Using the system to recognize chord shapes was the first thing I appreciated about the CAGED system when I was introduced to the concept. It was at a time when I didn’t know much about harmony and suddenly I could identify chords in pieces I had been playing for a long time already.
Can you say a bit more where you’re getting hung up in particular? Is it the system in general or the application to repertoire that you’re finding difficult? I just want to know how best I can respond.
I think the real benefit of the CAGED system is to give you reference points for different shapes/patterns you encounter while you’re playing. You may not know immediately what a DbMajor chord is other than that you’re told on the page to play Db on the fifth string, F on the fourth string, barré on the first fret for Ab on the third string, Db on the second string, and again barré on the first fret for F (natural) on the first string. But if you know your CAGED shapes you can easily recognize that as a C Major shape. That makes it easier to think about those notes not simply as a collection of notes but as a particular harmonic shape and it will be that much easier to find that shape when you come back to that passage the next time. Recognizing the shape will also help you identify more quickly the chord/harmony you’re working with even when you’re dealing with chords/harmony that are outside your comfort zone, like Db!
But please do let us know specifically where you’re getting hung up. Thanks!
I don’t get it because I don’t quite understand it, or what it is used for, or how to use it. I currently have the un-informed opinion that it is a little bit of a trick or gimmick. I want to understand it. I want to learn it. But so far I haven’t had the ‘eureka’ moment. I also admit that I am an over-analytical thinker. I often miss the fruit hanging off the tree because I’m trying to understand how the tree grew in the first place.
But by the video’s I’ve watched and literature I’ve read, I’m not impressed enough to give it much mental attention. I feel like I’m cheating myself out of some great knowledge that will advance my playing,…but am I really?
So, if by using the “A” shape I can play an Amaj scale anywhere on the neck…what’s the big deal? Why not just learn where the “A” notes are on the neck and play the scale?
I think where CAGED can be of special benefit is when you have a foreign chord or notes on the page, as I was explaining with the Db example (your example of the A Major shape/scale is one that’s a little more familiar to us). What CAGED does is not to remove the process of learning the notes that make up the Db triad and its scale, but to shortcut the process a bit. It gives you a visual and conceptual guide so you can recognize, first, that it’s a major chord, and then helps you to evaluate its makeup harmonically relative to the reference point (in my example the C Major shape helps you identify the Db chord and will thus also help you identify where the 1, 3, and 5 are [that make up the triad]—especially if you know your C Major shape chord well—and that can really cut down the processing time it takes to learn those unfamiliar chords).
So in that sense I don’t think it’s a gimmick—it’s just another way to help you learn all of the notes, chords, and harmonic relationships you will encounter in the repertoire from a simple set of five reference points (which can of course be expanded when you add in minor shapes, major 7 shapes, and so on). And in my book the more ways we have to learn something the better the information will stick (sort of like learning a language). But I can understand that it may come across as opaque or even a bit mystifying (and so kind of like snake oil) at first!
when I practice the different scales in the CAGED system ascending and descending, naming the root, 3th and 5th, i discovered the advantages and this helps me find the harmony in a piece of music quicker.
it will take me some time to go over the scales fluently.
i also can see much clearer now the need to anticipate to the next chord shape when playing.
I am really pleased this lesson has been uploaded here in CGC. It is for me the foundation to understand the more complicated harmonies
Am I missing the alleged “lessons” referred to in the video or are they just not posted yet??
John
No exercises.
Cindy – just identify the chord used for notes in each bar: C F C G C
Using the system to recognize chord shapes was the first thing I appreciated about the CAGED system when I was introduced to the concept. It was at a time when I didn’t know much about harmony and suddenly I could identify chords in pieces I had been playing for a long time already.
Ummmm.. I still just don’t get it.
Hi Joe,
Can you say a bit more where you’re getting hung up in particular? Is it the system in general or the application to repertoire that you’re finding difficult? I just want to know how best I can respond.
I think the real benefit of the CAGED system is to give you reference points for different shapes/patterns you encounter while you’re playing. You may not know immediately what a DbMajor chord is other than that you’re told on the page to play Db on the fifth string, F on the fourth string, barré on the first fret for Ab on the third string, Db on the second string, and again barré on the first fret for F (natural) on the first string. But if you know your CAGED shapes you can easily recognize that as a C Major shape. That makes it easier to think about those notes not simply as a collection of notes but as a particular harmonic shape and it will be that much easier to find that shape when you come back to that passage the next time. Recognizing the shape will also help you identify more quickly the chord/harmony you’re working with even when you’re dealing with chords/harmony that are outside your comfort zone, like Db!
But please do let us know specifically where you’re getting hung up. Thanks!
Peace,
Dave B (CGC team)
Thanks Dave, your assistance is appreciated.
I don’t get it because I don’t quite understand it, or what it is used for, or how to use it. I currently have the un-informed opinion that it is a little bit of a trick or gimmick. I want to understand it. I want to learn it. But so far I haven’t had the ‘eureka’ moment. I also admit that I am an over-analytical thinker. I often miss the fruit hanging off the tree because I’m trying to understand how the tree grew in the first place.
But by the video’s I’ve watched and literature I’ve read, I’m not impressed enough to give it much mental attention. I feel like I’m cheating myself out of some great knowledge that will advance my playing,…but am I really?
So, if by using the “A” shape I can play an Amaj scale anywhere on the neck…what’s the big deal? Why not just learn where the “A” notes are on the neck and play the scale?
Hi Joe,
Thanks for the clarification.
I think where CAGED can be of special benefit is when you have a foreign chord or notes on the page, as I was explaining with the Db example (your example of the A Major shape/scale is one that’s a little more familiar to us). What CAGED does is not to remove the process of learning the notes that make up the Db triad and its scale, but to shortcut the process a bit. It gives you a visual and conceptual guide so you can recognize, first, that it’s a major chord, and then helps you to evaluate its makeup harmonically relative to the reference point (in my example the C Major shape helps you identify the Db chord and will thus also help you identify where the 1, 3, and 5 are [that make up the triad]—especially if you know your C Major shape chord well—and that can really cut down the processing time it takes to learn those unfamiliar chords).
So in that sense I don’t think it’s a gimmick—it’s just another way to help you learn all of the notes, chords, and harmonic relationships you will encounter in the repertoire from a simple set of five reference points (which can of course be expanded when you add in minor shapes, major 7 shapes, and so on). And in my book the more ways we have to learn something the better the information will stick (sort of like learning a language). But I can understand that it may come across as opaque or even a bit mystifying (and so kind of like snake oil) at first!
Thanks for the note and I hope this helps a bit.
Peace,
Dave B (CGC team)
when I practice the different scales in the CAGED system ascending and descending, naming the root, 3th and 5th, i discovered the advantages and this helps me find the harmony in a piece of music quicker.
it will take me some time to go over the scales fluently.
i also can see much clearer now the need to anticipate to the next chord shape when playing.
I am really pleased this lesson has been uploaded here in CGC. It is for me the foundation to understand the more complicated harmonies
joannes