UNLOCKING MINOR CAGED
Before tackling this course, you should be comfortable with all the material from The A CAGED Shape

Next up we have the G shape CAGED chord. This is one of the least used shapes, but get it under your belt and you will love it! As with all our chords, we’ll start by learning it all in A minor, before changing keys later down the line. Let’s get started!

Lesson 17: Chord & Arpeggio

First up, let’s learn the chord shape and arpeggio. We have drawn out the basic shapes below, as well as alternate ways for you to play this, to ensure that no matter your preference, you can play this chord. Your first task is to learn these shapes. Note: Be sure to watch the video to see alternate versions that Dan may play, based around these shapes.

A Minor [G Shape]

A Minor [G Shape] Arpeggio

Lesson 18: Diatonic & Pentatonic

Now we’ll continue to layer up this shape by adding the pentatonic and the full major scale box. These scale shapes will ALWAYS work over the top of this CAGED chord position, so let's get them memorised now.

A Minor Pentatonic [Box 5]

A Minor Scale [Box 5]

Lesson 19: Moving Keys

We will now bring in the backing track! So, lets start by talking about the backing track. The chords are as follows:

Am for 4 bars, Em for 4 bars, Bm for 4 bars, F#m for 4 bars, C#m for 4 bars, G#m for 4 bars.

This chord progression is based on the circle of fifths, which is a fantastic way to subtly change keys. When you are dealing in minor, as we are, we are using the relative minor to the major. This is commonly called the Aeolian mode, and is the 6th degree of the major scale. You can see the relative minors below, in comparison to the major keys. We are following the chords highlighted in red.

This chord progression is based on the circle of fifths, which is a fantastic way to subtly change keys. When you are dealing in minor, as we are, we are using the relative minor to the major. This is commonly called the Aeolian mode, and is the 6th degree of the major scale. You can see the relative minors below, in comparison to the major keys. We are following the chords highlighted in red.

For example, the key of A Minor has zero sharps or flats, but the key of E Minor only has one sharp. Therefore, when you shift to the key of E Minor you are only changing one note. This gives you a nice subtle shift and allows you to quite comfortably roll between keys. We’ll have more on this in a future course, but this is all the detail we need for now.

all 6 keys in shapes...

For your reference, below we have drawn out every single chord shape, scale and arpeggio in each of the keys, following along with the backing track. Your job is to play through all of these as the backing track changes, trying to move with those changes. Enjoy!

A Minor (click to expand)

Minor Chord [G Shape]

Minor Arpeggio [G Shape]

Minor Pentatonic [Box 5]

Minor Scale [Box 5]

E Minor (click to expand)

Minor Chord [G Shape]

Minor Arpeggio [G Shape]

Minor Pentatonic [Box 5]

Minor Scale [Box 5]

B Minor (click to expand)

Minor Chord [G Shape]

Minor Arpeggio [G Shape]

Minor Pentatonic [Box 5]

Minor Scale [Box 5]

F# Minor (click to expand)

Minor Chord [G Shape]

Minor Arpeggio [G Shape]

Minor Pentatonic [Box 5]

Minor Scale [Box 5]

C# Minor (click to expand)

Minor Chord [A Shape]

Minor Arpeggio [A Shape]

Minor Pentatonic [Box 4]

Minor Scale [Box 4]

G# Minor (click to expand)

Minor Chord [G Shape]

Minor Arpeggio [G Shape]

Minor Pentatonic [Box 5]

Minor Scale [Box 5]

Lesson 20: Melodic Playing

For this lesson we take all of the chord and scale shapes from the previous lesson and try to use them melodically. This is the real underlying truth behind the CAGED system, being able to use it as your base for soloing! Use the chord shapes to put you in position, and then start trying to play into the shapes. Here are a few tips for you:

    Top Tips

  • 1. Use the arpeggios to target the key tones of the chord as you change to a new key.
  • 2. Visualise the chord box to find the key, but don’t necessarily play it!
  • 3. Play simple melodies using the scales provided. No need to overcomplicate this!
  • 4. Take your time, and accept that there will be many mistakes! This is a creative process, and therefore you will have good days and bad days with it. Keep working at it and you’ll gradually reduce those bad days!

Materials: Backing Track

Here's the track Dan plays along with in the videos. Once you're comfortable with the concept try it yourself!

Ready to move on? Remember to check out every lesson in this unit first – then try the next unit...

All Shapes

It is now time to tackle all the shapes at the same time! This simply means that we will be choosing one part of the fretboard and working in that same position to bring in all the minor CAGED shapes.