#16
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#17
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I never have learned the caged system. But after fifty years of playing I probably use it some how. When I started learning guitar there were no learning tools. Well there was one, your ears.
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Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |
#18
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(Triad) 1-major 2-minor (quadads) 3-dom 7 4-min 7 5-maj 7 6-minor 7b5 7-dim 7 8-sus 2 9-sus 4 10-maj 6 11-min 6 The E-shape is a 6th root shape, the A is a 5th string, the D is a 4th, the C is generally a 5th string root. The purpose of the system is to be able to play these chords in any key, all over the fretboard. The C shape also has a 5th string root but as it uses a different shape, a major 7th for example in the C shape will sound different than an A shape in the same general area of the guitar neck. As I see it, the purposes of the CAGED system are to be able to: 1) play hundreds of different chords using a much smaller subset of shapes 2) (as said above) to transpose a key easily to another I created two study guides to help - BUT THEY ARE for LEFTHANDED players so the diagrams need to be reversed for righties: E/A shapes: https://www.dropbox.com/s/r1vlnernhe...hapes.pdf?dl=0 C/D shapes: https://www.dropbox.com/s/zai02akafx...tures.pdf?dl=0 I may or may not do the G shape as they are not used as much. Also, I did not incude the fingerings for the shapes, but that is described in Justin's Chord Construction Guide, or you can use your judgement, but I'd STRONGLY recommend getting his materials, they are tremendously helpful. My goal is to be a complete player, not just someone who knows 20 or 100 songs. |
#19
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I do not think most people learning the "CAGED system" do it this way. In fact, I have seen some comments that indicate they didn't realize the shapes they were learning didn't have any minor chords in them and had no idea how to form minors, so I'm pretty sure they didn't know this. In any case, the CAGED idea is just a way of describing the patterns of notes/intervals on the fretboard in standard tuning. Your way is closer to the way I learned. "Complete player" me, too, and left-handed. Thanks for sharing this. I get what you are doing. Sounds like you're doing great.
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#20
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I had been casually looking at CAGED for a few months, and I hadn't found it a boon to my playing or understanding. And in a somewhat related development, I decided to start taking in person lessons about 6 weeks ago. I recently asked my new teacher (who graduated from Berklee) about CAGED, and his opinion was that it was not the best way to approach the learning process about the different positions up the neck. He is teaching me scales and talking about the differing notes in the chords, and that is falling into place a bit more easily for me (though it is early yet...so I don't know if that will take me where I want to go either). I guess if CAGED works for a person, then it is good, maybe great. But for other folks, it just might not click and/or be an efficient way to learn. |
#21
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) Last edited by SunnyDee; 06-21-2017 at 08:01 AM. |
#22
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I use partial chords based on CAGED much more than the full chords. Of course, it depends on what you want to play. The D shape is a partial form of the C shape, in essence. And the shape that folk and blues players refer to as the "long A" (where you barre the first 4 strings at the 2nd fret and then plunk the pinky down on the first string, 5th fret) is a partial G. I find those two moveable shapes more useful and easier to play than the full C or G shapes.
Once you've mastered the major forms, it's pretty easy to figure out variants, like minor (flat the third) or 7th (add the flatted 7th). For fingerpicking blues, I get by without too many more complex forms. The diminished shape on the first 4 strings is a separate moveable shape that's useful. With those partial chords and combining with open bass strings when appropriate, I can get the sounds I'm looking for. Add thumb wrapping for at least the 6th string (and sometimes both the 6th and 5th), and you can get a whole lot of chord shapes in a bunch of different positions. Although some of those unorthodox shapes (like the Gary Davis shape based on a C7 using a two-string thumb wrap at the third fret of the shape's fret span) I think emerged independently of the CAGED system, knowing the basics of the CAGED system helps make sense of them, as they're virtually always some short of extension of the note groupings the CAGED system would use. So, in addition to being a tool for getting around he fingerboard, the CAGED system is useful (for me, actually more useful) as a way of understanding why certain partial-chord shapes work in various parts of the neck. What I know about the CAGED system, I learned more organically than formally. I learned some partial chords (typically first 4 strings) that were moveable. Then I did some reading on CAGED and realized that the partial chord shapes I was using were grounded in the shapes that comprise the CAGED system.
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Bob DeVellis |
#23
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Devellis just said it perfectly. I know the CAGED system, but for me, it's more about understanding relationships on the fretboard. I use it with partial chords often. It gives you shapes, but you don't have to use the entire shape. CAGED also gives you valuable knowledge about scales. It helped me learn my way around the entire fretboard when I began to see the scales that underlie the CAGED chord shapes.
I think the CAGED system is very valuable, but less for 6-string chord shapes and more so for what I described above. |
#24
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Are you describing A7?
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#25
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I did some fresh reading on the CAGED system yesterday after browsing this thread.
Previously I would stare in disbelief at the charts , asking myself - how the heck does anyone form that chord shape? Now I think it's not for the making of a chord, but to grok the pattern of the scales notes of the chord, depending which shape is applied. I never spent any time trying to work with the CAGED system. But I did and still do spend a lot of time working with what I consider a mini-caged system that uses three movable shapes with the root anchor on either the 1, 2 or 3 string. My suspicion for my self is that some fresh work on caged system might help to accelerate my ingrained memory of scale patterns/ i'll get right on that....in a week or month or so....
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amyFb Huss & Dalton CM McKnight MacNaught Breedlove Custom 000 Albert & Mueller S Martin LXE Voyage-Air VM04 Eastman AR605CE |
#26
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https://www.dropbox.com/s/vf0xdaoskt...riads.pdf?dl=0 |
#27
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i also teach a workshop twice a year on triads for guitarists. triads changed my life as a guitar player - for the better, the way better.
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amyFb Huss & Dalton CM McKnight MacNaught Breedlove Custom 000 Albert & Mueller S Martin LXE Voyage-Air VM04 Eastman AR605CE |
#28
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No, he's describing an A, typically called a "long A." Same as the open A, with another root on the top string in the 5th fret. It's not an A7 because there is no G in it. To play an A7, just move the pinky off the high A and put the second or third finger on the high G in the 3rd fret.
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#29
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#30
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Quote:
http://www.dee.email/OPEN/triadcolorsscale.jpg
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |