For the Church Guitarist: CAGED Chord Sequence

Now that you've wrapped your head around the basic idea of CAGED, let’s look at very useful, practical and kind of amazing  aspect of it:

The CAGED sequence of letters (C-A-G-E-D) is the order that chord shapes move up the neck in the same key.

This is a key idea for helping you visualize and understand the neck of the guitar.  Start by taking a look at this chart:

You may have done this intuitively using a capo, but see how the chords, moving from the lowest on the left to the highest on the right move in the order of C-A-G-E-D looking chord shapes?

To overstate it: in the key of C, as you move out of open position and up the neck, actual C sounding chords progress from the C shape* we know and love, to the A shape (placed at the 3rd fret making it an actual C chord even though it doesn't look like the C shape!), then the G shape at the 5th fret, on to the E shape which is actual a  C chord when placed at the 8th fret and finally, the D shape, which when moved to the 10th fret, actually becomes a C chord. It just repeats from there until you run out of frets.  

And it works that way for every single key.

So, what if you're not in the key of C?? Well, lets use the key of G:

• In the key of G, the lowest open chord shape you can play is a G, right? (yes)
• Well, then the next actual "G chord" up the neck would be - using the C-A-G-E-D sequence and seeing that we're starting on a G shape G chord in open position - the next actual G chord up the neck would be an E shape (3rd fret) . . .  then a D shape (5th fret), then the CAGED word runs out of letters and starts over at C (7th fret), etc.
• To help see it visually, here it is in G:

See how it starts on G, moves to the next letter in the CAGED word, namely E, then D, then starts over on C, then A and so on?

Again, it works this way in every single key. If you're in the key of E, start on the E of the word, CAGED, the next version of an E chord up the neck would be, using the CAGED word, a D, start over on C, then A, G, etc..

Now if you're in a key that's not a C-A-G-E-D key, its a little trickier, but not terribly so. For instance, Bb:

1. Find the lowest shape on the neck (an A shape, capo'd or barred at the first fret) and then. . .  
2. you have your starting point to move through the word CAGED (If your lowest shape is A, then G somewhere would be next, then an E somewhere, etc).
3. For any key, its always in that order. 

This can be hard to communicate outside of private lessons and actually showing you, but you can get  and it is so, so important. Once you do get it, it really makes the neck of the guitar click for you.

• For acoustic players, this can help you really learn how and why to use a capo, not just because you have to, but creatively.
• For electric players, and really any guitarist, its just how the neck works. You can move around with much more confidence.

My university students had to have this sequence memorized for all 12 keys and be able to demonstrate each key, moving from the lowest position to the highest practical position up the neck. You don't have to go that far, but you can absolutely wrap your head around this and find it useful.

If its new for you, just think about and practice seeing it for the main CAGED keys as you have time. In fact, to help, here it is for those keys:

• Key of C
• Key of A
• Key of G
• Key of E
• Key of D

So, think it over, practice and questions are always welcome! Thank you for serving and for pushing yourself to learn! 

PA 

*I call them shapes because, though we’re used to seeing them in open position as a G chord, E chord, etc., every one of them is actually movable and becomes other chords when you moved them around (i.e. G looking chord, cope 3 is no longer a G chord - so, I talk about them as shapes instead). 

For the Church Guitarist: CAGED Intro

In the last post we looked at organizing some thoughts related to our acoustic playing (chords families!) and the plenty of work that can be done there. One of the next steps would be to consider how those basic shapes fit beautifully into an idea known as the CAGED system.

Basically, the idea is that the main chord shapes we use all over the neck of the guitar are:

Seems simple but its not just about open position!

In fact, the basic open C chord shape, A shape, G shape, E and D are so foundational to how chords are made on the guitar, that they are in fact THE shapes, in one form or another, that you'll use all over the neck for almost any chord you play; even scales, arpeggios, etc. 

