I studied the CAGED system a few months ago but it didnt really make a lasting impact on my playing. I tend to just play scales from specific notes to fit the chords as besi I can. It didnt occur to me to fit 3nps to the Caged system. I will give it ago though as it might help.
At the risk of sounding esoteric, I actually heard an interesting take on nomenclature from Tom Quayle in a recent Guitar Hour Podcast. Iām sure others have made the same argument and itās probably also highly context-based but here it goes anyways.
So, the argument was that 7#5 and 7b13 are actually different chords. Yes, the #5 and the b13 are enharmonically equivalent but the implication of having a #5 is that there is no natural 5. So,
G7#5 = G B D# F
G7b13 = G B D F A C Eb
I just thought this was an interesting point.
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Not so esoteric. In jazz the symbols stand in for chordscale possibilities, as opposed to say, the more literal, so-called ācowboy chords,ā that are typically treated as physical guitar āgrips.ā
7#5 signals an altered five, and indicates options for soloing like use of the whole-tone scale. Furthermore, it suggests a natural 9, but does not preclude alteration per se.
Check out the String Fragment System (SFS) taught on this site: Effective Music Practice. In particular, the āSFS Modesā and āSFS Modes 2ā courses will show you a powerful way to play 3nps modes all over the neck without having to memorise box patterns. Click on the Premium Courses link. I started doing these courses about 3 months back as a relative beginner player. I can now easily play all modes in all keys all over the neck. I couldnāt even imagine being able to do this previously. He is a great teacher.
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Thanks austway, Iāll check that out
Hereās a direct link to the free SFS Modes Crash Course from EMP. If you like this Iād definitely recommend signing up to his premium courses as austway suggests.
Thanks.
I am very impressed with the EMP site. I have signed up.
The backing tracks are very good too. Nicely ordered into all scales and modes in all keys.
Thanks for the recommendation.
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I usually use standard 4 voice chords, so in that case thereās no actual difference between these chords (1-7-3-#5). 5th is whether implied or notā¦
Though thereās contextual difference for me.
Hi DjangoUntrained, if you havenāt already, check the Fretboard Visualization Methods thread. My first introduction to āmoveable mini positionsā was through the The Advancing Guitarist, by Mick Goodrick. I believe itās important to see the modes on a continuum, not just starting from a root. Iām sure the SFS system must deal with the same, but I found it useful to organize the symmetries into a couple of slightly larger patterns, that when connected, extend to infinity, high and low. Have fun.
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I really need to go back and revisit that thread, and your FordScales thread, @RockStarJazzCat. The way Iāve always looked at scales has been in 2-string 3nps patterns, as a series of interlocking āchunks,ā with the caveat that they interlock in both the vertical and horizontal plane (I.e ā if you take a two string chunk in the E and A strings, it interlocks into a chunk on the A and D stringsā¦ But, also interlocks with a chunk on the same strings but one scale degree higher, and once you get a finite number of patterns and connections down, you can burn through them pretty quickly all over the neck). But, thinking primarily that way, Iāve also definitely found value in also looking at āboxā positions or CAGED positions or defined 3nps patterns or whatever, and I feel like there comes a point where all this stuff starts to blur into one anyway.
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Hey there, @Drew, thanks. Yeah, when Iām improvising the patterns kind of fade away. Swinging from branch to branch, the individual trees taken individually, matter less.
The open and closed FordScales I patterns are most relevant to this thread, but itās actually the chromatic scale of FordScales II where I put my practice energy. If one is not interested in playing anything and everything in all keys, FordScales I pattern is a quick way to get going. Associate mode names with points in the pattern and one is off and running.
I have a vestigial awareness of Berklee Positions and traditional position playing, but as people are probably a little bored of hearing me say, āCAGEDā is of little use to me on my path. Neither strict 3nps nor CAGED allow me to do what I do.
It all comes down to managing complexity, and thinking in intervallic patterns within the chromatic scale has proven most practical for me after 42 years playing/wrestling with guitar mysteries.
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Check out FRETBOARD FREEDOM by Claus Levin. Great concept that makes my students get going in few lessons (with dedicated practicingš)
This is not sponsored and really convinced me!
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