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Learn to play blues guitar.

Combine the Pentatonic Scales with the CAGED System to play blues – Guitar Lesson EP356

Description

In this week’s guitar lesson, you’ll learn how to combine the major and minor pentatonic scales with chord shapes from the CAGED System. You’ll learn how to easily jump from the major to the minor pentatonic scale in three main neck positions AND how to play the 1, 4, 5 chords in those various positions. This lesson comes with 3 diagram PDFs, tablature, and the MP3 jam track so that you can practice everything that you learn.

Part 1 - Free Guitar Lesson

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Slow Walkthrough

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Comments

  2. Strykerward says

    Brian, Thank you, This lesson is the answer to my nagging question I didn’t know I needed to ask.
    How do the scales and the caged system fit together?
    You explain and demonstrate it very well with this lesson.
    Cheers.

  5. madams says

    Fantastic lesson! Interestingly, I ran across a great lesson on YouTube just this week that does an amazing job of overlaying the pentatonic shapes to the CAGED patterns. He also offers free PDF files.

    The lesson is “How to use the CAGED system to play a solo” by Scott Paul Johnson. I hope you don’t mind me mentioning another YouTuber’s lesson here, but I think the two really compliment each other.

    Best,
    Michael

  6. John B says

    This has come at the perfect time. I’ve been really working on triads in all three of the positions in this study. Overlaying the pentatonic scales is really cool. Thanks Brian. It’s starting to come together.

  7. Thomas S says

    Hi
    Great lesson! But it goes a little to fast for my skills. But I really like the lessons that combines licks and chords.

    By the way there seem to be a mistake in the tab at line 8?

  9. jaimeiniesta says

    Thanks, this lesson comes just in time for me. I knew the theory behind the CAGED system, scales and triads but I needed some glue to put it all together, learning this as a playable song is a real help.

  10. charjo says

    Great concept lesson, Brian. The advice to really work one of the positions is golden. I am totally guilty of trying to learn everything at once and getting overwhelmed.
    John

  12. Tremelow says

    Many thanks for this one, Brian. An incredibly important resource! Until now, ML049 had been the best lesson for me to learn to navigate between I, IV, and V in a convenient and fast way, and I have seen it being reflected in your previous EPs so many times now. Now I think EP 356 is the ultimate supplement to ML049. Once I have the three new I, IV, V combos down AND connect them to the corresponding pentantonic shapes, I will be able to solo basically in one spot for three different positions on the neck. Fantastic!

  13. Tremelow says

    One comment though. In the first video at around 16:00 you say that you are not playing the chord changes. Sure? I think one of the big takeaways of this lesson is the quick change between I, IV and V.

  19. Geoffrey B says

    This works. One thing about CAGED for me….it does require study. That means pen and paper. Remember that stuff? Start with a pattern of the neck. Locate the roots, the cords, and the scales. Plot them out. use different colors. Memorize. Test. Apply. Practice. You might as well just memorize all the notes on the neck. Oh, and the Major scale with the 3rd, 5th, and 7ths. You need that under your fingers too. Its easy. Just like anything that you try really hard at. The payoff….separates the men from the boys. Anyhow, I’m obviously being somewhat facetious, but just recognize that this concept does take a higher level of commitment than other systems. However, when you have that AHAHH!!!! moment, your mind will be blown. If you have your embellishments down i.e. bends, vibrato, hammer-ons and pull-offs, slides, trills…..you are golden and you are a player my friend. Add your passion and the sounds in your head. Learn from your favorites. Just my .02 eh?? This is useful for beginners , but this is not beginning material. Ok, students…woodshed time. No time like the present. I learn so much from this site so thank you for everything My Brother. The massive shift is occurring across the planet. Music will help us through. This is a long term goal, so lets all plan to stick around a while longer. 1000+ hours. that’s what it takes. Om Saraswatiya Namah.

  21. Alan S says

    Another really interesting lesson Brian, I had to print out the “Position” tabs as this takes a bit of studying – can you please check the tab for “Position 2” this first 3 tabs are surely the “A” shape? Best Wishes Alan Exeter UK

  26. Bill C says

    A great demonstration of the caged system connected with the relation of scales.
    This will really help with playing all over the neck and hitting the right notes.
    Thanks Brian. I hope everyone is doing well out there.

  28. Robert F says

    I am a genuine Newbie cursed with the need to see where the little things I am learning fit in.. Lessons like these I cannot hope (yet) to play but they enable me to see ahead with clarity. This site (as opposed to MANY others) is worth the cost for that alone. Thank you Brian!

  29. Walter D says

    Brian, this is brilliant. I have been assembling bits and pieces of this in my amateurish way from some of you previous lessons. But this coherent lesson presentation saved me so much “trial and error” time. Much appreciated. I used to treat Pattern 1 (major and minor) as my go to – but you have taught me to make Pattern 4 my friend.

  31. San Luis Rey says

    Stupendous, marvelous, exceptional, wonderful, spectacular, fabulous and all the other synonyms. This is a truly valuable lesson that brings a lot of things together. Can’t wait to get into part 2.
    Thanks for this Brian!

  32. William F says

    Super lesson, as usual. If you get the time how about same lesson playing the lead with the chord changes. Thanks for this site, the only problem I have with it, I can’t keep up, I find myself wanting to learn everything and getting weeks behind, what a great problem to have.

  33. John A Rowe says

    Wow! This lesson couldn’t have arrived at a better time for me… this is exactly what I’ve been playing for the past couple of months… lots and lots of triads using the cage system, combining minor and major pentatonics, and best of all, discovering triads that are more or less on top of each other, that even share similar notes in some cases, etc. Since doing this I have been amazed at just how intertwined and overlapping they can be…in fact, since learning how to find alternative positions using triads within the cage system I haven’t played a straight forward open chord for months! Also, I find that I hardly ever hold a full chord down anymore, preferring instead to create runs, riffs, and triad chord sequences all over the neck with exciting results… so this lesson is tailor-made for me Brian and I look forward to similar lessons in the future. Talking of the future, I would just like to wish you and your family, also all members, a safe and healthy next few months during these difficult times… take care everyone!

  35. houliAK says

    I used to get hung up on the C and D AND A and G shape overlaps in the CAGED system… “So let’s just look at it like C-A-E shapes”. I know you you said it in previous lessons (probably EP273) but I finally heard it and the light bulb went off. I can finally let that “hang up” go and move on. Ive been a member for years and it amazes me how the “a-ha” moments are often are the ‘nuggets” that you have mentioned in the past and I finally hear it. OR maybe I’m just ready to hear it the second or third time around. You keep teaching and I’ll keep listening 🙂

  38. William F says

    For the lead lick off the D chord using the A shape (Part 1@ 14:30), it looks to me like major pentatonic pattern 1 in the key of D (like those Hendrix style embellishments). But I also see that it could be seen as falling into major pentatonic pattern 4 of G (and Brian noted that he was doing all the licks in the key of G). And the next lick following the C chord using the E shape is the key of G, major pentatonic pattern 4. But the lick could also be seen as being the key of C, major pentatonic pattern 2. I’m trying to get my head around this stuff and am wondering if looking at it in this way breaks down in ways I’m not aware of (i.e., maybe the licks are in all in the key of G, but maybe they can also be seen as shifting to D and then C).

  39. Greg R says

    After 7 years, I finally “see” the fretboard said the blind guitar player…
    Can now play 1-4-5 chord progressions in any key all over the neck…quickly using these triads.
    Now, just need some practice to lock in the relative pentatonic scales to their respective chords / positions.
    Priceless Brian
    Thank you so much – exactly what I needed.

    Possible takeaway???
    It’s dawning on me that if we wanted to go a step further…
    Would this be an easy way to learn to switch the scale you’re playing lead over to match the specific chord?

