Active Melody

Learn to play blues guitar.

Learn guitar licks from all 5 positions of the CAGED System! Guitar Lesson – EP524

Description

In this week’s guitar lesson, you’ll learn licks for all 5 of the CAGED System positions using the Mixolydian scale.

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Slow Walkthrough

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Comments

  1. Robert Burlin says

    Thrilling stuff Brian.

    Pure pleasure and tickles my musical funny bone.
    Like reading scriptures where you really get it.
    Resonates deeply.
    Hot sounds to cool down with on a blistering hot day.
    Sounds way cool and fun to play, too.
    Love these lessons for many reasons, but the creative aspect of each lesson really plugs me in.
    A new song every week, now that is creative.

  5. Mark H says

    Thanks Brian. Inspires me to plot the mixolydian scale for each CAGED shape on fretboard charts. I want to ponder the differences and similarities (pattern recognition) and start running them in my practice scales routine.

    I’ve evolved “collecting” scales into a new hobby, figuring whatever gets me working has got to be good. I will figure them out anew for myself and not cheat by click-pausing your video. That way I’ll get ear training engaged.

  8. charjo says

    Another great fundamental lesson, Brian. I would take this further and also play a B major pentatonic lick followed by a B minor pentatonic lick in each position and seeing all three around the roots in each CAGED position.
    John

  9. sciencefiction says

    Excellent, Brian! This is the lesson I have been waiting for to learn where all of those mixolydian notes/licks are found for each of the five patterns. So my question is, if you played these identical notes at the same five positions on the fretboard, but over the chord of F#, would you then be playing in the Dorian mode for the key of F#.
    Thanks,
    Larry

  14. Daniel H says

    Awesome lesson!! BUT … What is the best way to “remember” which mixolydian scale pattern anchors to a chord shape? Should we memorize where the seventh intervals are of the major scale patterns and then remember to flat the seventh or is it better to memorize the mixolydian scale pattern that connects with the chord shape. I understand there are the same five scale patterns regardless of mode. My challenge is remembering which pattern to anchor to its corresponding chord shape. Is there a shortcut or do I need to just do the work and memorize which scale pattern to which chord shape resulting in which mode? This seems to be an obstacle for me … I can’t imagine I am the only one struggling with this.

  18. Mike R says

    This is real timely for me. I also like to pair it with EP356 for the minor and major pentatonic scales that go with some of the same chord shapes. Looking forward to the minor lesson you were referring to also. Please do it soon. Thanks Brian for another really useful lesson.

  19. Patrick B says

    Brian,

    I sincerely look forward to Fridays even more than usual, knowing your creativity and excellent way of teaching will yield a practical and stellar lesson! Thanks for you hard work…my 2+ years as an AM member has been one of the best investments made with respect to guitar.

    Patrick

  23. paul s says

    Hey Brian I’ve been a member for quite some time and have a question for you concerning improvisation.
    I watched a YouTube video of Eric Clapton explaining how he improvises and basically what he says that it’s not so much technique as hearing himself sing in his head and then transfer it to his fingers… As you said many times the guitar becomes the human voice. For those of us who can’t sing at all and find it difficult to think of things to play because I Don’t hear myself singing when improvising are we at a huge disadvantage when improvising ?
    Curious to know what you think.
    Paul Stock

    • Brian says

      you probably do more than realize. try improvising a solo with just your voice (no guitar) – see if you can sing / hum something. even if you’re not a great singer, you’ve got an idea for a melody and some kind of a cadence. it’s basically taking that, and doing it instead with your fingers. that’s impossible to do at first, because you’re still not even familiar with the sounds, but the more you play, and the more you listen (listening being even more important), then the better you get at it.

    • Eric G says

      Okay, this might sound odd, but why not share. Instead of ‘hearing myself sing’ I find myself silently reading weird phrases I find or see, like on my desk right now I see “Titanium Pencil” and “Bureau of Land Management.” I break it down into syllables in my head then maybe put the wrong emPHASis on the wrong sylLABle… I end up with TI-ta-NI-um pen-CIL and maybe bu-REAU, put it together and match up some notes in a scale. Just sharing

  24. Jim J says

    Is anyone else interested in learning the do’s and don’ts and the how To’s of creating your own intro’s and outro’s of your songs? Reading thru these comments and questions for months I can’t believe there aren’t a bunch of us that would enjoy that lesson. If so, how do we let Brian know? I was going to put this on the forum but couldn’t figure out how.
    Thanks,
    Jim

  25. Gary K says

    I enjoyed this lesson especially because I’ve been practicing scales, trying to get fluid playing the major, minor, mixolydian and dorian modes at different positions on the neck off different roots, and then relating each of those to the major and minor pentatonic scales off those same roots. Your use of the caged system gave me another way to think about it and gave me some licks. Please do another similar lesson using minor scales and/or dorian. Thanks.

  30. zaher F says

    Everyone is at a specific place in the guitar- learning journey, however to me at this point this is absolutely the most helpful and amazing lesson . looking forward to the minor CAGED lesson .
    Thank you Brian for another phenomenal lesson .

  33. michael f says

    I find that I must work out each modes unique pattern using the whole step half step scale. In the case of mixolydian, the pattern is pretty symmetrical starting on the B root it is

    b c# d# e f# g# a b
    W W h W W h W Eventually, my fingers can find the emajor scale, but not before I memorize the B mixolydian. Question: Is this scale like the major pentatonic scale in that you can us it to add texture in either a major or minor key?

    • Mark H says

      Not sure I’ve understood your question(?) but if you’re playing major scale notes in the key of B and you flatten the major7th of the B major scale you are playing B mixolydian mode.