This might sound a little strange but you're already doing it!. Think about it:

• An F bar chord (1-3-3-2-1-1) is really just an “E” shape barred at the first fret
• A Bm chord, at the 2nd fret (x-2-4-4-3-2) is really just an A (minor) shape barred at the second fret
• The E chord at the 7th fret that we’re so fond of sliding around, is really just an “A” (major) shape using open strings (0-7-9-9-0-0)

Making sense so far?

Again, the basic C, A, G, E, and D chord shapes are the guiding shapes for many chords we play all over the neck. If you use a capo you’re already using this idea as well (i.e. you’re handed a song chart in Ab and you decide to capo 1 and play it as if its in G), and spending time thinking through this will really help you out. Specifically:

• For acoustic strummers, this is key to you really intelligently using a capo to give you 2-3 different sounding options with which to play any song and it will help you visualize the neck. 
• For electric players, this opens up the fretboard for you, helping you to visualize and remember chords up and down the neck. Its also a great starting place for understanding scales and being able to play them in any key (good for you acoustic guys too!)

For any guitarist, the CAGED concept is a foundational, practical idea for understanding how the guitar neck works and how you can move around with confidence. Awareness is the first step! Its kind of nice that it comes together to make a word we can remember too.

In the next post, we’ll look at the CAGED chord sequence how it can really unlock the neck for you. Until then, thanks for serving and keep practicing!

PA

For the (Acoustic) Church Guitarist: Chord Families

As an acoustic player in the church, the bread and butter of what we do is strumming using open chords. We spend a ton of time using these "open chords" and while that might seem a simple place to start, there is so much to discover there and its the basis for more advanced things further down the road.

You might think, “thanks, but I already know my basic chords, etc.”

Sure, but do you know how to play them at every position up and down the neck? Do you have versions for loud strumming, fingerpicking, drone chords, and variations adding color? As an acoustic player in this context (and really any context) you can develop the skill to have many creative options for any song you approach, in any key, at the tip of your fingers.

So, let’s start with the idea of open chord families. You may have noticed that you end up playing, or using a capo to play, in the same types of open chords all the time. The key of G, the key of C, E, A, D, etc. Even in something like Bb, we usually capo 3 and play in G shapes (not cheating, but more on that later). You might even find yourself choosing favorites, i.e. you really like playing in the key of G and E, but the key of A? Not so much. . . .

These open chords we use might get a bad rap for being simple, but they are used constantly because they sound good and do what they do really well. Ya, you can do others things too, but this is one of the things you can do on the acoustic guitar that sounds fantastic. These chord voicings use opens strings and use the natural and beautiful resonance of the instrument.

So, the first step is realizing that each of these "keys" are really a collection of chord shapes that we associate with a key, like G,  but in reality they are moveable with a capo, barring, etc. Each of the so called "keys" have unique tricks to them, kind of like sound personalities. I tend to think of them as chord families or shapes. Again, the chord shapes we associate in G aren't always in the actual key of G (like when we use a capo) but we associate those group of chords, or "family," together. For example:

The G chord family (G, C, D, Em, Am)* has powerful, big chord shapes. Bass lines work well in it and it has generous open strings that allow for lots of “color” with ease. It also has some beautiful shapes for finger picking and you can even slide chord shapes around. You can capo up to the 7th fret and its still very usable.

The E chord family (E, A, B, C#m, F#m)* favors sliding, moveable shapes because of the open strings that work so beautifully with it. That gives it a unique, very open and powerful sound. It can also be very melodic and intimate with beautiful dissonance. It can have a unique drone sound to it as well. You can capo this shape comfortably up to about the 3rd or 4th fret.

Here’s a good example: the 'A' chord family (A, D, E, F#m, Bm)* I remember really disliking playing shapes from this group thinking it was uninspiring, less open, smaller shapes. In fact, it usually meant immediately capo’ing the second fret and playing in G shapes. However, we need to realize the unique things every chord family can do really well on the guitar. Now I’ll specifically use the shapes in the "A chord family," or even capo to this key if I want, among other things, some powerful drone chords high up on the neck.