    Oh, the song is going to the 4 chord – play it in the associated shape (for the position we’re in) and embellish with that chord shape’s associated pentatonic?
    Am I thinking of this correctly?

  41. Bob M says

    Thank you, thank you, thank you. EXACTLY what I need to be working on and improving. Trying to use and blend in “small” (CAGED) chords in this rhythmic way is helping me “see” the solo boxes better across the positions and various scales, in time. Tremendously helpful! Thanks, again.

  42. RobertBlower says

    Great Lesson. Melodic soloing combines both major and minor scales . To simplify the CADGE to the three triads is a practical way of navigating a solo. Thanks so much for helping us connect the dots. Keep um coming!

  49. Dan S says

    Excellent ! I’m a fan of ep099 and ep100 and finally got comfortable with those licks and took them out of there cubby hole into different places on the neck, different styles, chords etc. etc.. As I was doing that I couldn’t help but notice how those patterns follow basic chord shapes . I find the three basic patterns for major chords is all you really need to understand how to move around the neck. Sure — you need to understand how the missing chords relate to the three you are using, but keep the mindset in those three basic chords.
    I consider this to be one of your most valuable lessons.
    If I can make one suggestion, it would be to make a simple lesson regarding this method. Maybe a MicroLesson ?
    Although I use the different neck placements of these chords extensively, I still got a minor headache following your explanations . Sometime, a little less is better. Maybe save the really good stuff for Premium members ?
    Outstanding work.

  51. Steve B says

    This is the lesson I’ve been searching for and I agree it’s not often covered and we are left to our own devices all too often. Huge, huge light bulb moment which has prompted me to sign up again but for a year this time. Please, please more of this type of lesson and thank you!

  55. Michael W says

    This seems like solid gold so I’m breaking it down section by section and really squeezing the juice out of it instead of “sort of getting it” and moving on. Keep the faith my Brothers and Sisters- Namaste

  57. deece says

    Brian,

    I have been kicking something like this around in my head for the past 40 years or so, but have never been able to quite articulate it. You did such a clear and economical job of helping us connect the dots here.

    Thank you for your creativity, your knowledge, and your ability to play beautifully and teach beautifully.

    Best wishes always,

    deece

  58. Steven B says

    A solid lesson Brian. Really valuable for reaching the breakthrough knowledge that simplifies the theoretical playing into actual playing.
    Stay well! Thinking of y’all over there and hoping things turn around fast. Very challenging time in our lives, thank god for guitars and guitar teachers

  59. KEVIN F says

    Really good lesson. Strong a-ha moments throughout. One thing that is kinda confusing is in your “Position 2” in premium section, you talk about staying in the key of G minor and you are not playing the changes, but the licks on E shape walk down on the D and C look like your playing licks from major pentatonic pattern 2 in the Keys of D and C respectively. Am I wrong or missing something?

  60. Phil G says

    This is a great way to look at the neck. Thanks for this lesson. I have never really learned the pentatonic “patterns”. But I have tried to overlay pentatonic scale on CAGED shapes. So another way to look at it is; in position 1, you are sing the C shape major scale, and the D shape minor scale. In position 2, you’re using the A shape and G shape minor scales. In position 3 you are using the E shape minor and major scales.

  64. tpro47 says

    Could’nt have come at a better time for me! Spending all week trying to learn triads but not quite sure how they fit with soloing. Its all coming together now! For me, your best lesson yet!

  66. Les Brown says

    One of the most useful lessons yet. The licks not only demonstrate the positions, but also the feel and rhythmic “sense” of the blues. There’s is a LOT to internalize here and man, do I appreciate it!! Thank you so much!

  71. Richard M says

    Thanks so much Brian! This one hit home especially well… I have studied the patterns and shapes a lot but until you put it into a musical context it doesn’t make sense. This helped me put all the hard work to use.

    And your right, nobody has approached it this way on YouTube. Thanks again for the great content!

