What CAGED shapes for running licks?

Discussion in 'Tab, Tips, Theory and Technique' started by slinger, Oct 27, 2014.

  1. klasaine

    klasaine Poster Extraordinaire

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    There are bad pedagogists (word - ? :D) that use caged but the pattern, map, orientation, focal points, system - whatever you wanna call it - definitely exists (it can't not exist in standard tuning) and guitar players use it ... consciously or not. Now whether you (me as well) 'call' it that is another thing entirely. We (guitar players) play shapes and grips. It's the nature of our instrument. Some of us maybe have a lot more shapes and grips in our kit bag - ? It's just a 'nuts and bolts' thing. Musicality is of course the main objective. Just knowing the notes does not lead to tonal organization.
    For the record, I'd never even heard of caged until I found this forum.

    *I will also iterate that even though I know 'cold' where all my notes are and how to construct any scale and chord anywhere on the fretboard practically instantaneously - and I've known this for a long time, musicality as well as appropriate tonal organization can still be elusive ... regardless of my 'system'.
     
  2. P Thought

    P Thought Poster Extraordinaire Silver Supporter

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    I'll vouch for that. :oops:

    I learned this whatever-it-is before I heard it called CAGED, too. I am glad I did. I'm a long way from being a great musician, but I'm a much better musician than I was.



    On a side "note", I would like to say, I am a schoolteacher, and I think a fairly good one, to the extent that there is such a thing. But I'd drown myself if I thought I was a pedagogue. The word "pedagogy", a favorite of administrators and seminarians in my profession, has an "ice-pick" effect upon my ears. . .I don't care what the dictionary says about it. Please don't anyone ever use it again. :rolleyes:
     
  3. prebend

    prebend Tele-Holic

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    Officially my second favorite post in this thread. The human mind works on patterns. Finding them and using them. Every time a guitarist grabs a chord they are grabbing a pattern. They are incidentally grabbing 3 or more notes that have names. If every time someone had to grab a chord they needed to say "I have to find a D, F#, and A all at the same time and someplace where they are close enough to finger them", well then, it's game over.

    The whole chunk-ing process described by boneyguy where individual notes get grouped into octaves, which get filled out into chord shapes, then extended into scale patterns and then interconnecting scale patterns is the essence of learning and being adept on the instrument.

    Every jazz, country, and blues player is playing out of patterns constantly. Practically always. The best also have the intervallic structure within the patterns down pat and also know how the surrounding notes outside the pattern fit into the mix.
     
  4. keithb7

    keithb7 Friend of Leo's

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    I'd like to chip on the CAGED patterns discussion.

    I played guitar, since I was about 10. My dad taught me what he could, but he never could read music. It was all about memorization at that time. Then I got into guitar magazines and learned to read tab. That really exploded my options. I was hooked, learning to play my favourite rock tunes. This went on for another 20 years. I tried to memorize scales to try and learn how to solo, but nothing stuck. Scales were rather boring. One day in my mid 30's by now, I somehow bumped into this CAGED theory thing on the internet. I bought a book and it blew me away. It opened up so many doors for me. I memorized all the patterns and learned to do pentatonic solos in pretty much any key. I can run up and down the neck board at will. That little CAGED idea changed me for life. However now I am like Eric Clapton in 1968, stuck in pentatonic modes all the time. It's like I learned the Hawaiian alphabet that only has 17 letters. I need to expand somehow, out of Pentatonic scales. CAGED has been very good to me. Where do you suggest I go now? What other patterns, or systems of pattern memorization do you recommend I try? Thanks.
     
  5. boneyguy

    boneyguy Doctor of Teleocity

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    This highlights my complaint with how CAGED is typically taught...either as a way of moving chord shapes around the board or pent scales.....that's the fault of how it's presented....but there's nothing that stops CAGED from being a map for anything on the fretboard.

    I mean CAGED has to work for everything because it's the design of the fretboard, right? It's not like we're fitting things into the CAGED pattern....CAGED is the very thing that is making all the smaller patterns take the shape that they do...all scales, all chords, all arpeggios.

    So for instance you can add two notes to the pent scale you already know and now you've got the major scale that can be moved around the board using the CAGED map.

    This illustrates one of the reasons I like initially teaching CAGED as octave shapes...octaves in this way can sort of be seen as containers...you can fill in an octave with any number of notes (well up to 11 max in western music)...this to me shows why CAGED is most usefully seen as octave shapes...it's completely unrestricted when viewed this way. And again, it has to accommodate all scales, chords etc by the very fact that it's simply the design of the fretboard.
     
  6. jmclaren

    jmclaren Tele-Holic

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    I stole this video from another TPPRI thread called "CAGED Part II". This guy explains CAGED exactly how I understand and use it:

     
  7. slinger

    slinger Friend of Leo's

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  8. slowpinky

    slowpinky Tele-Afflicted

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    Happy new year all!

    I love Boneys analogy of geography. Ever used a map for unfamiliar territory? Or has using a map changed your perspective on somewhere you are already familiar with?
    This reminds me of the the title of Jim Hall's book, 'Exploring Jazz guitar'

    Gary Larson's cover work....
     
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