This lesson is dedicated to the memory of Chuck Berry who gave Rock n Roll it’s style, attitude and many of it’s classic riffs. Many of Chuck’s ideas and basic riffs were derived from T-Bone Walker before him but Chuck adapted them to suit a more aggressive Rock n Roll attitude rather than a Jazz based Blues attitude.
I am now going to work you through constructing the E Shape movable Chord Shape. Firstly we start with the E Shape Major Pattern from my C-A-G-E-D system. Here it is in diagrammatic form but you can see all the patterns here in C-A-G-E-D system.
Looking at the guitar fretboard and all the possible places you can place your fingers can be daunting. However it may be useful to know that there are only really 3 true Guitar Chords Shapes that you can make in Standard Tuning. These guitar chords shapes derive from the C_A_G_E_D system and are closely related to this system. The 3 Guitar Chord Shapes are really just the following
- The C Shape guitar chord
- The A Shape guitar chord
- and the E Shape guitar chord
Rhythm and having a good understanding of rhythmic concepts is often seen as being less important than playing through numerous scales fast or just seen as being the staple of the backing guitarist taking a back seat whilst the soloist grabs the limelight. This is not strictly true. In fact some if not all the greatest Soloists demonstrate a complete mastery and understanding of rhythmic concepts and that is ultimately what makes them the great players that they are or were.
In this Post we will be looking at the Blues Scale. To me this is one of the top most useful Scales. Most reference sources will show you the Blues Scale in its Minor Form with a Flattened 3 rd degree (bIII) and a flattened fifth degree( bV). This is okay but it is really half of the story and half of the usefulness of this particular Scale. This is because if you make the Blues Scale into a Major Scale Pattern then the Flattened fifth note (bV) actually now becomes the flattened 3rd (bIII). The Flattened 3rd when played against a Major Chord or Dominant 7th chord is a true Blues Note found in many examples of Blues Styles. So by changing the Blues Scale to a Major pattern you have got instant access to the Blues. I will show you how to do this but most of you will already have covered all this if you have already been studying my approach to the CAGED System (C-A-G-E-D). If not go and have a look at this as it shows you how to use the 5 patterns to find both major and minor scales from pentatonic scale shapes.
So far I have given you the scale shape patterns for both the Minor and the Major. Now we are going to look more closely at what these notes in the respective scales actually are. Basically I am going to throw some theory at you.
Once we have done this I can discuss what are probably the most important scales to know. So far we have only looked at Pentatonic Shapes: this means that these are are shortened version of scales. These Scales contain only 5 notes hence Penta. Full scales usually contain 8 notes so a C major scale would have 8 notes beginning on C (Root) and ending on C an Octave higher = 8 notes. Pentatonic Scales are easier to remember because they only contain 5 notes. However it is possible to use the Pentatonic Scales either Minor or Major to develop a full scale of 8 notes or more by adding some of the missing notes depending upon which scale you want.
Welcome back to part Vii. You may remember that in Lesson 1 I told you about a certain rule to apply. i said that in lesson 1 you could just acknowledge the rule and that it was not particularly important at that stage. however now in part Vii we will go back to that rule and examine why it is so important.