  72. Ted F says

    So quick question for Brian or anyone who might know. I am confused as to why the tabs show the the G minor pentatonic scale played over a G major chord progression (G C D). My understanding is you would use the relative minor of G major which is Em Pentatonic since the Gmajor Pentatonic and the Eminor Pentonic scales use the same notes. I’m not good at the modes but I would guess playing the G minor scale over a G major is one of the modes…..

    • Ted F says

      So I think I answered my own question the Gminor Pentatonic adds the flat 3rd(blue note) and the Dom 7th of the G scale ( 7th used to form G7 Chord, F note). So Brian tastefully adds these notes in context and they work…..I would have mindlessly stuck to the G Maj pentatonic scale ( Same as Em ) and just added the flatted 3rd…blue note. Thank you Brian for always challenging my brain… In the end any note works if it sounds good 🙂

    • adrian c says

      major pentatonic only sounds good over the 1st chord, not over the 4th and the 5th; however, you can stay minor from the get go and you’ll sound good; you will not sound good if you play major pentatonic over the 4 and 5 chords

  73. Joseph D says

    Gotta be honest with you, Brian. I’ve been meaning to develop my understanding of triads on the 2nd, 3rd, and 4th strings and you just gave me that information AND the major and minor blues boxes in a matter of 5 minutes. I can’t thank you enough for doing what you do. I hope you and everyone you know and love is save and sound. Thanks again.

  77. Lyn C says

    Hi Brian .. this is a great way to illustrate your meaning about chord shapes. I am finally starting to understand this and figure out how to play stuff up the neck.
    With loads of free time right now, there is no excuse not to play more guitar.! Thanks for all your terrific lessons.

  78. freddie h says

    One of my favorite lessons so far. This where your lessons stand out above everyone else’s. The dim light just got a little brighter for me. 2 questions. Do you usually switch to the major scale on the 4 chord in 12 bar blues? It seems to work well there. If you get a chance please add the 2,3 and 6 minor chords in those positions. I have figured out how to play them but there may be an easier way. Also, I’m hoping you’re about to give us the same 1,4,5 triads for the minor key. Great lesson!

  81. Chris B says

    Perfect lesson thanks Brian. Been doing these for a couple of years now and I should have commented ages ago, as you have guided my improvement as a player and performer with one great lesson after another. However this has been one of your absolute best for me, really clarifying and simplifying how I think about using lots of those little take-aways that you’ve taught me, in a variety of positions on the neck. It also makes transposition so much more straightforward. You’re a star mate!

  83. Randy G says

    Oh man, what a great lesson.

    I’ve been studying hard covering the major, minor scales and their associated pentatonics. I’ve been all over CAGED and linking those patterns to their scales. I’ve also been deep diving into theory. What a timely lesson and such a wonderful and clear way to pull it all together. Seems like I’ve just been rewarded for my hard work 🙂

    Yet another ‘breakthrough’ lesson.

    Thank you Brian!!

  85. adrian c says

    Great lesson as always;
    one thing that always confused me about the CAGED system is the so called pentatonic “patterns” or “boxes”l i always assumed that Pattern 1 corresponded to the E shape, since the E and A shapes are so common in blues
    .
    In fact pattern 1 corresponds to the G SHAPE, Pattern 2 to the E shape, Pattern 3 to the D shape, Pattern 4 to the C shape and Pattern 5 to the A shape

    while the fingering is identical for all of the 5 patterns, what makes it MINOR or MAJOR is determined by the note you start with (or the note you accentuate in your playing;

  87. David S says

    Brian, Best lesson yet.All the lights came on with this one. Wish we had someone to teach us this one 30 years ago. I will be one of your favorite fans from here out.Keep it up.!!!
    Thanks again Dave

  88. Mike S says

    It’s not as if you haven’t been telling us to play box 2 over the “d” shape for minor and box 4 under it for major. Nor to play box 4 above the A bar for minor and Box 1 below it for major. Limiting the chord shapes to really just 3 important ones to solo against is the game changer. Like everyone here Thank you.

