The progression consists of two basic sections, which are referred to as A and B. The A section is more intimidating because the harmonic rhythm is a bit quicker with two chords per measure—often played at a brisk tempo. By comparison, the B section is much easier with each chord lasting two measures each. Since the introduction of this progression, many jazz musicians have added various substitutions, but check out the chart below for a generally accepted version and the basis for our examples.
While the A section does use some substitutions, it can be thought of as I–VI–IIm–V. In the key of Bb that would be Bbmaj7–G7–Cm7–F7. Ex. 1 shows you how a jazz guitarist might approach this progression. There are a lot of notes that outline the changes here, but I’m playing a Bb triad (Bb–D–F) over the Bb, a G7b9 arpeggio (G–B–D–F–Ab) over the G7, and just connecting chord tones over the Cm7 and F7 chords. The principle idea is very simple, but executing it on the fly and at speed will feel nearly impossible to someone with a background exclusively in blues.
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Ex. 2 is more of the same, but this time we move higher up the neck. The vocabulary is very similar though, sticking closely to the chords and using diminished arpeggios to imply 7b9 sounds.
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It’s also possible to play convincingly over rhythm changes using more of a blues feel. In Ex. 3, we are using a lot of the Bb blues scale (Bb–Db–Eb–E–F–Ab). While a purist might argue these notes don’t fit the chords, the golden rule applies: If it sounds good, it is. If you like it, keep playing!
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Ex. 4 dials it back a little with bigger bends and slides. I’m even throwing in a country-inspired bend going into the third measure. We stick with the Bb minor pentatonic (Bb–Db–Eb–F–Ab) with hints of the blues scale and b5 (E).
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Ex. 5 uses the concept of tension and release. I’m thinking in major for the first measure, then minor in the second, then back to major, and again back to minor. This doesn’t outline the changes too tightly, but does give a super bluesy sound. I added the double-stops in the second measure for a bit of spice.
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We are also using the major/minor theme in Ex. 6, but this time we’re moving between Bb major pentatonic (Bb–C–D–F–G) and Bb minor pentatonic (Bb–Db–Eb–F–Ab). The triplet run can be a technical challenge, so take it slow.
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The B section presents its own challenges. The pace of the changes has decreased, but this slow speed means that playing sounds that don’t really fit the changes will stand out. In Ex. 7 the basic concept is to work a simple idea through a series of dominant 7 chords. We’ll start with the “E” shape of the CAGED system and move it up and down the neck to outline D7, G7, C7, and F7, respectively.
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Ex. 8 takes that basic idea, but focuses more tightly on one area of the neck. Over the D7, we’re using more dominant-sounding vocabulary around the “E” shape, which resolves to the “A” shape (also at the 10th fret) for the G7 chord. This concept is then shifted down two frets to outline the C7 and F7. As with the previous example, this idea resolves to a gritty Bb minor pentatonic phrase.
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We channel a little more blues vocabulary with some Clapton and SRV influences in Ex. 9. Over the D7 we’re playing obvious D minor pentatonic (D–F–G–A–C) vibes before moving to a figure based around the G major pentatonic scale (G–A–B–D–E). We then move to C Mixolydian over the C7 (C–D–E–F–G–A–Bb), and F Mixolydian (F–G–A–Bb–C–D–Eb) over the F7 before resolving to some Bb blues moves.
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Finally, no bebop-influenced column would be complete without some complex double-time ideas (Ex. 10). The line is simple, just played at twice the speed. For the most part it’s based on the Mixolydian scale with an added b3. We spice things up with some C Lydian Dominant (C–D–E–F#–G–A–Bb) on the C7, and some F Super Locrian on the F7 (F–Gb–Ab–A–B–Db–Eb) before resolving to the Bbmaj7.
That one isn’t for the faint of heart, but all good fun!
Click here for Ex. 10
Finally, here’s a full chorus of rhythm changes for you to practice over and explore some of these ideas.
