
Learn how to map out the fretboard and be able to play in any key using a few basic open-position chord shapes.
Beginner
Beginner
⢠Learn how to convert all open-position chords to moveable shapes.
⢠Identify the location of the root in each shape.
⢠Discover how to connect all five CAGED shapes to map out the entire neck in any key, starting on any one of the five shapes.
To get the most out of your guitar playing, you need to have a deep understanding of the fretboard. Wouldn't it be nice if the guitar was laid out in a logical fashion? Well, it is! Let me introduce you to the CAGED system and explain how it works as an organizing tool. Once you understand the CAGED system, I believe you'll be able to "crack the code" and see the fretboard's inherent logic.
Note: This system only works with standard tuning.
Instead of starting with a lengthy description of the CAGED system, I've found the best way to learn it is to immediately dive into the material. Think of this lesson as a hands-on tutorial. Step-by-step, I'll walk you through this time-tested approach while providing practical assignmentsāas if we were in a one-on-one lesson. We'll start with the basics and then work our way through more advanced applications. Grab your guitar and let's get to it!
The CAGED System
The CAGED system derives its name from five open-position chords: C, A, G, E, and D. To master the concepts in this lesson, you must know these five chords (Fig. 1).
CAGED Lesson Fig. 1
Next, you need to know where the rootāa chord's musical foundationāis located in each of the five shapes. The root of a C chord, for example, is C. Major chords, which we'll focus on first, are built by stacking the root, third, and fifth notes of their respective major scales. The notes of the C major scale are CāDāEāFāGāAāB. Therefore, the root, 3, and 5 of a C chord are CāEāG.
In Fig. 2, you'll find the five CAGED chords with the location of the root, 3, and 5 labeled in each chord diagram. To help you get visually oriented within each shape, the roots are marked in red. You'll notice that each shape contains more than one root. C, A, and D each have a low and high root; G and E each have three rootsālow, middle, and high.
CAGED Lesson Fig. 2
Assignment #1
Memorize the location of every root in each chord shape. For extra credit, memorize the locations of the 3 and 5.
Moving on Up
Now you know the shape of each chord in the basic CAGED system, as well as the location of their respective roots. The next step is to convert each open-position shape to a closed-position shapeāmeaning there won't be any open strings involved in playing the chord shape. To do this we must create barre chords out of each of the CAGED shapes.
Fig. 3 shows all the CAGED chords as barre chords. (Note: No barre is needed to play the "D" shape as a closed chord.) Some of these shapes may feel like old friends. The first barre chords most guitar players learn are the barre form of the "A" and "E" shapes.
CAGED Lesson Fig. 3
Two shapes that are less familiar and prone to spacing errors are the "G" and "D" shapes, and the common spacing error is to compress the fingering. Be sure to keep an empty fret between your first finger and the remaining fingers used to build the chord. Fig. 4 contrasts the incorrect, compressed fingerings with the correct ones for these two shapes.
CAGED Lesson Fig. 4
You may find a few of these shapes are difficult to grab due to the stretching involved. To minimize strain, don't wrap your thumb up and over the neck on the 6th-string sideākeep it behind the neck instead. Also, I encourage you to only barre the necessary notes. For example, when playing the "G" shape, don't barre across all six strings; you only need to barre the three notes found on the 2nd, 3rd, and 4th strings. Why create any extra work?
By converting each of the five CAGED shapes into barre or movable forms, you have exponentially increased your chord vocabulary. Each individual shape can become any major chord you need: Simply move the chord up or down the neck and place the shape's root on whatever note you wantāit's that easy. When you look at Fig. 5, you'll see that moving the "C" shape up one fret creates a C# chord, and moving it up one more fret creates a D chord.
CAGED Lesson Fig. 5
By knowing that the root is located on the 5th and 2nd strings in the "C" shape, and knowing the names of the notes on those two strings, I was able to correctly identify the actual chord I produced by shifting the "C" shape to these other locations. To do this with all five shapes, you need to know the location of the root within each shape and the names of the notes on the fretboard. Fig. 6 names all the notes on the fretboard.
Assignment #2
Move each shape up and down in half-steps (in other words, one fret at a time), while focusing on keeping the shape together and not collapsing the "G" and "D" shapes. The goal is to correctly name the chord at any place along the neck.