(* I, IV, V, vi and ii chords in each key, i.e. the ones we typically use in songs. For a simple way to understand this really useful number thing, go here.)

Does this make sense? I guarantee, we can all dig more deeply into the basic chords we use. In fact, they are not really all that basic, its just our use of them tends to be :). I've been playing for a long time, and am still always eager to explore this. So, let me challenge you to think about:

• What is unique about each of these open chord "families" you play in?
• What strengths can you find in each, specifically:
  • the key of C
  • the key of A
  • the key of G
  • the key of E (and more here)
  • the key of D
• What do you like for big strumming chords?
• Which shapes work better for fingerpicking?
• What don’t you like about any of them?
• Challenge yourself to find something useful about a key/group of chords you tend to avoid.

Do you find yourself stuck using the same chord shapes all the time? Examine what you do and try something new this week. Dig in to each of these “chord families” and we’ll pick things up in more detail next week. As always, if you need more help  private lessons are available.

Until then, keep practicing and thanks for serving!

PA 

For the (acoustic) Church Guitarist - An Intro

Its about time we looked at something specifically for acoustic players (though take note electric players!). The acoustic guitar is such a beautiful sounding instrument and it plays a huge role in the context of leading congregational singing. So, here begins a series of posts focusing on serving with the acoustic guitar at your church, hopefully inspiring and equipping you do so more creatively and faithfully. 

One thing I just want to mention: sometimes it can be easy to think that what you're doing on acoustic is boring or simple. Maybe you have a little electric guitar envy? Sure there is *plenty* to love about electric, and maybe it tends to get more of a "taste of the glory," but the acoustic brings uniquely beautiful things to the table. In fact, among worship leaders who play both electric and acoustic, the majority, including myself, tend to do so from acoustic ( of course you can lead from electric, but more on that later).

Here are some of the things we’ll go over:

• CAGED approach and really getting to know your chord voicings
• Becoming a capo ninja 
• Having multiple options for how you sound in a song
• Thinking musically and finding your place in the band
• And things like fingerpicking, soloing, gear you might use and anything else I think will be helpful (open to requests!)

Check back and in soon and thanks for serving faithfully where you are!

Patrick

Trixie Whitley and Unlikely Cool Chords

I'm always looking for new chords, new voicings and sounds. And I'm convinced, if you keep your mind and ears open, you can pick up new ideas from all sorts of players. Trixie Whitley is a fantastic musician with a beautifully soulful voice. I first heard her in a little club in L.A. (with surprise guest Daniel Lanois backing her up on guitar!) and was struck by a number of things, not the least of which was her simple, funky way of moving around the guitar neck. Check out this video of her singing a cover of an old blues tune called "I'd Rather Go Blind":

Solo version (you can see the chords best here)

Version with guitar, drums and cello; dripping with groove (Bonus: you get to see Daniel Lanois dance/direct).

In E minor, she lays down a cool part on guitar, basically sliding around a power chord shape, just going with the open strings which are sometimes dissonant, and it sounds great. Lets take a look at the chords:

Intro/Verse

| Em      G      |  A5              |

Stock, open Em voicing down low on the neck. Moves a finger up to take the bass note G (kind of G chord-ish, mostly Em/G) and then slides up to an A power chord shape letting the open strings work some magic (implied Am9 chord for the theory inclined).

Chorus

| C5         |  G5          | B5       | F5          |

This is cool. She just slides around a power chord shape built off the sixth string. Now, there is some finesse involved so don't just nail the open strings (don't mute them necessarily either - its a feel thing), but here are the chords:

Bridge/build

| A5         |  B5          | C5       | D5          |

Kind of the same thing going on here. Power chord shapes move up the neck. Also, there is a short section of three descending chords that happens right before this. Same shapes. Can you figure it out?

So, check it out. Its not technically challenging but a good reminder that music doesn't necessarily have to be to work well. 

