CAGED System – Playing Over Four Chords – D C G & F – Lesson 31

[SynGates.com]

In this lesson we up the stakes and show you how to play four different Pentatonic scales over their correlating chords.

 

[Jak Angelescu]

although technically this progression is like in the key of C, these last few lessons perfectly showcase why you can't play a C major scale over everything, even in the key of C. These last few lessons were ridiculously life-changing! I feel like these last few lessons are really going to help broaden my soloing, theory and more.

 

[Roli Papp]

So if i want to jam with a backing track that's in D major i can use this technique right?Like i find the D over the neck and fit the right pentatonic in it

 

[Saoirse Byrne]

So if i want to jam with a backing track that's in D major i can use this technique right?Like i find the D over the neck and fit the right pentatonic in it

Yeah definitely. Because it's in D major you start with the "C shape" in the 2nd position (fret) like in the lessons, and then you can connect the other shapes by moving up the neck to the A shape, G shape etc spelling out CAGED. I found this backing track, it's not very interesting lol but it works well for practicing pentatonics and major scales in D

 

[Tristen.Jones]

So if i want to jam with a backing track that's in D major i can use this technique right?Like i find the D over the neck and fit the right pentatonic in it

Hey man, I know it's well over a year since you commented, and I want to say you're right but not correct when applying your CAGED shapes to this lesson. If you don't see this, hopefully, it helps the next person.

The idea is to switch the CAGED shape for each chord played in the backing track; you'll be using the same fret range for each chord. In this lesson's scenario, we're playing chord D in shape A, chord C in shape G, chord G in shape D, and chord F in shape C. All of these shapes utilize frets 4 thru 8 allowing opportunities to find your style and to jam more intelligently

 

[Tristen.Jones]

So if i want to jam with a backing track that's in D major i can use this technique right?Like i find the D over the neck and fit the right pentatonic in it

Hey man, I know it's well over a year since you commented, and I want to say you're right but not correct when applying your CAGED shapes to this lesson. If you don't see this, hopefully, it helps the next person.

The idea is to switch the CAGED shape for each chord played in the backing track; you'll be using the same fret range for each chord. In this lesson's scenario, we're playing chord D in shape A, chord C in shape G, chord G in shape D, and chord F in shape C. All of these shapes utilize frets 4 thru 8 allowing opportunities to find your style and to jam more intelligently

To take it to the next level, play the same chords but only change the CAGED shape you use. Each chord will move to the next corresponding CAGED shape and again, you'll be playing within the same fret range! This is what Syn was describing in his notes from the previous lesson. For example and using our backing track from this lesson, let's start with playing chord D in shape G now. That means the shapes for the chords are:

Chord D in shape G, chord C in shape E, chord G in shape C, and chord F in shape A.

Note, I've been saying "fret range" but what I'm actually describing is the 'position' which is the actual term.

 

[Lindsey]

Are all the scale shapes and chords used in this lesson in the same key? Or is it a scale played with the chord but not the key? I'm a bit confused about the pentatonic scales

 

[Rad Synner]

Are all the scale shapes and chords used in this lesson in the same key? Or is it a scale played with the chord but not the key? I'm a bit confused about the pentatonic scales

So all the scales are I believe just the pentatonic scales of the chord that plays in the back of it. So in the example, when the music starts, it starts on a D chord as can be seen in the tabs. And so PG plays the D pentatonic from that chord shape over it. Then same things for C G and F.

Does that make sense?

 

[Lindsey]

So all the scales are I believe just the pentatonic scales of the chord that plays in the back of it. So in the example, when the music starts, it starts on a D chord as can be seen in the tabs. And so PG plays the D pentatonic from that chord shape over it. Then same things for C G and F.

Does that make sense?

Yes, it makes sense thanks

 

[JakAngelescu]

I have a question, I understand the concept pretty much but is there someone that can help break down the theory of this (IN SIMPLE TERMS).

For example, if I want to play an A major to a D major, I play an E shape pentatonic scale but no shape position I try sounds good over the D major chord.

 

[Riff36]

I have a question, I understand the concept pretty much but is there someone that can help break down the theory of this (IN SIMPLE TERMS).

For example, if I want to play an A major to a D major, I play an E shape pentatonic scale but no shape position I try sounds good over the D major chord.

AMaj 3# - consists of C# F# G#

D Maj 2# - consist of F# & C#

E Maj Penta 3# - Consists of F# G# C#

E Penta over D Major chord will sound Ok if you can define the target tone/note before the change of the desire Chords. Personally Rather than using E Penta. Try using E Mixolydian Scales instead.

So while u soloing in E Shape Penta on A Maj to D Maj - E penta is ok as it has all those sharps inside both Chords but maybe you want to try E Mixolydian scales. As in away the root scales note are starting on a different degree scales which in turn will changed the characteristic voice from happy to a mix of happy & sad.

E Mixo 3# - scales are E F# G# A B C# D

Hope this help.