
Learn how to solo effortlessly using the CAGED system.
Intermediate
Intermediate
- Learn how to map out the neck with five CAGED shapes.
- Create melodic lines by targeting chord tones on strong beats.
- Discover how to enhance your phrases with chromatic notes.
Originally published on March 15, 2015
The CAGED system is a subject weāve explored many times before in Beyond Blues, and as you may know, it plays a big role in the way I teach. If you need a quick refresher, or if youāre totally new to the CAGED concept, read āA Guitaristās Guide to the CAGED System." This CAGED approach doesnāt often generate resistance, but when it does, I usually find that itās because of a misunderstanding of the systemāthereās a lot more to it than just barre chords. While weāve discussed arpeggios and scale fingerings several times over the years, this lesson will finally bridge the gap between those two.
When I was first learning the CAGED system, there was a time when I lacked harmonic grounding. For example, Iād be improvising over an F Lydian vamp and once you removed the chords, my lines would sound like A minor. This proved that although I was able to navigate the neck well enough, there was no sense of hierarchy in my phrasing. I was viewing all the notes in a particular scale as equals. Over time I discovered that laying a foundation in chord tones was the key to breaking out of this rut. I had to learn which notes were chord tones and which notes served as melodic embellishments. This meant Iād be able to hit all the important notes at all the important times! No more landing on the 4 of a chord and suddenly panicking.
In previous columns, weāve focused heavily on arpeggios, and if youāve been following this series youāll hopefully have a solid grounding in these patterns. But to be sure youāre clear on the details, letās highlight these again using the āCā shape of the CAGED system.
As you can see above, weāve got three things to learn, but really theyāre all very similar since the arpeggio contains the chord and the scale contains the arpeggioāthatās very important. Your goal is to be able to see the chord right away and instantly fill in the arpeggio and the scale around it.
In my experience, confusion can sometimes come when guitarists move between the chord, scale, and arpeggio. To deal with this, I came up with a little exercise (Ex. 1) that alternates between the arpeggio and the scale. Youāll start to see the scale, but wonāt lose sight of where the chord tones are. Iāve done this for eight measures, but you could easily do it for 100. Remember that itās not about numbers, youāre not learning patterns or thinking about tab, youāre seeing the two pieces of information and how they sitāand work togetherāwith each other.
Ex. 1
Now if we transfer this arpeggio-scale relationship to other shapes of the CAGED system, you might find yourself in the āEā shape, which would look like this:
The next step would be to transfer the concept from Ex. 1 into the āEā shape (Ex. 2).
Ex. 2
Now check out how this would work in the āGā shape with the corresponding diagrams and exercise in Ex. 3.
Ex. 3
Now we can apply these ideas to some actual music. Ex. 4 shows a 12-bar blues progression in the key of G. Weāre using the shapes we outlined above and simply moving them around the neck as needed. Iām still thinking of the relationship between the chord, arpeggio, and scale, rather than a mode. For example, even though Iām technically playing C Mixolydian in the second measure, Iām just thinking of C7. I see the chord and the arpeggio and just fill in around it. Simply look for the chord shape.
Thatās the way to do this: Look for the chord shape, make sure you land on a chord tone when the chord changes, and allow the scale to fill in around it in that position. This strategy really gives us the sound of each chord as we move through the progression.
Ex. 4
In the final few examples, weāll use the same approach but add in some chromaticism to enhance the lines. This highlights the fact that weāre not thinking about scales. In fact, weāre so focused on chord tones that we play melodic embellishments even if they arenāt diatonic to the key of G. Check out the last note of the first measure in Ex. 5. The Bb doesnāt actually fit over a G7 chord, but we donāt have to worry about that since weāre targeting a chord tone on the first beat of the next measure.
Ex. 5
In Ex. 6 we take the same approach, but in the āEā shape with a few additions. In measure two, approach the chord tone on the downbeat of measure three from above. Going into the fourth measure, we descend chromatically from the b7 to the 5 and add some chromatics in the fourth measure before resolving on the 3.
Ex. 6
We use the āGā shape for Ex. 7. Itās the same thing as before, only weāre using an enclosure at the end.
Ex. 7
Our final example (Ex. 8) applies our chromatic approach notes to a 12-bar blues progressionāan approach that really helps to smooth things over between changes. Take this one slowly and try to come up with some of your own ... then apply them while playing over the backing track below.
Ex. 8
If you devote time to this technique in all five CAGED areas, youāll open up your knowledge of the fretboard in a significant way. Youāll soon be in control of your phrases, no matter where you are on the neck. So good luck and get practicing!
- Beyond Blues: CAGED Developments - Premier Guitar āŗ
- Shred Your Enthusiasm: Aristocratic Arpeggios - Premier Guitar āŗ
- The Guitarist's Guide to the CAGED System - Premier Guitar āŗ
- CAGED - Premier Guitar āŗ
- Experience the Magic of the Blue Front Cafe - Premier Guitar āŗ
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The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnieās hands, it came alive.
This National electric is just the tip of the iceberg of electric guitar history.
