CAGED system vs. Pattern Numbering

Kit said...

Hi Barrett, I really appreciate your Fretboard Workbook - great stuff. Would you be able to clarify one thing for me? I've been really helped by memorizing the 5 Major Scale "patterns" but why do the CAGED shapes get numbered differently so CAGED position 1 = E shape = pattern 4? Thanks again for producing a great book.

Kit
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Barrett says:
THANKS KIT!

Hopefully I get what you're asking. I'll try explaining how the CAGED system works from a couple of different perspectives and how it relates to the pattern numbering system used in my books and in all Musicians Institute guitar curricula.

First, as we move a specific fingering shape around the fretboard to different keys, we want it to be identified by the same pattern name --- be it C, A, G, E, or D --- or by a pattern number: 1, 2,3, 4, or 5. That way we know how to put our fingers down.

For example, when we have the index finger on string 2 and the ring finger on string 5 as in the following tab, that's Pattern One in the key of C. These are both C notes. In the CAGED system, this is the C shape.

-----
-1---
-----
-----
-3---
-----

If we move the hand up the neck by two frets, that's still Pattern One, but now it's in the key of D. In the CAGED system, this is called a C shape or form, but these are both D notes.

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-3---
-----
-----
-5---
-----

Move it up another two frets and it's still Pattern One, but this time it's in the key of E. These are both E notes. In the CAGED system, an "E root shape of the C form," if you will.

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-5---
-----
-----
-7---
-----

Now another perspective. We want consecutive pattern numbers for shapes that connect up the neck. First look at Pattern One of C again. In the CAGED system, this is the C.

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-1---
-----
-----
-3---
-----

If we want to play C patterns higher up the neck, we will prepare by placing our index finger in the spot formerly occupied by the ring finger.

-----
-----
-----
-----
-3---
-----

The addition of another C note on the third string gives us Pattern Two of C. Notice this high C is the same pitch as the one we played on the second string.

In the CAGED system, this is called the A shape---because it resembles the roots of the first A chord we learn in open position (and that is the only reason).

-----
-----
-5---
-----
-3---
-----

Next, by placing our index finger on the higher C we prepare to play Pattern Three of C.

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-----
-5---
-----
-----
-----

Pattern Three has roots on the 6th, 3rd, and 1st strings. There are three C notes here. (I don't expect a beginner to play all three at once.) In the CAGED system, this is the G shape---because it resembles the roots of a G chord in open position.

-8---
-----
-5---
-----
-----
-8---


By placing our index finger on the place formerly occupied by the pinky, we prepare to play Pattern Four of C. You can barre all the way across the fretboard for this.

-8---
-----
-----
-----
-----
-8---


The addition of the ring finger on fret 10 completes Pattern Four roots in the key of C. In the CAGED system, this is the E shape---because it resembles the roots of the E chord in open position.

-8---
-----
-----
-10--
-----
-8---

A similar process, moving the index finger up to fret 10, gives us the Pattern Five root shape for C. In the CAGED system, this is the D form---because it resembles the roots of the first D chord we learn in open position. That is the only reason for the "D form" name. There is nothing else inherently "D" about it. These are both C notes.

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-13--
-----
-10--
-----
-----

Pattern One occurs again next, with the index finger on the 13th fret. These are both C notes.

-----
-13--
-----
-----
-15--
-----

Moving on up, we get another instance of C roots in Pattern Two. Again, the CAGED system refers to this as an "A" form, because it resembles the roots of an A chord when played in open position.

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-----
-17--
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-15--
-----

Right now it may seem like no big deal to call a chord with these roots a "C Chord of the A Form," but later you'll encounter additional layers of complexity, as when you apply substitute chords on top of each other.

For example, one way to make a C chord sound much jazzier would be to play an E chord instead, just keeping C as the bass note.

First play this:
-----
-5---
-5---
-5---
-3---
-----

then this:
----
-5--
-4--
-6--
-3--
----

Using pattern numbers for reference, the upper part of this chord is a Pattern One E major, that we've superimposed over the Pattern Two C chord.

Using the CAGED System for reference, the upper part of this chord is a C-form E major, that we've superimposed over the A-form C chord.

Either way is correct, but I find the first way of looking at it to be easier. The chord doesn't look much like an open-position A, and I've already got two other chords with letter names to think about: C and E.

Another name for this chord is Cmaj7#5. It is a Pattern Two chord, because its roots are on strings 5 and 3. (Although since the root does not need to be duplicated, the 3rd string is used for another chord tone here.)

I'd also use a Pattern Two scale over the chord. In this case, the scale is C Lydian Sharp 5, Pattern Two.

-----------------------4-5-4---------
-----------------3-5-7-------7-5-3----
-----------2-4-5-------------------5-4
-----2-4-6----------------------------
-3-5----------------------------------
--------------------------------------

The Pattern Two roots of the scale are, as always, on strings 3 and 5.

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-----
-5---
-----
-3---
-----

That last example was meant to show that there are situations that may be better served by using pattern numbers than the CAGED system alone. I'm not expecting you to be familiar with either the chord or scale presented.

It also shows that the pattern numbering system works the same for scales as the chords they are played on top of in the same fretboard position.