Anyway, keep your ears open for unusual sounds and fresh approaches to things you think you already know. Those open strings give the simple power chords all kinds of great chord extensions and color. And go listen more Trixie Whitley.

PA 

For the Church guitarist: Using a Capo Live

Capos? Yes, capos.

In the context of church playing, we use them all the time. They often have a bad rap for allowing players to "cheat," but I would argue that for the type of chord voicings most used in this context (open chords, open strings, etc) they can be a great tool.  Of course, it could be kind of cheating if you only know chords in the key of G and just move that around with a capo (but, hey, sometimes we just do what works). However, you can use a capo intelligently, for instance:

• Choose a particular sound you want for a song anywhere on the neck
• Help you get a bigger sound when playing with multiple acoustic players
• Use it for cool voicing tricks, i.e. cut capos
• As an electric player you can give yourself open strings for drones, etc. in keys that wouldn't normally have them
• Also, as an electric player, though you don't really need to use one, you can get unique, ringing sounds from a chord voicing that wouldn't be possible with out a capo

So anyway, they're useful.

I'll link soon to more detailed ideas for capo use in other posts, but for now I want to take a quick look at the capos and tricks I've found particularly helpful in live use.

Using a capo live

That tends to mean quick release style capos and ones that are easy to manage. Sure, in a studio something like a Shubb can be perfect to dial in the ideal tension for in tune playing and if you're a flamenco purist, you'll use one of these but often, we have about .24 seconds to make a capo change and start the next song. So, quick release is key.

In this context I tend to see people using the kyser capos . I tend to use them as well, in a live context, as they are quick and simple to use. The pain about these is that that tension is often so strong that it easily can take your guitar out of tune because its presses down so hard (especially higher up the neck)!

So, here's a tip on always getting a Kyser to not manhandle your guitar out of tune: put in on the fret wire.  OK, not right on the fret wire or else you can get a muted, thuddy sound, but right on the back of the fret wire. Mess around with it. Much of placement depends on how strong the capo actually is (some are ridiculous) so sometimes you may be on the back edge of the fret and sometimes closely behind. Use your ears.

The above is what I do with a kyser capo on an acoustic. For an electric guitar a kyser is almost guaranteed to take the lower string tension and mangle it wildly out of tune. So, here's what I found to help: if I have to use a kyser on electric I put the kyser capo right on top of the fret wire. Right exactly on top of the fret. Seems odd, but it works well with strong kyser capos and the sound stays clear (not muted). Again, play around with placement a bit but putting it right on top of the fret wire can keep an electric perfectly in tune as it doesn't get to press down, or pull, as far (as it would in the middle of the fret). Another benefit of the keyser capo is that you can turn them upside down and use them as a cut, or partial, capo (more on that soon).

So, you can use a kyser for acoustic and electric and still stay in tune. Try messing with your placement. It really helps.

Now for electrics, I much prefer these planet waves capos (again, for live use). They are weird looking, but they are quick release AND you can adjust the tension quickly . . . with a big wonky looking spring on the bottom. Anyway, they work well and I prefer them for electric. Yes, there are other options and others that work well, but for speed, I like these. I can set the tension perfectly for the guitar and its still have the benefit of quick release.

Honorable mention goes to these G7 capos. Though I've never used one they have some lower profile designs that look like they would work really well (and not hang so far below the neck). They apparently are pretty quick to put on and they even make a kyser-esque looking one. They are about twice the price of the kyser capos though.

The above tips prove to be really really important when using cut capos, or a capo AND and cut capo. Things can get annoyingly out of tune otherwise. Granted, on a recording I'll tune with the capo already placed to make sure everything is perfect, but for quick, live use I've found the above to work very, very well. Keep the capo as straight across the strings as possible and experiment with placement to, or on, the fret.

More on creative capo use in other posts soon but try out the ideas and keep practicing!

PA

P.S. Want a capo that will haunt your dreams at night? Try the spider capo. Never used it but it looks really intriguing and supposedly woks well for  altered tuning type tricks.