I am now going to work you through constructing the E Shape movable Chord Shape. Firstly we start with the E Shape Major Pattern from my C-A-G-E-D system. Here it is in diagrammatic form but you can see all the patterns here in C-A-G-E-D system.
Rhythm and having a good understanding of rhythmic concepts is often seen as being less important than playing through numerous scales fast or just seen as being the staple of the backing guitarist taking a back seat whilst the soloist grabs the limelight. This is not strictly true. In fact some if not all the greatest Soloists demonstrate a complete mastery and understanding of rhythmic concepts and that is ultimately what makes them the great players that they are or were.
In this Post we will be looking at the Blues Scale. To me this is one of the top most useful Scales. Most reference sources will show you the Blues Scale in its Minor Form with a Flattened 3 rd degree (bIII) and a flattened fifth degree( bV). This is okay but it is really half of the story and half of the usefulness of this particular Scale. This is because if you make the Blues Scale into a Major Scale Pattern then the Flattened fifth note (bV) actually now becomes the flattened 3rd (bIII). The Flattened 3rd when played against a Major Chord or Dominant 7th chord is a true Blues Note found in many examples of Blues Styles. So by changing the Blues Scale to a Major pattern you have got instant access to the Blues. I will show you how to do this but most of you will already have covered all this if you have already been studying my approach to the CAGED System (C-A-G-E-D). If not go and have a look at this as it shows you how to use the 5 patterns to find both major and minor scales from pentatonic scale shapes.
Here are all the 5 Shapes presented as minor Shapes
Here are all the 5 shapes presented as Minor Shape Patterns. As I mentioned earlier this is the easiest way to remember the shapes and the position of the Root Notes. This is important because it allows us to then use our system to find the position for the Major Shape Pattern. Simply go back 3 frets from any of the Root Notes in the Patterns and you will find the VI note. When you have found the VI note simply re-position the same pattern to start from the VI note. Obviously the Root of the major scale shape (Key Note) will be the note you play in the pattern after the VI Note. If unsure go back to part V to familiarize yourself with this concept.
Welcome to my approach to learning the CAGED Guitar System for guitar. There are many sources of information regarding the CAGED System for guitar. Many of these have value and in reality the System itself is really nothing new. My approach to the CAGED System for guitar builds on these resources but refines it and makes the whole system easier to understand. Anything that is less complicated and easier to learn must be good-Right! Many tutors that I have seen have seen approach the CAGED Guitar System for guitar by relating the System to the various Chord Shapes associated with it and this is the traditional approach. What I mean here is that the patterns are named after the chords that the notes in the pattern are associated with. Don’t worry if you cannot understand anything I am talking about yet it will become clearer as we go on.
Doing this they tend to 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 , both of which are totally different. So for instance they will have 2 totally different Patterns/Shapes for the E Form Pattern depending on whether it is Major or Minor. Personally find this confusing and it distracts from the usefulness of the CAGED System for Guitar.
With my System you only have to learn one Shape associated with the E Form and also for each other respective letter of C-A-G-E-D. This has to be easier to associate only one shape with each one of these 5 letters. In my method for the caged system for guitar you only have 5 shapes/patterns in total and it is where you place these shapes that determines whether or not they are Major or Minor Scale patterns. However if you already know the CAGED SYSTEM FOR GUITAR and are happy with it then possibly this new approach is not for you. However if you are currently struggling with some aspects of it’s teaching or are completely new to it and want to learn a new streamlined approach to the CAGED SYSTEM FOR GUITAR then read on and you might actually like my methods.