CAGED System – The E Shape – Lesson 27
Lesson by: SynGates.com
Lesson description
In this lesson we tackle the “E shape” of the CAGED system; its correlating major chord, arpeggio, pentatonic & major scales.
Syn's tips
After you get this down you will know four of the five positions which is awesome!
Now let's try skipping around the positions since you have a few to choose from. What I mean by that is, instead of shifting into position "A" from "C", try skipping "A" and moving to position "G" or even "E". For example, play a lick or "phrase" in position "C" and stop for a short period of time, then play another lick in position "G" or "E". This doesn't just further familiarize you with the fretboard- it will also give your playing a sense of "phrasing".
"Phrasing" is exactly what it sounds like. You want to approach your licks or lines as if you were singing or even speaking them. All of the great players have amazing phrasing and a way to achieve this is to transcribe wind instruments like saxophonists and even vocalists. These musicians are forced to take a breath in between their lines because of the obvious, if they don't breath they will die! What this accomplishes is a sense of of space and dynamic. The space is what brings the audience in closer to what you have to "say" next.
Imagine if you were having a conversation with someone who wouldn't stop talking. You'd want to punch them in the face right? Well the same goes for music and when guitarists play for too long without taking that proverbial breath, it loses the audience and quickly, ESPECIALLY when you're playing fast. This is what guitar players are naturally inclined to do tho because they can breath while they play. I had a hard time breaking this habit because of the counterintuitive nature of it. I never stopped playing when I was practicing so why would I stop in a professional situation?
Practicing your phrasing is an essential element of developing a great style. This doesn't mean you have to stop for long, you just want to have a musical "conversation" with the band and even the audience. If you were to ask them how they were doing, you probably wouldn't speak again until they answered you right? And that example is no different when applied to music. Less can be more!
So.... Speak, Listen, and Respond.
Here's a very small list of some amazing blues artists that have phenomenal phrasing which is very characteristic of the blues. Try transcribing these artists but be creative, these guys can seriously sing so maybe transcribe a few vocal lines while you're at it
Robben Ford- Talk to Your Daughter
Gary Moore- Still Got the Blues
Bonnie Rait- Luck of the Draw
Talk about this stuff in the "Discussion Thread". It's important to share your knowledge with one another as well as other great Artists you're into. 99% of all of my favorite music was introduced to me by someone else.
Now let's try skipping around the positions since you have a few to choose from. What I mean by that is, instead of shifting into position "A" from "C", try skipping "A" and moving to position "G" or even "E". For example, play a lick or "phrase" in position "C" and stop for a short period of time, then play another lick in position "G" or "E". This doesn't just further familiarize you with the fretboard- it will also give your playing a sense of "phrasing".
"Phrasing" is exactly what it sounds like. You want to approach your licks or lines as if you were singing or even speaking them. All of the great players have amazing phrasing and a way to achieve this is to transcribe wind instruments like saxophonists and even vocalists. These musicians are forced to take a breath in between their lines because of the obvious, if they don't breath they will die! What this accomplishes is a sense of of space and dynamic. The space is what brings the audience in closer to what you have to "say" next.
Imagine if you were having a conversation with someone who wouldn't stop talking. You'd want to punch them in the face right? Well the same goes for music and when guitarists play for too long without taking that proverbial breath, it loses the audience and quickly, ESPECIALLY when you're playing fast. This is what guitar players are naturally inclined to do tho because they can breath while they play. I had a hard time breaking this habit because of the counterintuitive nature of it. I never stopped playing when I was practicing so why would I stop in a professional situation?
Practicing your phrasing is an essential element of developing a great style. This doesn't mean you have to stop for long, you just want to have a musical "conversation" with the band and even the audience. If you were to ask them how they were doing, you probably wouldn't speak again until they answered you right? And that example is no different when applied to music. Less can be more!
So.... Speak, Listen, and Respond.
Here's a very small list of some amazing blues artists that have phenomenal phrasing which is very characteristic of the blues. Try transcribing these artists but be creative, these guys can seriously sing so maybe transcribe a few vocal lines while you're at it
Robben Ford- Talk to Your Daughter
Gary Moore- Still Got the Blues
Bonnie Rait- Luck of the Draw
Talk about this stuff in the "Discussion Thread". It's important to share your knowledge with one another as well as other great Artists you're into. 99% of all of my favorite music was introduced to me by someone else.
