
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
ā¢ Learn how to convert all open-position chords to moveable shapes.
ā¢ Identify the location of the root in each shape.
ā¢ 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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Bonnaroo announces its 2025 lineup featuring Luke Combs, Hozier, Queens of the Stone Age, Avril Lavigne, and more.
This year features headline performances from Luke Combs on Thursday, Tyler, The Creator on Friday, Olivia Rodrigo on Saturday, and Hozier on Sunday. Further highlights include John Summit, Dom Dolla, Avril Lavigne, Glass Animals, Vampire Weekend, Justice, Queens of the Stone Age, and the first-ever Roo Residency with King Gizzard & the Lizard Wizard performing three sets over three days. In addition, Remi Wolf will lead the āInsanely Fire 1970ās Pool Partyā 2025 SuperJam, Bonnarooās legendary tradition. The complete Bonnaroo 2025 lineup is below.
Bonnaroo tickets go on sale tomorrow, Thursday, January 9 beginning at 10 am (CT) exclusively via bonnaroo.com. Guaranteed lowest-priced tickets are available during the first hour of sales, from 10 am - 11 am (CT). 2025 ticket options include 4-Day General Admission, 4-Day GA+, 4-Day VIP, and 4-Day Platinum, along with a variety of camping and parking options starting at just $25 down with a payment plan.
The 2025 festival will offer some exciting new features for Bonnaroovians, including the āCloserā RV and Primitive Camping accommodations that guarantee closer proximity to Centeroo, regardless of which day fans choose to enter The Farm. Among this yearās most exciting additions will be The Infinity Stage, a brand-new, one-of-a-kind venue ā presented in partnership with Polygon Live ā boasting spatial sound, synchronized lights, and an unprecedented three-dome, open-air design to create the worldās largest, most immersive, 360Ā° live music experience.
Bonnaroo also offers upgraded ticket types for those who prefer an elevated experience. GA+ tickets include unlimited access to the Centeroo GA+ Lounge, with relaxed seating, dedicated food for purchase, air-conditioned restrooms, and hospitality staff to assist with all festival needs; a private bar with drinks for purchase plus complimentary soft drinks; complimentary water refill station; a dedicated premium entrance lane at both gates into Centeroo, and more. VIP and Platinum guests will enjoy the same perks plus additional exclusive upgrades, including dedicated close-in and on-field viewing areas; unlimited access to VIP and Platinum Lounges; express lanes at the Festival Store, commemorative festival gifts, and so much more. To learn more about VIP and Platinum, please seehttp://www.bonnaroo.com/tickets.
A wide range of Camping & Parking options will be available in Outeroo including Primitive Car Camping, Glamping, RVs, Backstage Camping, Accessible Camping, Groop Camping, Community Camping, and more. Premium Outeroo Camping Accommodations include pre-pitched Souvenir Tents, cool and comfortable Darkroom Tents, weatherproof Luxury Bell Tents, and spacious 2-person Wood Frame Safari Tents for the ultimate Bonnaroo camping experience. Cosmic Nomads On-Site Daily Parking passes will be available for ticketholders not camping. For details on all accommodation options, please visitwww.bonnaroo.com/accommodations.
