The Caged System is a way to visualize the entire fretboard as one large scale. 5 smaller scale patterns which are based around chord shapes, interlock to create a larger picture.
The word “CAGED” comes from the open position chord shapes C,A,G,E, and D. Small scale patterns are built around each one of these chord shapes. It’s fascinating, and extremely useful, how these small scale patterns fit together into one cohesive map of notes that can be used to solo in one key across the entire neck.
5 Interlocking Scale Patterns
Knowing about these patterns is a good idea, however there is much more to learn about how to use them and how to develop your skill level.
What Is The Caged System Used For
- Navigating the Entire Neck In One Key
- Utilizing Modes and Key Centers
- Deep Understanding of the Fretboard
- Chord Shapes
- Arpeggios
How Do Modes Relate To The Caged System
Scales are built from a sequence of interval distances. For example, a Major Scale is built: whole step, whole step, half step, whole step, whole step, whole step, half step. In other words, if you started on any note, and you followed that W W H W W W H sequence, you would be playing a Major Scale. The Key of that scale would be the note you started on.
Likewise, modes are built from similar sequences of intervals. For example, the Dorian Mode is built whole step, half Step, whole step, whole step, whole, step half step, whole step. ( W H W W W H W ) The Dorian sequence happens to be one of the 5 scale shapes that make up the CAGED System. It is the pattern that centers around a “D shape” chord.
The pattern below is an A Dorian Mode if you are using the “A” note as your key center. (The A note is on the 6th string 5th fret. This mode works well playing against an Am7 chord) However, this same scale pattern played in the exact same place except using a “G” note as a tonal center, would be a G Major scale. (In the diagram, the big circles are indicating the “G” note) In other words, we have one set of notes that can be used in more than one way. JS.
“D shape” chord found within the diagram above. This chord, when played at the 5th fret as shown, is a G Chord. Remember that in these examples that we are giving, all of these scale shapes and chord shapes relate to the Key of G Major. It just so happens that this gigantic G Scale the encompasses the whole guitar neck, can also be used in other harmonic situations….like the modes.
The Phrygian Mode has a scale formula: H W W W H W W.
When we play a G Major Scale, but instead of starting on the “G” note, we start on the 3rd step of the G Major Scale the “B” note, and play through the scale until we come across another “B” note, we are playing a B Phrygian Mode. Again, all the same notes that are in the G Major Scale. The difference being that instead of playing G A B C D E F# G…….we play B C D E F# G A B. ( Playing form the B to the B instead of Playing from the G to the G.
If we look at the scale pattern as it relates to the G Major Scale, we can see that there is a C Chord shape found within.
The scale diagram pictured below starts on the B note on the 6th string 7th fret. This diagram shows all the G Major Scale notes that are available in this position. The open circles indicate the “G” notes. You can also see the the C Chord Shape is found in this position starting on the G note.
C Chord Shape. (2nd, 3rd, and 4th finger building the “C Shape” while the 1st finger barres across all 6 strings)
There is a G Major Scale that can be played starting on the 5th string 5th fret. All of the G Major Scale notes that are available in this space also include scale patterns that are associated with the Lydian and Mixolydian Modes. These Modal Scale patterns overlap in this position. Again, keep in mind that all of these notes are the notes found within the G Major Scale. Just by starting on a note different than the G note and selecting a different note to emphasize, we have a mode.
If we start on the 8th fret and play fro C to C, we have the C Lydian Mode. If we start on the 10th fret, play the same notes but this time go from D to D we have the D Mixolydian Mode.
In this position, the chord shape associated with the note on the 5th string 10th fret is the A Shaped chord.
So throughout this discussion we have been talking about the modes associated with the G Major Scale in any one of the 5 CAGED Scale patterns, “and” we have been talking about the chord shape associated with the G Major Scale in each of the 5 CAGED Scale patterns.
Starting on the 8th fret is the Lydian Mode, starting on the 10th fret ins the D Mixolydian Mode, starting on the 5th string 10th fret is the G Major Scale.
“A Shaped Chord.” Called the A shaped chord because is this chord was placed in the open position it would be an A chord. However, when this chord shape is played on the 10th fret it is G Major Chord. The Root being on the 5th string 10th fret, which is a G note. In this diagram, the 3rd finger barres an A shape. The first finger is on the G note.
One of the Aeolian Mode Scale Patterns also shares one of the scale patterns of the CAGED System. The chord shape associated with this position is the “G Chord Shape.”
In this diagram, the 6th string 12th fret is an E note. If you were to start on the E note and play the notes in this scale pattern in sequence until you cam across another E note, then you would be playing a E Aeolian Mode.
If you play the same notes, except this time start on a G note and play until you come across another G note, then you would be playing a G Major Scale.
G shaped Barre Chord
The G Ionian Mode also shares one of the scale patterns of the G Major scale CAGED System. This one is unique in the sense that it shares the exact same pattern, The G Ionian Mode and the G Major Scale starting on the 6th string 3rd fret look exactly the same. In fact, the Ionian Mode and the Major Scale are two different ways of saying the same thing.
The chord shape associated with this position is the “E Shaped Barre Chord”.
E Shaped Barre Chord
Navigating the Entire Neck In One Key
Once you have the 5 CAGED patterns memorized, you can practice moving from one pattern to the next. There are unlimited possibilities. It’s best to first come up with a couple of paths and drill those until they become well traveled and familiar roads.
Keep in mind that the goal is to be able to visualize the entire neck.
example:
Expand on this exercise by finding routes between each of the interlocking 5 scale patterns of the CAGED System.
If It’s All The Same Notes, What Makes One Mode Different From Another.
Even though the Modes that are found within the CAGED System all have the same notes, what makes one different from another is the tonal center and the interval relationship of each note in the scale to that tonal center.
In other words, what note does the piece of music center around. Where does the groove resolve. What Mode you are playing is often determined by the chord progression or groove.
Let’s say that you are playing a G Major Scale (Same thing as the G Ionian Mode). Even so, your chord progression is toggling between an Am7 and a D9 chord, and is consistently resolving to the Am7. In this case,you are really playing in the A Dorian Mode. Remember that the A Dorian Mode has the exact same notes as the G Major Scale. The difference is that the note you resolve to is the A note rather than the G note. JSIGuitar
Arpeggios and the CAGED System
One really neat way to play arpeggios using the CAGED System is to simply play every other note of the scale. This is sometimes referred to as the Grand Arpeggio. It doesn’t matter which note you start on. Pick one note and then play every other note in the scale. Sounds Great!