrote down the Emaj scale (E F# G# A B C# D# E). When I filled out the scratch paper I got a c shape. That confused me a lot because I thought the 5th note which is a b in the scale will give me the shape. Did I miss something? Can someone help me?
Marcus Fessele
2020-04-23 14:45:12 +0000 UTCBut for practicing I have to learn 10 shapes. Because of the combination of the second chord (major and minor)?
Marcus Fessele
2020-04-23 12:32:48 +0000 UTCHi Scott, great series, I realize the 5 shapes get you around the neck and depending on the key you are in you start with the shape where you want to be on the neck. My problem is shifting between the shapes to extend tonal possibilities. Maybe a technique Tuesday could be about the best way to practice that. I seem to be able to slide up but downward movement throws me.
Joe Zeigenfus
2020-04-20 22:41:37 +0000 UTCPatrick - yes. There are an almost endless amount of chord progressions to solo over. However, with each new one you are essentially teaching your brain how to learn this stuff. Each new one you learn gets easier and easier until you can learn several in one day. Also, they are all remarkably similar in ways that your ear will eventually pick up on. So yes. Its intense. But the more mindful you are about what you're working on, the easier and quicker the next one will come.
Scott Paul Johnson
2020-04-20 18:45:52 +0000 UTCYeah same here!
Josh Firlotte
2020-04-20 15:39:21 +0000 UTCHi Josh, thank you I was not looking at it this way........panic level has gone down :) Yet still a lot of work and practice ahead.
Patrick Vliegen
2020-04-20 08:39:28 +0000 UTCThere are still only 5 shapes total to learn of either the major scale or pentatonic scale. You just have to learn how to identify all of the chords within each shape. This series of I-iii is using the same 5 shapes as the I-ii series, just showing us how to find the chords within each shape. Once all the series' are done, you'll be able to find every chord in all 5 shapes
Josh Firlotte
2020-04-19 19:51:44 +0000 UTCHello Scott, This series is really interesting, yet something just popped into my head right now and freaked me out. I am trying to figure out what is the long term benefit/use/purpose of practicing it……and I do practice it 😊 If I understand the path you are following here, we will in fact review over time all progressions for a Major Scale (key being irrelevant) between the Chord ‘I’ and the 6 others. So ‘I-ii’, ‘I-iii’, ‘I-IV’, ‘I-V’, ‘I-vi’, ‘I-vii’. I do not know if it is also interesting to analyze all the others in between like ‘ii-iii’, ‘ii-IV’, ‘ii-V’, ‘ii-vi’, ‘ii-vii’, then ‘iii-IV’, ‘iii-V’, etc It is already scary enough so I will assume only the progressions from ‘I’ to another chord will be considered. Thus for the Major scale, it is 6 different progressions, for each progression it is 5 shapes, so 30 different overlays to know. I do not feel it well right now but in case the same for the Minor scale is different enough and therefore relevant, it will be again 30 new overlays to know. Already limiting myself to the 30 overlays for the Major scale seems like far too many things to remember....likely impossible to remember ........and so in terms just impractical/unusable. Am I making the elephant bigger that it is really or simply missing the point ?
Patrick Vliegen
2020-04-19 06:26:19 +0000 UTCHi Scott, love the theory lessons. It can be a bit overwhelming, but I understand it’s a big concept that needs time to grasp completely.
Roy
2020-04-18 18:37:51 +0000 UTCHi Scott, your videos are easy to follow because you have such a nice way of explaining things. However I do get stuck when I’m trying to progress in a practical way. The analogy of building an island with sand makes sense. Can you give more advice on how to practice, such as a lesson plan? Where to start? How to progress? I'd like to really study these concepts. That’s where things feel like a lot at once.
Brody
2020-04-18 01:24:37 +0000 UTC