Complete Lineup
THURSDAY, JUNE 12
Luke Combs
Dom Dolla
Sammy Virji
Marcus King
Green Velvet
2hollis
Insane Clown Posse
Joey Valence & Brae
Daniel Donato's Cosmic Country
Wilderado
Max Styler
Azzecca
The Lemon Twigs
Wisp
Sofia Isella
Kitchen Dwellers
Dogs In A Pile
Die Spitz
Hey, Nothing
The Droptines
FRIDAY, JUNE 13
Tyler, the Creator
John Summit
Glass Animals
Tipper
Goose
The Red Clay Strays
Rainbow Kitten Surprise
Megadeth
Wallows
Foster the People
Slightly Stoopid
Flipturn
Of the Trees
JPEGMAFIA
Marina
Tape B
MJ Lenderman
BossMan Dlow
INZO
Levity
Mannequin Pussy
Leon Thomas
Cults
Aly & AJ
Matt Champion
Detox Unit
Rachel Chinouriri
Eater
Ginger Root
Bebe Stockwell
Effin
SATURDAY, JUNE 14
Olivia Rodrigo
Avril Lavigne
Justice
Nelly
GloRilla
Mt. Joy
RL Grime
Beabadoobee
Tyla
Jessie Murph
Modest Mouse
Gorgon City
Flatland Cavalry
Hot Mulligan
Action Bronson
Crankdat
Dope Lemon
Gigi Perez
Wave to Earth
Claptone
Jade Cicada
What So Not
DaĆ°i Freyr
Ziggy Alberts
ROSSY
Destroy Boys
The Stews
Thee Sinseers & The Altons
AHEE
SUNDAY, JUNE 15
Hozier
Vampire Weekend
Queens of the Stone Age
LSZEE
Remi Wolf
Raye
Royel Otis
Dispatch
Role Model
Barry Can't Swim
Treaty Oak Revival
Big Gigantic
Jack's Mannequin
ATLiens
Bilmuri
Saint Motel
James Arthur
Alex Warren
Zingara
Natasha Bedingfield
Alexandra Kay
Goldie Boutilier
Grace Bowers & The Hodge Podge
GorillaT
YDG
SPECIAL PERFORMANCES
King Gizzard & the Lizard Wizard Roo Residency: 3 Sets, 3 Days (Friday, Saturday and Sunday)
Remi Wolfās Insanely Fire 1970ās Pool Party Superjam (Saturday)
The fast-rising Okies use solid-state amp heads, baritone guitars, and a bit of Peavey magic to bring their nightmare-rock to life.
Oklahoma City sludge rockers Chat Pile have had a busy few years. Their 2022 LP, Godās Country, broke them internationally, and their critically acclaimed 2024 follow-up, Cool World, solidified them as one of the most exciting heavy bands of the moment. We spoke with bassist Stin and guitarist Luther Manhole about the record for our November 2024 issue.
Now, we bring you the bandās first official Rig Rundown, filmed ahead of their show at The End in Nashville last fall. Tune in to see how Stin and Luther conjure the bandās brutal soundstorms on the road.
Brought to you by DāAddario.
Bari Blast
Manholeās main machine is this baritone 6-string, an Ernie Ball Music Man BFR Axis Super Sport, finished in āstarry night.ā Luther took a tip from tourmate and Agriculture guitarist Richard Chowenhill and slapped some tape over his neck pickup near the first string to prevent it from catching on the edge of the humbucker. Itās tuned to drop A, with Ernie Ball Mammoth Slinky strings.
Quite the Quilter
Back at home, Luther and Stin lean on big vintage amps, but on the road, Luther brings out this Quilter Tone Block 202, which is plugged into an Ampeg VT-40 combo amp thatās been gutted to run just as a 4x10 cabinet. Luther digs the icier, cutting tone from the 10ā³ speakers.
Luther Manhole's Board
Manholeās board is minimalist: All he needs is a TC Electronic PolyTune, a Suhr Riot for dirt, an Electro-Harmonix Memory Boy (which is set for a wobbly chorus effect), and a TC Electronic Hall of Fame for reverbāpedals heās used for over a decade. An Acoustic PBIS08 supplies the quartet with power.
Peavey Power
Around 2007, Stin went on a hunt around Oklahoma music shops for a Peavey T-40. He finally found oneāin a total āWayneās World momentāāthat belonged to a country singer who had passed away. Since the bandās formation, this āhot and clangyā white T-40 has been Stinās tool for crafting Chat Pileās elephantine, bottom-heavy sound. He uses the 5-string Ernie Ball Slinky Cobalts (.060ā.125), omitting the .040 string, and plucks with orange Ernie Ball Everlast .73 mm picks for strong, percussive attack.