  89. atayl0r says

    Great lesson. Besides connecting scales to chords and introducing a host of tasty licks, the phrasing is really good. I’ve noticed that in a lot of your lessons – phrasing is what I always come back to study. Where to rest/where to hit triplets. The onscreen Tab Viewer has been a great help teaching me to match phrasing to actual sheet music notation. Not all the way through it but getting close! Thanks again!

    • Stan says

      I agree! I am a Newbie and just starting. The tab viewer is super helpful. I hear subtle triplets and phrasing. I don’t know how to describe it. But, I am playing more notes than the tab shows. Brian has a interesting technique and feel for the licks. This one helps get me started with my subscription. I am not sure how tab would be able to capture all these sounds? Enjoying my journey and hope to join all the challenges for 2021!

  92. Phil D says

    Hi Brian.
    Assuming that you intended to follow the same pattern on the PDF’s of the neck for each position, number 2 has a couple of errors. The 3rd line/neck is in blue, and is labelled minor (same as line 2). If it was supposed to show the major pentatonic scale (like the other 2 PDF’s), I think also that the pattern 5 box is 3 frets too far up the neck.
    Thank you for the lesson.

  93. Gary Roberts says

    Hi Brian,

    This lesson has so much in it. Still working on it several weeks later. the pattern 5 being around the A shape is a real step forward for me learning the scales in different positions. Relating the chord shapes to the patterns is what I am concentrating on.

    Gary

  101. Bruce G says

    This has been a great lesson for me to build my improvisation skills. (It’s just too much fun to learn the song from the TAB and miss the point!)

    Any suggestions for a good follow up lesson to build skills on improvisation using root pentatonics? (I don’t think I’m quite ready for improvising over the chords..however I see it coming!)

    Thanks Brian!

  104. David C says

    I know this is a little late for this but this year with all of the shut downs and quarantines I’m finally getting back to the lessons. Funny, when I started to teach myself how to play way way back in the early ’70s I was using the caged system but didn’t know it. With this lesson now I can finally add some things to what I used to play years ago. Thanks I needed this years ago!

  106. Miles B says

    This is a really excellent lesson – probably a turning point for me.
    One question though – how come the tab is set out as 6 bars using 1/16th notes at 60 bpm? If you double the note lengths and the bpm, it becomes a standard 12 bar blues (I just tried it for a bar in Guitar Pro).

    So am I not aware of some subtle “insider trick” for scoring the blues at half size? Can anyone let me in on the secret? Is it just because it makes it easier to teach two-bar phrases?

  107. Stan says

    This lesson is awesome! Been working on it for almost 2 weeks now. I just downloaded the charts for more clarity. This will be my first completed lesson. I should have it by the end of next week. Thanks Brian!

  108. Danny V says

    This lesson is an absolute must ! there are so many ‘light bulb’ moments to take away. Its far easier to understand the practical use of pentatonics when applied to the CAGED system – well done Brian , awesome

  109. pschlosb says

    What I don’t understand is, you say that in this lesson, we are not “playing the changes.” However, it seems like we are in fact, actually playing the changes?? Because in the I-IV-V progression when we are on the G, we are playing the G part, when we are on the C chord we are playing the C part, and when we are on the D chord, we are playing the D part. So why aren’t we considered to be playing the changes, what would be the difference? Im a bit confused….