Intermediate
Intermediate
- Learn how to map out the neck with five CAGED shapes.
- Create melodic lines by targeting chord tones on strong beats.
- Discover how to enhance your phrases with chromatic notes.
When I was first learning the CAGED system, there was a time when I lacked harmonic grounding. For example, I’d be improvising over an F Lydian vamp and once you removed the chords, my lines would sound like A minor. This proved that although I was able to navigate the neck well enough, there was no sense of hierarchy in my phrasing. I was viewing all the notes in a particular scale as equals. Over time I discovered that laying a foundation in chord tones was the key to breaking out of this rut. I had to learn which notes were chord tones and which notes served as melodic embellishments. This meant I’d be able to hit all the important notes at all the important times! No more landing on the 4 of a chord and suddenly panicking.
In previous columns, we’ve focused heavily on arpeggios, and if you’ve been following this series you’ll hopefully have a solid grounding in these patterns. But to be sure you’re clear on the details, let’s highlight these again using the “C” shape of the CAGED system.
As you can see above, we’ve got three things to learn, but really they’re all very similar since the arpeggio contains the chord and the scale contains the arpeggio—that’s very important. Your goal is to be able to see the chord right away and instantly fill in the arpeggio and the scale around it.
In my experience, confusion can sometimes come when guitarists move between the chord, scale, and arpeggio. To deal with this, I came up with a little exercise (Ex. 1) that alternates between the arpeggio and the scale. You’ll start to see the scale, but won’t lose sight of where the chord tones are. I’ve done this for eight measures, but you could easily do it for 100. Remember that it’s not about numbers, you’re not learning patterns or thinking about tab, you’re seeing the two pieces of information and how they sit—and work together—with each other.
Ex. 1
Now if we transfer this arpeggio-scale relationship to other shapes of the CAGED system, you might find yourself in the “E” shape, which would look like this:
The next step would be to transfer the concept from Ex. 1 into the “E” shape (Ex. 2).
Ex. 2
Now check out how this would work in the “G” shape with the corresponding diagrams and exercise in Ex. 3.
Ex. 3
Now we can apply these ideas to some actual music. Ex. 4 shows a 12-bar blues progression in the key of G. We’re using the shapes we outlined above and simply moving them around the neck as needed. I’m still thinking of the relationship between the chord, arpeggio, and scale, rather than a mode. For example, even though I’m technically playing C Mixolydian in the second measure, I’m just thinking of C7. I see the chord and the arpeggio and just fill in around it. Simply look for the chord shape.
That’s the way to do this: Look for the chord shape, make sure you land on a chord tone when the chord changes, and allow the scale to fill in around it in that position. This strategy really gives us the sound of each chord as we move through the progression.
Ex. 4
In the final few examples, we’ll use the same approach but add in some chromaticism to enhance the lines. This highlights the fact that we’re not thinking about scales. In fact, we’re so focused on chord tones that we play melodic embellishments even if they aren’t diatonic to the key of G. Check out the last note of the first measure in Ex. 5. The Bb doesn’t actually fit over a G7 chord, but we don’t have to worry about that since we’re targeting a chord tone on the first beat of the next measure.
Ex. 5
In Ex. 6 we take the same approach, but in the “E” shape with a few additions. In measure two, approach the chord tone on the downbeat of measure three from above. Going into the fourth measure, we descend chromatically from the b7 to the 5 and add some chromatics in the fourth measure before resolving on the 3.
Ex. 6
We use the “G” shape for Ex. 7. It’s the same thing as before, only we’re using an enclosure at the end.
Ex. 7
Our final example (Ex. 8) applies our chromatic approach notes to a 12-bar blues progression—an approach that really helps to smooth things over between changes. Take this one slowly and try to come up with some of your own ... then apply them while playing over the backing track below.
Ex. 8
If you devote time to this technique in all five CAGED areas, you’ll open up your knowledge of the fretboard in a significant way. You’ll soon be in control of your phrases, no matter where you are on the neck. So good luck and get practicing!