Building Blocks
Stinās signal runs to this Quilter Bass Block 802, which blasts through a Trace Elliot 4x10 redline cab with hornsāthe cab thatās been used on every Chat Pile recording to date.
Stin's Board
Stin probably thinks Manholeās board is excessive. He packs just his Boss TU-3 and a Tronographic Rusty Box, each with their own individual power supply plugged into a power bar thatās fixed to the board.
Enhance your Ratio Machine Heads with Graph Tech's new Barrel Knobs. Designed for comfort and style, these barrel-shaped tuning buttons offer a fresh look and feel to your instrument. Available in chrome and black finishes, these knobs are the perfect way to personalize your guitar.
Graph Tech Guitar Labs has introduced the latest addition to their Ratio Machine Head family: Barrel Knobs. These barrel-style tuning buttons bring a fresh look and feel to the Ratio system, offering players a new way to personalize their instruments ā and an easy-to-grip alternative to more traditional tuner knobs.
Available in two different finishes ā chrome and black ā the new barrel knobs can be ordered as a standalone option. If you already own Ratio Machine Heads, simply order the Barrel Knobs and swap them out ā the process is easy and only takes a few minutes. Best of all, there is no need to replace the entire Ratio tuner system.
The new Barrel Knobs were developed at the request of guitarist Thomas Nordegg, known for his work with rock legends like Frank Zappa and Steve Vai. A longtime fan of Graph Techās Ratio machine heads, Nordegg saw an opportunity to enhance the systemās ergonomic design and approached Graph Tech with the idea of creating barrel-style tuning buttons to provide an alternative option for players seeking a fresh look and feel. Designed to integrate seamlessly with the Ratio system, these knobs combine ergonomic comfort with understated style, giving players another way to personalize their instruments.
More and more players are option for Ratio Machine Heads on their instruments. Ratio Machine Headsare designed with gear ratios that are uniquely calibrated for each string, making tuning consistent andpredictable across the fretboard. This innovative system simplifies fine-tuning and alternate tunings, saving time and improving accuracy.
Hereās what the new Barrel Knobs offer:
- Refined Functionality: Barrel-shaped design for a natural grip and precise adjustments.
- Timeless Aesthetic: A sleek, modern look that complements any guitar style.
- Perfect Fit: Designed specifically for Ratio Machine Heads, ensuring flawless compatibility.
- Available in chrome and black to suit a variety of instruments and player preferences.
Graph Techās new Barrel Knobs are available for $3.00 each and are available in chrome and black finishes.
For more information, please visit graphtech.com.
The celebrated NYC-based veteran talks the heyday of New Yorkās jazz scene, playing with the greats, arts funding in America, and more.
Mike Stern has been around the block. The jazz-guitar virtuoso earned his stripes through the ā70s and ā80s in New Yorkās jazz scene, playing 6-string with drummer Billy Cobham before tapping in with artists like Miles Davis and Jaco Pastoriusāeven at a time when guitar wasnāt necessarily a cornerstone piece of a jazz outfit. In this episode of Wong Notes, Stern fills Cory Wong in on the ups and downs of 50 years spent in one of the most complex and underappreciated music genres.
Stern made the leap to New York from Boston when Davis invited him to join his band (back when jazz was the pop music of the day, notes Stern), but it was a rocky rideāStern says he and many other musicians were ābottoming outā from addiction, until a friend went sober and convinced them to give sobriety a try. Stern talks about Milesā hidden love for the guitar, and how he succeeded in fitting into non-guitar environments.
Wong and Stern touch on the decline of arts spaces and cultures in America (thanks, Stern says, to misallocated funding), playing gigs where the band outnumbers the audience members, the benefits of running the same rig in every room, and how to pick the right pickāfor Stern, that involves a bit of wig glue. Tune in to get the details, and be sure to check out our 2018 Rig Rundown with Stern, too.