In Part 1 we looked at how a simple change of focus, from patterns to triads, gave us a whole new perspective on soloing with, or without, the CAGED system. In Part 2 we continue this approach and take a look at minor triads.
If you worked on the exercise from Part 1 you probably realized that there’s quite a lot of mileage to be had out of just three notes, and when you add the others in, that triad base gives you a much more melodic edge. Check out the following three A minor triads:
Try them out over this backing track, much as we did in Part 1, and see what you can come up with. If the CAGED patterns start appearing around them, and you can’t resist the temptation, by all means throw those notes into the mix. Remember to keep referring back to the triad notes to keep it melodic and refrain from running up and down the scale pattern.
Did you notice that the CAGED patterns that appear around the A minor triads (in most people’s heads) are the exact same ones that appears around the C major one? You may already be aware that the C major scale and A (natural) minor scale contain the same notes, but now you can actually HEAR the difference! This is something that’s not immediately obvious with the CAGED system, and even takes some guitarists years to work out.
You can find the rest of the minor triad patterns in this article (in D) and in the meantime here are some backing tracks for you to practice this stuff in other keys.
B minor | E minor | F minor | G minor
In Part 3 we’ll look at how to bring the modes in without having to do the mathematical style calculations that the CAGED system requires to arrive at the correct pattern.
Go to: Part 1 | Part 3 | Part 4