So let's have this CAGED conversation...

Eagle said:
That’s only possible because you have internalised all this to a point of not needing to think about it.
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Unconsciously Incompetent- You don't know, and you don't know that you don't know.
Consciously Incompetent- Now you at least know you don't know.
Consciously Competent- You know, but you have to think about it.
Unconsciously Competent- You now know, and don't have to even think about it.
 
TSJMajesty said:
For me, it's, "What's the easiest place to play it?" :rofl

I'm mostly kidding.

I've been working on string-skipping arpeggios, and they are much easier to play using hammer-ons/pull-offs, but I'm going for an "all notes picked" sound, so that's the way I'm practicing it.
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That hardest hurdle I self imposed is string skipping with sweeps.
 
Ed DeGenaro said:
Plus I place extremely high emphasis on what note location don’t trip the flow. And does the line sound better on this or another string set.
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Oh, every bit these!

Which is why as a general idea, position (or any kind of fixed pattern) playing is so meaningless.
For example, when it comes to playing single lines and especially bendings, the B string is my *way* prefered string of all of them. On every single electric guitar I ever owned. I also think it's the best string to put top chord notes on (just not always practical), which is why I prefer to play closed position triads (see other thread) on the D-G-B strings whenever possible.
E1 tends to sound plinky (due to its nature, pretty much regardless of the guitar), G3 is often sounding wobbly and not too clear anymore, B2 hits the perfect sweet spot for me.

Add to this the dreaded standard tuning (as in B2 being tuned just a major third above G3). This leads to some things being more, others less comfortable when played on a certain set of strings.

All of this is why I sometimes sit down and try to play the same combination of notes in a multitude of shapes, including bendings and what not. I usually end up with 1-2 favourites.
 
AFKAEjay(retired) said:
I was (at least trying) to say in my post, that the general concept that movement of a shape results in the same intervals, is …well….fact..nature of the instrument. So understanding that, low hanging fruit. But Caged uses that nature, Caged is not the principle behind it.


Hmm…examples?
My hypothese for players who really “see the neck”:They see “Caged”, but as a subset of a broader total package.
I also see the shapes of Caged, I just don’t call it Caged, and don’t limit the concept of moving stuff around to it.
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Personally for guys that can’t move all things to one location and one thing to all location, irregardless how the fretboard is divided I suggest taking a shirt 4 note idea or two and cycle them through all the keys.

But while doing so actually saying out loud what it’s going across.
Or for advanced sing the bass root motion.

Cycle 4 etudes

Cycle 4 etudes
www.soundslice.com www.soundslice.com

And if that’s too big a bite that’s a good start.

cycle 4 cells.pdf

cycle 4 cells.pdf
www.soundslice.com www.soundslice.com

This stuff is also the basis of voice leading.
What works for chords works the same for arpeggios and lines.
Obviously
 
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Sascha Franck said:
Oh, every bit these!

Which is why as a general idea, position (or any kind of fixed pattern) playing is so meaningless.
For example, when it comes to playing single lines and especially bendings, the B string is my *way* prefered string of all of them. On every single electric guitar I ever owned. I also think it's the best string to put top chord notes on (just not always practical), which is why I prefer to play closed position triads (see other thread) on the D-G-B strings whenever possible.
E1 tends to sound plinky (due to its nature, pretty much regardless of the guitar), G3 is often sounding wobbly and not too clear anymore, B2 hits the perfect sweet spot for me.

Add to this the dreaded standard tuning (as in B2 being tuned just a major third above G3). This leads to some things being more, others less comfortable when played on a certain set of strings.

All of this is why I sometimes sit down and try to play the same combination of notes in a multitude of shapes, including bendings and what not. I usually end up with 1-2 favourites.
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Yes! I think most of use prefer the b string for that. And that string set for triads

Sadly if we learn triads on that upper middle string set d b g we have more work to internalize the logic and move it. As opposed to lower string set. Same with drop2 tetrads.

Btw, the German “Anglo-Ized” Bendings is nonsense it’s Bends in English
As in his Bends are always out, he bends outta tune, this bend is spot on.

That Bindings thing drives me batshit
 
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Sascha Franck said:
Guthrie Trapp:



Molly Miller (I like her quite a bit):



Marty Schwartz:



I also seem to remember John Mayer, Andy Wood and and whom not talking about.

However - with either of them, I always happen to think that things could be explained easier in other ways. So I'm in no way defending the system at all (which you should know by now)



Exactly the same for me.
Also, there's situations when I have to transpose open chord stuff and go like "how the hell am I going to play this without a capo?" - that's certainly when it comes in handy having learned to move those basic open chord shapes up and down the neck as good as possible. But as you, I'd never use it as a means of organisation.
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Wtf do these people know about guitar playing!!!!……….kidding Offcourse ;)
Well…BB king supposedly had no system…that doesn’t make “no system” a good system either…and he’s obviously still a great player ;)…although he probably won’t make it through giant steps…so “means to an end” applies.
 
AFKAEjay(retired) said:
Well…BB king supposedly had no system…that doesn’t make “no system” a good system either…and he’s obviously still a great player ;)…although he probably won’t make it through giant steps…so “means to an end” applies.
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As said, I'm not defending CAGED at all. In fact, more to the opposite. But some people seem to make good use of it and I actually even understand how they're getting there and how you can use it as a "system" (which is sorta different to the BB King example).
I also doubt Django Reinhardt or Wes Montgomery used much of a "system", apparently they were doing most things by ear. And they'd likely get through complexed changes...
 
Ed DeGenaro said:
Personally for guys that can’t move all things to one location and one thing to all location, irregardless how the fretboard is divided I suggest taking a shirt 4 note idea or two and cycle them through all the keys.

But while doing so actually saying out loud what it’s going across.
Or for advanced sing the bass root motion.

Cycle 4 etudes

Cycle 4 etudes
www.soundslice.com www.soundslice.com

And if that’s too big a bite that’s a good start.

cycle 4 cells.pdf

cycle 4 cells.pdf
www.soundslice.com www.soundslice.com

This stuff is also the basis of voice leading.
What works for chords works the same for arpeggios and lines.
Obviously
Click to expand...
True…

My personal attack angle: “analyse these 4 notes as numbers of a scale, or functional against chords”…and run that concept through keys, or through positions. For me that mitigates the risk of playing through stuff from sheet, or memorize as shapes, and possibly loose the functional/musical connection.
… my prima vista reading skills have suffered greatly from it though ;)
 
Sascha Franck said:
Well...

bending - Wiktionary, the free dictionary

en.wiktionary.org en.wiktionary.org
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It’s plural not singular as your wiktionary shows.

Look Germans co-opted it, it sounds idiotic to the English speaking world but sure leave it to us Germans to pick weird hills to die on.

1749298014881.png
 
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