On a summer day in 1897, a girl named Lizzie Douglas was born on a farm in the middle of nowhere in Mississippi, the first of 13 siblings. When she was seven, her family moved closer to Memphis, Tennessee, and little Lizzie took up the banjo. Banjo led to guitar, guitar led to gigs, and gigs led to dreams. She was a prodigious talent, and āKidā Douglas ran away from home to play for tips on Beale Street when she was just a teenager. She began touring around the South, adopted the moniker Memphis Minnie, and eventually joined the circus for a few years.
(Are you not totally intrigued by the story of this incredible woman? Why did she run away from home? Why did she fall in love with the guitar? We havenāt even touched on how remarkable her songwriting is. This is a singular pioneer of guitar history, and we beseech you to read Woman with Guitar: Memphis Minnieās Blues by Beth and Paul Garon.)
Following the end of World War I, Hawaiian music enjoyed a rapid rise in popularity. On their travels around the U.S., musicians like Sol Hoāopiāi became fans of Louis Armstrong and the New Orleans Rhythm Kings, leading to a great cross-pollination of Hawaiian music with jazz and blues. This potent combination proved popular and drew ever-larger audiences, which created a significant problem: How on earth would an audience of thousands hear the sound from a wimpy little acoustic guitar?
This art deco pickguard offers just a bit of pizzazz to an otherwise demure instrument.
In the late 1920s, George Beauchamp, John and Rudy Dopyera, Adolph Rickenbacker, and John Dopyeraās nephew Paul Barth endeavored to answer that question with a mechanically amplified guitar. Working together under Beauchamp and John Dopyeraās National String Instrument Corporation, they designed the first resonator guitar, which, like a Victrola, used a cone-shaped resonator built into the guitar to amplify the sound. It was definitely louder, but not quite loud enoughāespecially for the Hawaiian slide musicians. With the guitars laid on their laps, much of the sound projected straight up at the ceiling instead of toward the audience.
Barth and Beauchamp tackled this problem in the 1930s by designing a magnetic pickup, and Rickenbacker installed it in the first commercially successful electric instrument: a lap-steel guitar known affectionately as the āFrying Panā due to its distinctive shape. Suddenly, any stringed instrument could be as loud as your amplifier allowed, setting off a flurry of innovation. Electric guitars were born!
āAt the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.ā
By this time, Memphis Minnie was a bona fide star. She recorded for Columbia, Vocalion, and Decca Records. Her song āBumble Bee,ā featuring her driving guitar technique, became hugely popular and earned her a new nickname: the Queen of Country Blues. She was officially royalty, and her subjects needed to hear her game-changing playing. This is where she crossed paths with our old pals over at National.
National and other companies began adding pickups to so-called Spanish guitars, which they naturally called āElectric Spanish.ā (This term was famously abbreviated ES by the Gibson Guitar Corporation and used as a prefix on a wide variety of models.) In 1935, National made its first Electric Spanish guitar, renamed the New Yorker three years later. By todayās standards, itās modestly appointed. At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.
Thereās buckle rash and the finish on the back of the neck is rubbed clean off in spots, but that just goes to show how well-loved this guitar has been.
Memphis Minnie had finally found an axe fit for a Queen. She was among the first blues guitarists to go electric, and the New Yorker fueled her already-upward trajectory. She recorded over 200 songs in her 25-year career, cementing her and the National New Yorkerās place in musical history.
Our National New Yorker was made in 1939 and shows perfect play wear as far as weāre concerned. Sure, thereās buckle rash and the finish on the back of the neck is rubbed clean off in spots, but structurally, this guitar is in great shape. Itās easy to imagine this guitar was lovingly wiped down each time it was put back in the case.
Thereās magic in this guitar, yāall. Every time we pick it up, we can feel Memphis Minnieās spirit enter the room. This guitar sounds fearless. Itās a survivor. This is a guitar that could inspire you to run away and join the circus, transcend genre and gender, and leave your own mark on music history. As a guitar store, watching guitars pass from musician to musician gives us a beautiful physical reminder of how history moves through generations. We canāt wait to see who joins this guitarās remarkable legacy.
SOURCES: blackpast.org, nps.gov, worldmusic.net, historylink.org, Memphis Music Hall of Fame, āMemphis Minnieās āScientific Soundā: Afro-Sonic Modernity and the Jukebox Era of the Bluesā from American Quarterly, āThe History of the Development of Electric Stringed Musical Instrumentsā by Stephen Errede, Department of Physics, University of Illinois at Urbana-Champaign, IL.
In our third installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier shows PG's John Bohlinger how his team of builders assemble and construct guitars like a chef preparing food pairings. Hoover explains that the finer details like binding, headstock size and shape, internal bracing, and adhesives are critical players in shaping an instrument's sound. Finally, Richard explains how SCGC uses every inch of wood for making acoustic guitars or outside ventures like surfboards and art.
Featuring torrefied solid Sitka Spruce tops, mahogany neck, back, and sides, and Fishman Presys VT EQ System, these guitars are designed to deliver quality tone and playability at an affordable price point.
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