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 we’ve 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 you’re totally new to the CAGED concept, read “A Guitarist’s Guide to the CAGED System." This CAGED approach doesn’t often generate resistance, but when it does, I usually find that it’s because of a misunderstanding of the system—there’s a lot more to it than just barre chords. While we’ve 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, I’d 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 I’d 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, we’ve focused heavily on arpeggios, and if you’ve been following this series you’ll hopefully have a solid grounding in these patterns. But to be sure you’re clear on the details, let’s highlight these again using the “C” shape of the CAGED system.
As you can see above, we’ve got three things to learn, but really they’re all very similar since the arpeggio contains the chord and the scale contains the arpeggio—that’s 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. You’ll start to see the scale, but won’t lose sight of where the chord tones are. I’ve done this for eight measures, but you could easily do it for 100. Remember that it’s not about numbers, you’re not learning patterns or thinking about tab, you’re seeing the two pieces of information and how they sit—and work together—with 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 “E” shape, which would look like this:
The next step would be to transfer the concept from Ex. 1 into the “E” shape (Ex. 2).
Ex. 2
Now check out how this would work in the “G” 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. We’re using the shapes we outlined above and simply moving them around the neck as needed. I’m still thinking of the relationship between the chord, arpeggio, and scale, rather than a mode. For example, even though I’m technically playing C Mixolydian in the second measure, I’m just thinking of C7. I see the chord and the arpeggio and just fill in around it. Simply look for the chord shape.
That’s 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, we’ll use the same approach but add in some chromaticism to enhance the lines. This highlights the fact that we’re not thinking about scales. In fact, we’re so focused on chord tones that we play melodic embellishments even if they aren’t diatonic to the key of G. Check out the last note of the first measure in Ex. 5. The Bb doesn’t actually fit over a G7 chord, but we don’t have to worry about that since we’re 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 “E” 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 “G” shape for Ex. 7. It’s the same thing as before, only we’re using an enclosure at the end.
Ex. 7
Our final example (Ex. 8) applies our chromatic approach notes to a 12-bar blues progression—an 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, you’ll open up your knowledge of the fretboard in a significant way. You’ll 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 ›
- Shred Your Enthusiasm: Aristocratic Arpeggios - Premier Guitar ›
- The Guitarist's Guide to the CAGED System - Premier Guitar ›
- CAGED - Premier Guitar ›
- Experience the Magic of the Blue Front Cafe - Premier Guitar ›
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
