CAGED para guitarra

1. The CAGED System Blueprint
The Chard/Arpeggia/Pentatanic
ScalePatterns, 6 Majar and
Minar Triads Acrassthe Neck

2. How to Use This Blueprint
The CAGED system is just a way to organize information on the fretboard to help you make sense of how chords and scales [particularly pentatonic scales), are laid out on
the guitar. lt's not an approach to playing. lt aids in memorization, recall, fretboard fluency, and making connections. CAGED is an acronym representing the 5 basic open
chord shapes. Open C, Open A, Open G, Open E, and Open D. These 5 shapes are the only 5 majar chord shapes that span a single position on the fretboard [4-5 frets), and they
can be moved around the fretboard to play the notes of different majar scales.In learning, it always helps to build on what you already know.Since guitar players start by
learning the open shapes, this way of classifying the chord shapes builds on the same foundationanal knowledge that we all share as guitar players.
Your first goal is to be able to play the C majar chord and G majar chord in all 5 CAGED shapes across the fretboard [see next page) and back again. Try to split each chord
shape up into smaller triad shapes, or other smaller 3 or 4note shapes. You want to get to know the shapes within the shapes! Begin by locating all of the root notes in all of
the shapes, so that you know how to build a chord from any root note anywhere on the neck.Sorne shapes, like the G shape, are never played across six strings outside of
open position, yet are so often played using the middle 4 strings [a favorite of Hendrix), so that the lowest note is the 3rd of the chord. After getting to know the full
shapes, target triads on three consecutive strings across the fretboard!
You'IInotice that in each CAGED shape there are a couple of chord tones that you might not be used to playing in the chord, but they are there in the position to use in
an arpeggio [playing the chord tones one at a time) or to play the chord in a new way that you're not used to. For instance,a 0/F#~ This is where you play a O chord, but fret
theF# on the low Estring, 2nd fret! lt's actually pretty common! TheF# is the 3rd of the chord. Anyway, these less common notesI made translucent.
Every majar shape has a relative minar shape. This becomes extremely clear when we look at the accompanying pentatonic scales that also go along with each CAGED shape.
For instance, the A minar pentatonic scale [ACDEG) and the C majar pentatonic scale [CDEGA) both share the same exact notes on the fretboard, and the A minar chord
shape is the relative minar chord shape of the C majar chord. They share two of the same notes, but occupy the same position, and share the same surrounding pentatonic
scale. 1 call the minar side of CAGED the "Aged Cat" - AGEDC... C=Am, A=Gm, G=Em, E=Dm, and □=Cm. These are the minar and majar open chord shapes that occupy the same
space and are contained within the same pentatonic scale.
Toreally see and uderstand how to use this system, you need to learn it in TWO KEYS at least. By unlocking two, you'II understand how to use all 12! In this blueprint, l've
shared most resources in key of C/Amandkey of G/Em. Gettoknowbothreally well to get started!

3. The Basic Majorand Minor CAGED Chord Forms [C/Am]
Here on the top we have the three notes of a C majar chord, C[1] - E[3] - G[5], across the entire fretboard. They are grouped into fiveCAGED shapes, each
spanning six strings, and four or five frets. Each grouping's letter name [C,A,G,E or O] refers to the open position majar chord that has the same shape.
e G
•
2 3 4 5 6
A
7 8 9
E
D
10 11 13 14 15 16 17 18 19 20 21 22
e
Below we have the three notes of an A minar chord, A[1] - C[b3] - E[5], across the entire fretboard. They are grouped into the five AGEDC [Aged Cat] shapes. AGEDC is the relative
minar ofCAGED. C=Am, A=Gm, G-Em, E=Dm, □=Cm. These minar and majar forms are the realtive majar/minar of eachother and occupy the same space on the fretboard. They each
share two of the same notes and both are contained within the same pentatonic scales [next pagel. The GmandCm forms are less known in open position,but worth knowing!
Am Em Cm
1
•
3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Gm Dm Am