    • Enrico says

      Hey just reading your comment here and please allow me to answer that
      What Brian means is that he always uses G or Gm pentatonic scales, even when playing over the C or the D. They are played on different positions/shapes but still on the key of G/Gm. If he was to “play the changes” then he would have played C/Cm pentatonic over C and D/Dm pentatonic over D 🙂

      • pschlosb says

        Thank you Enrico I appreciate you helping. I actually figured this out recently, after posting this. The light sort of dawned on me about it. I understand what you are saying. In other words we completely change the key with each chord change rather than just staying in the key but playing the notes of that particular chord. Yes I can see where this becomes more sophisticated and complex by completely changing the key. The question is, does it actually sound better? That’s what I am trying to determine. What alot of great players and teachers have said (and I believe Brian has said this as well) is that we can actually stay in the key of the song and even mostly rely upon pentatonics but just add or sort of pepper in flavor notes from other scales and modes. So what I am saying is that we can achieve a sophisticated sound even staying in the key, but adding in flavor notes from other scales or modes or keys. This is the direction I am sort of gearing myself in. However, I am not against playing the changes, I am sure there are virtuosos or highly skilled players who do this and are great. I am trying the master the basics, and perhaps move to that later.

  110. Enrico says

    this is a great lesson Brian, exactly what I was looking for!
    I watched so many CAGED related video tutorials but got lost every time to the point on how to connect scales to chords.
    You are making it so easy to understand so I am incredibly grateful – this is pure GOLD!

  112. David H says

    Video #1 9:00 mark. From the C shaped G chord I completely understand how pentatonic form 4 ties in, what i don’t see is how Brian ties it to form 2 while still using it over the G chord. Form 2 should go over the E shaped G chord on the 3rd fret. Im lost

  113. pschlosb says

    Brian–Im a consistent member, and I think this is the best lesson so far. I mean there have certainly been many others very similar, but for some reason this is what I’ve been waiting for, a very simple I-IV-V blues that shows how to put in simple licks with each stage of the blues progression. I think alot of the other lessons, though similar, have more complex licks and some other chords but this is the most straightforward. And, showing the connections with CAGED system and pentatonics in a simple straightforward way illustrates very clearly where the notes are coming from for those simple I-IV-V licks. I’ve been waiting for more simple lessons, and perhaps I just have improved and studied enough to understand better but now I feel like I am close to ready to approach creating my own simple blues progression mixing leads and rhythm e.g., creating my own licks. The CAGED system has definitely helped with that, by seeing the tritones (1,3,5) and mini chords or triads all over the fretboard.

  115. Walter S says

    I have what I hope you’ll find is a helpful suggestion.

    Look at “Lumecube.com”. I just ordered one for myself because I’m on lots of Video Conference Calls and this device is very helpful.

    It’s extremely inexpensive and would make many of yours lessons easier to see for your viewers.

    Your lessons are great and there are those of us who are a bit more visually challenged than others.

    Thanks for considering my idea.

    Best always,

    Walt

  116. Johan O says

    Hi Brian. A real eye-opener this one. Many thanks.
    And hello from across the big ocean, from Brussels, Belgium. Where we play the blues just as well.
    Best and stay stafe
    Johan

  125. Lynne R says

    I understand the concepts in theses lessons perfectly.
    What I don’t understand is why you use such complicated timing in your demonstration songs.

    For example : the 2 nd measure is mind boggling for even an intermediate player to grasp never mind a beginner. I get completely bogged down just trying to play the rhythm which distracts from the whole point of the lesson .

  126. charjo says

    Brian,
    After 7 years here, this lesson has lightbulbs going off! I’ve long been trying to overlap the major and minor pentatonic positions around the roots but it wasn’t coming into focus. What I didn’t realize is that I needed a bigger, more visible landmark. The C, A and E shaped major triads on strings 2,3, and 4 are concise and familiar. I can now relate which minor and major positions overlap on either side of these and start to mix them together. It’s brilliant, I haven’t seen any other teacher show it this way.

  127. Steven F says

    Brian, in Position 2 the major pentatonic pattern #1 that attaches to the G (in the A shape) is also Pattern 1 of the relative minor of G which is E minor? Is that a way to think about this too?
    Also, in this lesson, the different scales that attach to the Chords all follow the I chord in its different positions since the I chord is the key we are playing in? They don’t have anything to do with the IV and V chords, right? Thanks.

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