Fretboard Framework: CAGED, DPMAI, and 34512 for Minor scale improvisation.

This is a follow up to my last article, "Fretboard Framework: CAGED, PMAID, and 45123 for Major scale improvisation." As promised, here's how my little Fretboard Framework applies to minor scales.

To recap quickly, the idea of this all is:

CAGED
PMAID
45123

Which, in major mode terms, means:

"The first Caged position, can be soloed over using the Phrygian mode pattern, and/or the fourth Pentatonic Pattern".
"The second Caged position, can be soloed over using the Mixolydian mode pattern, and/or the fifth Pentatonic Pattern".
"The third Caged position, can be soloed over using the Aeolian mode pattern, and/or the first Pentatonic Pattern".
"The fourth Caged position, can be soloed over using the Ionian mode pattern, and/or the second Pentatonic Pattern".
"The fifth Caged position, can be soloed over using the Dorian mode pattern, and/or the third Pentatonic Pattern".

Or more simply:

First Caged - Phrygian - 4th Penta (CP4)
Second Caged - Mixo - 5th Penta. (AM5)
Third Caged - Aeolian - 1st Penta. (GA1)
Fourth Caged - Ionian - 2nd Penta. (EI2)
Fifth Caged - Dorian - 3rd Penta. (DD3)

So, how does this apply to minor scale improvisation?

If you know your modes and pentatonic scales, you know that, structurally there is no difference in the patterns; it's just where the patterns are that changes. Note that there are some classical variations and such that alter these rules, but again, I'm trying to stick to the basic modes and patterns here.

Anyway, here's how the patterns shift: CAGED, PMAID, 45123, becomes:

CAGED
DPMAI
34512

That's it...really. The root positions (see last article where I say I wish CAGED was just called "root positions") stay the same (they have to; notes on the fretboard don't move unless you retune the instrument). But the mode and pentatonic patterns all get pushed to the right, bringing the last one to the first column.

So, whereas last time in the major article we saw this, assuming starting on C with the first root position, and using C-P-4:

0
P X - P
X R - P
P - P -
P - P X
P - X R
P X - P

We would alter this for minor improvisation to C-D-3, or spelled out, first root position, Dorian mode pattern, third pentatonic pattern.

We're using "C" as the root again. Remember that this shift in the Fretboard Framework gets you C minor (C D Eb F G Ab Bb C), not C major.

0
- X - X P
- R - X P
X P - P
X P - P
- P - R
- P - X P

There you have it; by just shifting the columns one over, you have transposed all your mode and pentatonic positions from major to minor. If you're ever in a situation where the change shifts from a major to a minor tonality on the same root, you won't have to jump to another part of the neck; you stay in the same position, and just use the different mode (pitch axis theory think). The effect is really pro; you're altering your mood by understanding your modes, which is exactly what they're for.

Let's do another one; last week we did the second root position off of C, using A-M-5. To get to minor, it would be A-P-4, or spelled out, second root position, Phrygian mode, fourth pentatonic pattern.

It would look like this:

3
P X - P
X P - P
P - R -
P - P X
R - X P
P X - P

Note that the first and second root positions, and all the patterns around them, major or minor, connect. Thinking this way, you open up the fretboard as one big pattern with preferred areas of fingering, helping you to break out of the boxes you may find yourself frequently defaulting to.

So again, for major:

CAGED
PMAID
45123

And for minor:

CAGED
DPMAI
34512

Blow it out to the rest of the patterns. As always, remember to watch your chord tones for targeting and lead ins, and always listen to, and communicate with, the band, especially if you're going to take it live.

Have fun, see you out there.

Fretboard Framework, the name, and all related articles, are the creations and property of Tim Consolazio.

Copyright 2009 By Tim Consolazio. All rights reserved.