CAGED for guitar

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  • @kevinemmrich  Feb 9

    I have known about the CAGED method of learning the movable chords shapes all over the guitar. But I have been spending a little more time looking at "partial" movable chord shapes. Why? Because the full chords are hard to play outside of the root position (think the G-shape, the C-minor shape and a few others). I am re-learning this beacuse I joined http://www.activemelody.com to improve my guitar sensibility and playing. Also learning all five patterns of the pentatonic scale and how they releate to C, A, G, E and D chords (and the minors, too).

    Here's a quick (incomplete) diagram I made showing some moveable partial chord shapes. I hope it is useful (if it works as an image).

    For example see the gminor shape. At the 3rd fret it is a Gminor chord -- at the 7th fret, those three notes are a Bminor chord (and also a D6 chord -- but that is a discussion for another day).

  • @kevinemmrich  Feb 9

    ... and I might as well add the pentatonic patterns while I am at it.

  • @ustaknow Feb 9

    One great thing that can come out of studying shapes is if you then apply why they exist as they do as those shapes, and so repeatable.

    For example, learn the 1 3 5 of the chord, e.g., C... C, E, G and then from the root/one/C where the 3 and the 5 always are.

    If one starts with the top two strings, the E, A it can be easier. Then where, always, the Octave is, e.g., G to G from the E, A string.

    You'll notice too, in time that the 5 is almost always over the 1, well, not around that nasty G-string shifty thing 😀

    In time, chord fragments will make their way into, "lead guitar" improvisations as well, (why double stops tend to work and why 😀 )

    Then, no matter where you are on the neck, if even you don't know the Note, you may if you go an octave up/down to recognise it from that string, then, connect the 5th to it and transition to the next with the 3rd.

    Then, all of a sudden the Pentatonic positions will make sense as to why and with the Barre Chords that are right there in them.

    -- You'll be free from having to memorise anything and just rip up and down the neck. (Eventually from muscle memory alone, in time.)

    The neck is nothing more than a simple repeating math numbers count. They added 5 to 6 more strings so you wouldn't have to jump around so much, -- it's 3 dimensional 😀 in that regard, not just one long string, it's actually 😀 one long string, folded five times on itself.

  • @dudachris Feb 9

    Woah, this is the next thing for me to learn as a finger-picking, openchord only folk type.

  • @toms Feb 9

    I found it surprising to discover that the partial barre E (just strings 1-4) was used really often by new wavers and punks back in the late 70s early 80s. I just did it because I'm lazy and have short fingers. Cool charts.

  • @standup  Feb 10

    The CAGED thing has been a big part of my playing for a long time. I can understand the chord shapes up the neck, and the notes they give you. I personally can work out what an F Locrian scale is, but I cannot use that meaningfully when playing notes on a guitar. I play chord tones. Plus some others.

  • @nicolascage Feb 10

    My primary instrument is actually mandolin.

  • @standup  Feb 10

    well, @nicolascage , lets hear some Thile/Grisman/BillMonroe kinda tunes. Or at least Sam Bush...

  • @kevinemmrich  Feb 10

    Just a quick note: There are a few "partial" shapes in all those CAGED chords. I just pointed out the ones on the high 3 strings (and the 4th if needed).

  • @scubed  Feb 10

    Another vote here for the CAGED system. I have a strong music theory background, but my first instrument was piano. Even after years of playing guitar, I had a tendency to visualize the strings as six slightly offset keyboards. Working with CAGED very quickly led to that big “aha” moment when the fretboard as an integrated system suddenly made perfect sense.

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