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Hi there, I tend to play lead lines according to the pentatonic shapes but would like more theoretical understanding across the fretboard. I am looking for your opinion on a great Caged or similar lesson that was a light bulb moment or helped to unlock the fretboard. Would love to hear your opinions on favorite episodes that really worked for you.
Thank you,
Greg
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Try this way to look at the fret board. if you start the minor pentatonic scale at G on string 6 (3rd fret) with #1 finger you have the traditional scale we all know and love. Now move to the G on the 4th string (5th fret). Do the same scale pattern. You will notice it is the top part of pattern #2. Now go to the G on the second string (10th fret). Do the same pattern. It’s the top part of the 4th pattern.
If you wanted to follow the chords in a the blues in A for example, you could use the minor penta from the A, then when changed to D, do the same pattern but start from the D note (String 5 5th fret) with finger #1. When on chord E, do the minor penta scale but start from the E with (string 5, 7th fret) with #1 finger.
You’d end up playing the A minor penta, the D minor penta and E minor penta in the same general area. It works for major penta also (pattern #2). Its cool. You follow the chords but use the exact same pattern, just on different strings. In other words, you are using the same intervals. -
In standard tuning, any note on the fretboard repeats itself following a pattern that I use to call “the pattern of octaves”:
Now, take any one of these pattern notes anywhere on the fretboard; you can apply any “shape” you want to it. For example, you can view it as the tonic of a minor pentatonic shape, i.e. apply the intervals T b3 4 5 b7.
Or (other example), you can view is as the root of a major triad in second inversion: the two other notes are automatically determined since in second inversion the intervals of a major triad are (-4, R, 3).I use to say that this pattern encompasses the entire CAGED concept.
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Hi Greg,
Jean-Michel’s “pattern of octaves” is really the key. The CAGED system will connect all those root notes for a given major or minor chord. Get to know where those root notes lie in each shape of the chord. Get familiar with arpeggios of the major and minor chord shapes. Next find all the triads that overlay each chord shape, especially for the four thinner strings (where most of your improvising will happen). That will take you a long way to understanding the fret board.
You can also find major and minor scales relating to each shape and modify them for the pentatonics and modes.
So I suggest using the lesson search box for CAGED, arpeggios, triads.
John -
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Thanks for all the great advice! I appreciate all of it. I’ve been able to get by on memorizing shapes of chords up and down the neck , scales, triads and half of the notes on the fretboard. But honestly, when I play a triad for example, I really don’t know all the notes instantly within that triad and especially not always the root note. Yes, I can figure it out but I want to internalize the fretboard so it’s automatic. Thanks again, seems I have much work to do. Looking forward to it.
Greg
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