
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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