Quote:
Originally Posted by SunnyDee
They are all equal, even without CAGED. I do know how CAGED works, but I don't really look at the fretboard that way. I look at it as smaller intervals, all the finger-shapes related to scales and scale degrees, 4ths, minor 3rd, major 3rd... I'm still working on putting that knowledge into fast muscle memory, but I understand it. Beyond, possible physical limitations, like... by the time I get to the 14th fret my guitar sounds like a cheap uke, why do people think these keys are different? We're probably getting off topic, but Tony, can you explain it? I'm not saying that dkstott thought this. He's clearly working above my pay grade. But why if someone knows how to play an F are they afraid of a F#? I don't get it.
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I was able to learn to play guitar without having formal theory instruction.
My motivation for learning was to have the ability to accompany myself while singing a song. cue: chord charts and lyric sheets.
I was able to expand the arrangements of my playing guitar after receiving theory instruction and taking time to practice the application of the lesson.
My motivation for learning was wanting to be able to produce a wider variety of musicality in my arrangements, triggered by playing with/observing others.
Like SunnyDee, I've got lots of the information in my head, and it is now a matter of connecting the brain with the muscle memory, and to do it effectively. For me, one thing at a time is the way I succeed best.
one example of making that connection is practicing common turnarounds in every key, so that I can recognize them when played by others, and can seamlessly integrate them into arrangements. I, VI, II, V, I is an example of a popular turnaround.