4. The Basic Major and Minor CAGED Chord Forms [G/Em]
Here on the top we have the three notes of a G majar chord, G[1] - 8(3) - 0(5), across the entire fretboard, grouped into their CAGED patterns. Note that the patterns look exactly
the same as a C majar, just moved to different frets. AII intervallic patterns [like a chord shape] are moveable on guitar! Learn everything in at least two keys first, then all keys.
G D A
11 11
•
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
E e G
8elow we have the three notes of an E minar chord, E[1] - G[b3] - 8(5), across the entire fretboard. They are grouped into the five AGEDC [Aged Cat] shapes. The translucent
notes are notes that are chord tones, but aren't usually played or associated with the main chord shape. However, they are always there to add in, and if you want to play
a full arpeggio across the six strings, try to play all of the notes within each full CAGED, AGEDC [Aged Cat] pattern.
1
Em Cm Gm
11 ll
•
2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Dm Am Em

5. The CAGED Chords/Arpeggios/Pentatonic Scales [C/Am]
In arder to create pentatonic scales around the majar CAGED chord shapes, we add two intervals - a majar second [up one fret from a root], and a majar sixth [down 3 frets from a
root]. Combine these added translucent notes with the CHORO tones to create the 5 patterns of the majar pentatonic scale! The chord/arpeggio/scale go together! Learn all three!
1
C G D
•
1 11
2 3 4 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
A E e
With pentatonic scales, the relationship of "relative" majar and minar is very easy to see. Below, you'II see that the E minar pentatonic scale, is THE EXACT SAME 6 notes as
the G majar pentatonic scale above! The only difference what we label the intervals relative to a different tonic [G vs. E]. In this case, we add a perfect fourth [down two frets from
a fifth] and we add a minar seventh [down 2 frets from a tonic] to out basic triad. Play of both Em and G backing tracks to hear how it changes the sound of these same 5 notes!
1
Am Em Cm
1
•
3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Gm Dm Am

6. The CAGED Chords/Arpeggios/Pentatonic Scales [G/Em]
In arder to create pentatonic scales around the majar CAGED chord shapes, we add two intervals - a majar second [up one fret from a root], and a majar sixth [down 3 frets from a
root]. Combine these added translucent notes with the CHORO tones to create the 5 patterns of the majar pentatonic scale! The chord/arpeggio/scale go together! Learn all three!
G D A
1 11 11
•
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
E e G
With pentatonic scales, the relationship of "relative" majar and minar is very easy to see. Below, you'II see that the E minar pentatonic scale, is THE EXACT SAME 6 notes as
the G majar pentatonic scale above! The only difference what we label the intervals relative to a different tonic [G vs. E]. In this case, we add a perfect fourth [down two frets from
a fifth] and we add a minar seventh [down 2 frets from a tonic] to out basic triad. Play of both Em and G backing tracks to hear how it changes the sound of these same 5 notes!
Em Cm Gm
11
•
2 3 4 5 6 7 8 9
Dm Am
16 17 18 19 20 21 22
Em

7. Majar Triads Within CAGED Shapes [C]
There are three triads per three string grouping. Sorne triads are shared between two CAGED shapes. In each three
string group, one triad is in root position (1-3-5), another is in 1st inversion (3-5-1) and another in 2nd inversion (5-1-3).
C G D
6
A E
e G D
A E
e G D
A E
e G D
A E
e ■= Root Position (1-3-5)
■= 1st lnversion (3-5-1)
■= 2nd lnversion (5-1-3)
e
e
16 17 18 19 20 21 22
e

8. Minar Triads Within CAGED Shapes [Am]
There are three triads per three string grouping. Sorne triads are shared between two CAGED shapes. In each three
string group, one triad is in root position [1-b3-5), another is in 1st inversion [b3-5-1) and another in 2nd inversion [5-1-b3).
Am Em Cm
4
Gm
Am
4
Gm
Am
Gm
Am
2 3
Gm
6 7
Em
6 7
Em
Em
9
Dm
Cm
Dm
Cm
Dm
Cm
Dm
15 16 17 18 19 20 21 22
Am ■= Root Position [1-b3-5]
■= 1st lnversion [b3-5-1]
■= 2nd lnversion [5-1-b3]
Am
Am
15 16 17 18 19 20 21 22
Am