EP 313 – Visualizing Difficulties

[Jeff W]

Hey All – Just watched the third and final lesson (EP313) of Brian’s “Blues Improvisation” series. As always, I take away a great deal of information and “aha” moments from these lessons and this series was no exception. There is one area where I need some clarification and I’m hoping someone out there could help me out. In part 1 of EP 313 at 4:08, Brian emphasizes the need to “see” or “connect” triads and/or scales to something in order to visualize it on the fretboard for easy access. He then goes on to visualize the little A7 triad at the 8th and 9th frets, strings 1,2,3 to the A bar chord shape at fret 5. He talks about visualizing the A bar chord as taking up the area of three frets (5,6,7) “skipping the 8th fret” and then making the A7 on the 8th and 9th as previously stated. He then goes on and shows the same visualization tip using the G bar and the G7 triad at frets 6 and 7. My question is, how does one visualize this little 7th triad out of the accompanying bar chord. I mean it is a 7th triad in both cases and in the same key as the bar chord, but I don’t “see” or “visualize” the connection to the bar chord itself? Is it just a method similar to verbal mnemonics applied to a fretboard? A “trick”, if you will, in order to memorize a “path” to a particular “mini chord” that actually has no real musical connection in terms of “how you get there”? What am I missing? I hope that I am making sense and I apologize for making it sound so complicated, when in fact, it’s probably just my thick skull 😆 Any help would be much appreciated. Cheers!

[JRG]

Hello Jeff,

I will show you how I visualize the chord shapes within each pentatonic pattern in hopes it will help you see them as well. It is really important to understand the “CAGED” chord shapes that are inside of each Pentatonic pattern. Also it is super helpful to know the notes of your fretboard instantly. So, if you are in the key of A, you can instantly know where each A note is located and can therefore visualize the chord shape. There are two chord shapes that use the 6th string root (G and E) two chord shapes using a 5th string root (C and A) and one using the 4th string root (D)

Looking at fretboard 1, can you see the A barre chord contained within the pentatonic pattern? (5,6 & 7th fret)
Do you see how the A note on the 4th string is the root note of the A chord using the D shape? That is how you link the chord shapes together, using the Root notes.

Now go down to fretboard 4. Since you know the A note on the 4th sting is the D shape root, the 7th chord is easily visible. Hope this helps.

Jim

[Jeff W]

Hi Jim,
Thank you so much for taking the time out to reply to my question. It is very helpful and much appreciated! I’m fairly competent with basic theory (Intervals, Construction of Scales, Notes on the Fingerboard (slow, but I know them),the five Pentatonic Patterns and how they fit together, etc.),but I haven’t spent much time with the CAGED System. I know the basic chords and root notes, but I still have issues visualizing chord patterns within these “CAGED” chords. To me it’s like looking at the stars and making constellations out of them. haha In other words, if I go back to your reply, I can definitely pick out the pattern 1, Am Pentatonic scale from the “E shape” at the fifth fret, as well as the D chord using the “D shape” of the CAGED System at frets 7,9,10. Therefore, why wouldn’t one use the C#,E and A notes at the 9th and 10th frets with the A Root on the 10th fret, second string? Why select the G note at the 8th fret, second string in place of the A Root at 10th fret, second string? Wouldn’t they both be considered Dominant 7th chords? Is it just to add a different “flavor”, as either note makes up an A Dom.7 chord (A,C#,E,G)? In any event, it looks like I need to dig out my copy of “Fretboard Logic” and re-read it! 🙂 Please do not feel you need to reply to this mess I’ve made. I’ve been trying to figure it out for 40 years now! haha Thank you again for your reply, I will use it to reexamine what I think I already know??? : ) Cheers!

[charjo]

Hi Jeff,
I think you will see the CAGED shapes in time, it probably doesn’t happen all at once but down the road you will make many connections on the fretboard and CAGED is definitely worthwhile.
As much as I respect Brian’s style of teaching I don’t think there’s a substitute for just putting in the work and learning the notes of the fretboard. If you know the A note is on the 1oth fret of the B string and that the A7 triad comes out of the D shaped triad, you will know where it is without reference to anything else. You also have to also understand that there is no A root in the triad; the A root is substituted with the flat 7 (G note) which is two frets lower at the 8th fret. The other two notes (the major 3rd and the 5th) are in the location of the original A triad.
It’s also worthwhile learning where all the root notes of your key are.the CAGED system actually connects all the chord shapes root note to root note.
Just looked at you reply above. Sounds like you know a lot of this already. Now you just have to connect your knowledge to the CAGED system. Just one more point. Each CAGED chord shape fits within one of the 5 positions of the major scale (there are 7, but 2 overlap). The chord shapes, root notes, scale positions are all integrated.
John

[Jeff W]

That’s some great information and I appreciate your time to reply as well! I definitely will put some more effort into understanding the CAGED System. As noted, I do have an elementary understanding of it already and I can see and make the chord shapes, but I have never really focused on it beyond that. I will definitely take your suggestions and start to apply it, while at the same time, paying particular attention to root note connections and scale patterns within the shapes. I suppose that many years ago, when I was first introduced to the CAGED System, I would always seem to get conflicting opinions regarding the learning of the CAGED System itself. Some would say not to bother with it, while others said it was definitely worthwhile. It appears that I may have received some bad information? In any event, I thank you again for your valued input and time! Cheers!

[JRG]

Hello Jeff,

I believe the CAGED system is of value but it is just one way of navigating the fretboard. It does take time to learn, just like everything else including the notes of the fretboard. For me, visualizing how the chord shapes (and chord tones) fit inside of both the Pentatonic scales and Major scales has been helpful. Knowing which notes will work as the chords go by has opened up the guitar for me.

Anyway, hope the chart helps. I think that time spent working through these shapes while playing along to a backing track such as EP311 will open things up. Then adding the notes of the pentatonic patterns around these shapes really helps us know which notes to play. That combines with Brians explanations will help things fall into place.

Jim

[Jeff W]

Thanks again for all the great advice Jim. I appreciate it!

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