Whatās in a Name?
Up to this point, we've focused on acquiring the chord shapes and laying the foundation for realizing the full potential of the CAGED system. Think of each shape in the system as a puzzle piece: When all the pieces are connected, you will have mapped the entire fretboard. Again, the best way to see how this works is to experience it on your guitar. Play each of the chords listed in Fig. 7, paying attention to the fret markers and spacing of the shapes.
CAGED Lesson Fig. 7
What did you notice? If you played this example correctly, you should have heard that they were all C chords. Hopefully you realized that you used all five shapes and you ended with the same shape you started with (assuming you have a cutaway on your guitar that allows you to access the higher frets).
By the way, did you notice the order of the shapes used in this example? The name CAGED not only tells you what chord shapes make up the system, but also the order in which the shapes connect to one another to map out the fretboard. Fig. 8 places all five shapes as C chords in one fretboard diagram.
CAGED Lesson Fig. 8
What if you want to map out the chords in the key of A the same way you did for C? To do this, start with the open position A chordāan A chord with an "A" shape. Then think of the spelling of CAGED and find the letter following A, which is G. So, play an A chord with a "G" shape. Then it's an A chord with the "E" shape, and so on until we return to the "A" shape. So in this example, our shape sequence is AGEDC. This sequence is mapped out in Fig. 9.
CAGED Lesson Fig. 9
Making Connections
Earlier I suggested you think of the CAGED shapes as individual puzzle pieces that, when connected, map out the entire fretboard. By playing through the above examples, you've experienced this. When mapping out a chord, it is important to be visually aware of how two adjacent shapes connect to each other. A general rule to keep in mind: Between two adjacent shapes, there will always be at least one note that's common to both. In Fig. 10, I've diagrammed all pairs of adjacent shapes for the C chord. Notes that occur in both shapes are indicated with a diamond.
CAGED Lesson Fig. 10
Assignment #3
Play through the CAGED sequence starting on each of the CAGED chords in open position (like we did in Fig. 8 and Fig. 9, using the "C" and "A" shapes, only this time complete the series by working through the remaining three shapesā"G," "E," and "D"). Once you're comfortable with this, play the sequence in all keys. For example, start with a Bb chord using the "A" shape barred at the 1st fret, then play the CAGED sequence in the key of Bb. Pay attention to the common note(s) between two adjacent shapesāthis will help minimize errors in shifting and connecting shapes.
Congratulations, you've mastered the fundamentals of the CAGED system and covered a lot of territory! The CAGED system provides a logical way of visualizing the neck using basic chord shapes you've most likely known for quite some time. But it doesn't stop there: The CAGED system is just as useful for scales and licks. In fact, I think of the CAGED system as five buckets where I can stash fretboard information. New chords, scales, licks, and melodies can all be related to one of the five shapes, and this allows you to integrate this information into your playing quickly and efficiently.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ā90s country superstars. So, whether you know it or not, youāve likely heard Masonās playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Masonās hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Masonās solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ā90s country superstars. So, whether you know it or not, youāve likely heard Masonās playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Masonās playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track āFiend,ā featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satanās Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piereās
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRYās Boston hometown (see the itinerary below). For the North American trekāwhich marks the first solo shows for PERRY this yearāthe legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowesā Chris Robinson (vocals), and Stone Temple Pilotsā Robert DeLeo (bass), and Eric Kretz (drums).
āWellā¦itās time to let the music do the talkin again,ā PERRY says. āIām really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. Theyāre all busy as hell but thankfully theyāre able to carve out some time for this run. And Iām not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang āFortunate Oneā on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.ā
For the shows, the Rock and Roll Hall of Fame inductee says āthe set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad weāll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if youāve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!ā
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the authorās analog log.
Seasonal changes are tough on your acoustic. Hereās how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. Iām timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for whatās coming. Itās never too soon, and time flies. Before you know it, weāll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. Iām here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise⦠These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner⦠it doesnāt matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
āThis was the worst winter ever for preventable repairs on acoustic guitars.ā
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, youāll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinistās rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, youāll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If youāre sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, youāll be empowered by knowing your instrument more intimately. Youāll understand when and why changes in tone and playability might have occurred, and youāll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!