      In other words there’s only one note difference; in the key of B, mixolydian has the dominant 7th (A) instead of Ionian’s major 7th (A#). You don’t have to to worry about the other intervals if a) you know your major scale, and b) where the dominant 7th is on the fretboard.

  34. Jim J says

    Brian,
    Thank you for the free tabbed out rendition of “America the Beautiful” . You make a wonderful song, really sound wonderful. I am already working on your song on my back deck while looking after some Baby Backs in the smoker.
    Thanks again and Happy 4th
    Jim

  35. sal t says

    Wow Brian, thank you for this lesson I can see everything inside there, Arpeggios, Major Minor pentatonic scale. Mixolydian scale has some tasty notes in there, thank you Sir. for opening my eyes!

  37. Steve M says

    Hi Brian, a question I would like to raise is are there any general rules ( such as you told us about when to use major or minor pentatonic scales ) for the mixolydian mode? It is apparent to me that it works for Grateful Dead tpye jams over a chord.

  40. Rick L says

    Learned long ago Brian, when you bring out the “shell pink” axes…pay close attention…some of my favorite lessons. You could have subtitled this one “Learn this if you want to play like Jerry Garcia”…always fun, never disappointed…thanks

  41. rickwallenbrock says

    Brian – I guess I am really missing something here. If I look at the chart you have for the scale positions in EP 364, they are different than what you have in this lesson. For example, in this lesson, the A shape sure looks like the D shape in lesson 364. What am I missing?
    Thanks
    Rick Wallenbrock

  48. Max d says

    Brian, great lesson. The loop facility is a little ‘sticky’ on the sound track but great to get familiar with sliding from one C-A-G-E-D position to another and improvising without worrying about chord change. This lesson, helped to cemented in my brain the link between the C-A-G-E-D positions and their links on the fretboard, and therefore my growing ability to slide from one to the other. One think you don’t bring out is the concept of using the mode system and in this case the mixolydian WWHWWHW ‘vision’ and that playing it on the one string, is the same as playing it on six, and that it gives you the C-A-G-E-D system. Anyway, I’m finally getting some ways to my 18-year old dream of jamming ‘well enough’ with the blues stars… they can’t hear me on Utube, so it’s ok! Thanks again

  49. Max d says

    PS. ‘Stocky’ in that, for example, it is difficult to slide the orange repeat bar in my iPad. It may be a function of the cleanliness of my screen… come to think of it!. I’ll clean it and report back!

  52. Eric G says

    After I learned this lesson in B (as taught, thank you Brian!)
    I found that if I slide the entire thing down to A, I was playing Steely Dan Reelin in the Years! It is very fun to play and it helps me practice the Mixolydian scale. Just sharing

  53. Tim Moran says

    I know you have probably done this in previous lessons, but for those of us not very familiar with the Mixolydian scale, it would help to put the scales you showed in the video on a pdf in relation to the CAGED positions…. I could probably figure them out using the major scale and flattening the seventh, but I have a small brain cavity… and I like having a map of what notes I can use for a quick reference. Just a thought…

  54. Max d says

    Wow! I don’t want to hog the comments column, but I can’t resist to say that after 50 years of listening in awe at his rifts, after your EP524 lit up a lightbulb in my head (and some practice)… I am now able to jam ‘quite elegantly’ with Jerry Garcia. Thank a million. Max (with my Fender Mustang on earplugs of course)

  59. Nick Ll says

    As usual this is another great lesson Brian – brilliant teaching using another composition cleverly put together to illustrate all the points.

    Just one thought if I may but…

    Am I the only one who finds it a little confusing, in a lesson which keeps overlaying scale patterns with fret numbers and references to note names being given, when the tab has a different fret number + full bend and I’m trying to play on a guitar on which full bends are not possible, so in order to incorporate a bend at all I’m having to do a half-bend. For example, on the B minor G shaped position reference is made to the use of the pentatonic during one phrase and Brian is playing 5th fret second string with a full bend, so then I’m having to think, yes but that’s 7th fret if I’m imagining the pentatonic superimposed over the B minor G position. But then I can’t do a full bend, only a half, so I’m suddenly looking at 6, then 4 rather than 7 then 5 (or 5 then 3 as it is played in front of me). This I find soooo confusing. Would it not be better to avoid big bends on lessons which are intended to cement one’s understanding of CAGED positions and scale patterns around them, at least in recognition of those of us who aren’t learning on an electric guitar?

  60. Alphe G says

    Hi brian do to the economy I will not be able to afford to join for another year as I’m a senior and it takes everything that I get to servive I have really enjoyed the lessons hope that I can reenlist in future years i thing I’m still good till the end of September again I will miss these weakly lessons good luck to you Alphe G

  62. Harold V says

    Great Lesson Brian. You have expanded again how I see the fret board. Looking forward to a lesson on using these scales over chord changes. On another note, I think that the comment section on the Active Melody.com site, should be changed so the most recent comments show at the top or closest to the lessons. I have to scroll to the bottom of the page to leave a comment and am not sure if you read them.

  64. Gustav K says

    I love how Brian Just classs over the E shape as being your minor first shape. I just sat there with my mouth open. I never quite realize that. This is one of my favorite lessons he’s ever done

  68. Dennis E says

    Hi Brian. Is it B Mixolydian that you are playing over the Chords? Its B major scale w/ a flatted 7th right? Im 99% sure it is but just wana make sure before i move on to another lesson. Btw, Amazing video! Ive been trying to figure this stuff out for almost 4 decades, watched hundreds of instructional videos on all aspects of music theory and didnt understand any of them until I watched yours. The way you explain things is a real gift, you explain it in a way that people can understand! Thank you so much!
    Dennis

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