Welcome to my approach to learning the CAGED Guitar System for the guitar. Many tutors that I have seen have seen approach the CAGED Guitar System by relating the System to the various Chord Shapes associated with it. They then go on to confuse the student by having 2 names for what is essentially the same shape pattern by having one name for the minor and another different name for the major shape personally find this confusing and it distracts from the usefulness of the CAGED Guitar System. My system use only one name per shape but shows you how to alter the series of notes in the pattern to make the same shape either Major or Minor. I believe that this makes it quicker to learn and easier to both remember and apply.
One of the problems with the traditional approach is that it makes you first think of where the respective chords will be found on the fingerboard and it relates to a specific Chord Shape such as the C Shape or G Shape Chord with specific fingerings associated with these chords. The problems with this method is that a C Chord Shape will change its name according to where you place this shape on the fingerboard. So a C Shape Chord played at Fret 3 will sound like a C Chord but move this Chord Shape to Fret 7 for example and the chord will now be a E Chord. What happens, I have found,is that you can get confused about having to relate the Shape to the actual name of the Chord. You start to wonder why a D Chord is using a C Shape. Too much name shifting to do.
I prefer to stick to a series of 5 fingering patterns each associated with a reference point in the CAGED guitar System. Once you have these in your grasp then Chord Building around these patterns comes as the very last discipline rather than the first as referenced above and as most tutors seem to be inclined to teach.
The CAGED guitar System is a very useful tool for finding scales and switching between scales. It is also useful for Chord Building and there are Chord Shapes built around the various patterns of the CAGED Guitar System. However my approach to it is slightly different to how I have seen others teach this system. I prefer to look at the CAGED SYSTEM like this.
Continue reading The CAGED system
Welcome to Fretboard Travellers uk. On this site I intend to blog to you anything interesting about Guitar techniques. i am going to start with my interpretations of the CAGED System and show you how it can be applied. My approach is quite a lot different from the teachings of others that I have studied which I feel sometimes they tends to over complicate matters.
Other areas of Guitar Studies I intend to blog about are studying the techniques of famous guitarists and review their equipment. I will be giving tips about how to study the guitar and the best equipment or set ups for beginners. Sometimes it can be intimidating hearing the noise blasting out of an amplifier when you don’t know how to handle the sound. at first it seems unfamiliar and you may get conscious that others are hearing only your mistakes. This can be off-putting but there are ways to control this. During this we may touch upon guitar tone in general and how to achieve specific sort after tones in guitar playing without having to re-mortgage your house to get them.
This site is a work in progress and I will be adding various articles from time to time. Nothing is pre made so it will take some time to build up these articles. Be patient. Subscribe if you want to keep up with what is happening.
Site address is http://fretboardtravellers.uk/
I currently offer a set up service to players that have cheap budget electric guitars costing under £400. These cheap budget electric guitars will normally benefit from a fret levelling service to improve play-ability and tone. This service includes a fret levelling and a fret crowning and polish with a set of new strings for £120. I can also include a neck adjustment if I believe that the trussrod is in good enough condition and accessible enough. Making trussrod adjustments can help improve the overall action of a guitar enabling a lower action. Trussrod adjustments cost £35. A full setup will cost £155.
In my experience the difference between cheap budget electric guitars and more expensive high quality guitars is more marginal than you think. There are many similarities and often what actually differentiates them is the actual labour, care & attention to detail and skills that have been invested in the more expensive instrument and conversely deprived from the budget instrument. By allowing the budget instrument to receive these at a later stage we can vastly bring up the quality of the cheap budget electric guitars up to a point of comparability with the more expensive guitars. Of course there will be some difference that cannot be eliminated using this process such as quality of the hardware used but again there is an opportunity to change these things on a budget instrument at a later stage.
In this way it is possible to vastly improve the sound and the playability of cheap budget electric guitars to the point at which they actually come very close to a much more expensive guitar costing multiple times more. After which there might be very little to separate them apart from the hardware used on the guitar but this can also be replaced and upgraded.
This service is only available to customers in the Hull and East Yorkshire areas due to postage considerations. Customers will be required to meet all delivery and courier costs on top of the cost for the service so it may be best suited to customers who are able to drop off the guitars themselves and who are also willing to collect when the job is completed.
As I previously published, counting 12/8 time can be done either in 1/8th notes or in my opinion more successfully in 16th notes. After careful consideration I have revised & updated this system into a new and improved version which is now available only to site members.
Continue reading Counting 12/8 time-taking it further
In this lesson I will demonstrate and explain the methods that I use for counting 4/4 time. Counting time is probably one of the most important skills that you have to learn as a musician but it is also a gateway into the world of creating and composing your own music. Understanding counting is an integral part of composing melody because it controls the underlying rhythm of any melody .
This lesson gets us thinking about counting 4/4 time and shows you what I consider to be the most useful way to do this. In this lesson we will be using a 1/16th note (semi-quaver note) to make the count. This I believe to be the most useful and often used subdivision. Anything smaller than this (1/32 note for example starts to make the counting complicated and ridiculous). Once you can understand and apply the count to the various notes of the subdivisions that you will encounter then we can then go on to look at making some rhythmic examples of phrases over a one or 2 bars. I will then go on to show you how these can be adapted and made into short melodic statements (melodies).
Continue reading Counting 4/4 Time using the 1/16th notes
Many teachers and Music Theory sites will tell you that you count 12/8 time out in 1/8th notes. Well yes this is true but this is only good if you are using 1/8th notes all the time, which is a bit repetitive. To be more musical and creative you are at some point going to want to subdivide the beat into other compound time configurations so sticking rigidly to counting the beat in 1/8 th notes is not going to be helpful and possibly it may actually become difficult. My method for counting in 12/8 time jumps ahead and actually uses the 1/16th notes to make the count assuming that this is the most useful and likely subdivision of the 1/8th note beat that you will use and encounter.
Continue reading Method of counting 1/16 th notes in 12/8 time