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Eric Haugen’s Guitar Zen provides an ideal framework to bridge practice and play. The CAGED system clearly maps chord shapes and chord tones, all over the fretboard, to intuitively guide your rhythm playing, fills, and improvised solos, in any key. For each of the seven sections in the course, you’ll explore new CAGED approaches over a series of play-along backing tracks. Eric starts you off with applications that focus on a particular CAGED shape, and then gradually advances to being able to play over simple 2 and 3-chord progressions, explaining and demonstrating the key concepts and approaches along the way.
Complete course with step-by-step lessons and practice examples.
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We’ll explore the 5 CAGED shapes, in both major and minor tonalities, along with the Pentatonic scales that correlate to them. We’ll start in open position, and work our way up the entire fretboard. Eric will demonstrate how to practice them effectively and play with them creatively and tastefully.
Hey, I’m Eric Haugen. Welcome to this CAGED edition of Guitar Zen!<BR></BR>Practicing and playing are two distinct states of mind. When we practice, we’re patient, repetitive and intentional, so that when we play, our creativity can flow freely, mindfully, and tastefully. The key is finding the bridge between those two states.<BR></BR>The CAGED system is the ideal framework for guitarists in particular. Whether you're playing rhythm or improvising solos and fills, CAGED maps chord shapes and chord tones all over the fretboard, in any key.<BR></BR>In this edition, we’ll explore the 5 CAGED shapes, in both major and minor tonalities, along with the Pentatonic scales that correlate to them. We’ll start In open position, and work our way up the entire fretboard. I’ll demonstrate how to practice them effectively. I’ll also show you how to play with them creatively and tastefully.<BR></BR>For each of the seven sections in the course, we’ll explore new CAGED approaches over a series of play-along backing tracks. We’ll start with applications that focus on a particular CAGED shape, and then gradually advance to playing over simple 2 and 3 chord progressions. You’ll also have all of TrueFire’s learning tools at every step of the way, so you can learn at your own pace.<BR></BR>I’ll share a variety of patterns to use with the CAGED shapes to craft rhythmic grooves, on the fly, in any key, up and down the neck. I’ll also show you how to easily find and play a variety of double-stops inside the pentatonic CAGED framework.<BR></BR>You’ll notice my intention here is for everything to be very airy and loose - not difficult to play, so you can rewire your brain to bring musical ideas to life on the fretboard rather than chasing your fingers around hot licks or scales.<BR></BR>Are you ready to get started? Pick up your guitar, take a breath, and let’s begin.
2:57 Runtime
0.0 Difficulty
We sometimes mistakenly associate the open postion with "beginner" playing. However, if we really want to know the fretboard, we should make sure that anything we do up high we can do down low.
1:37 Runtime
How to see the connection between the C major chord and the C major pentatonic in the open position. Also, how to GROOVE on this connection so that it becomes internalized.
6:40 Runtime
1.0 Difficulty
How to see the connection between the A minor chord and the A minor pentatonic in the open position. Also, how to GROOVE on this connection so that it becomes internalized.
7:22 Runtime
How to see the connection between the G major chord and the G major pentatonic in the open position. Also, how to GROOVE on this connection so that it becomes internalized.
6:39 Runtime
How to see the connection between the E minor chord and the E minor pentatonic in the open position. Also, how to GROOVE on this connection so that it becomes internalized.
5:28 Runtime
How to see the connection between the D minor chord and the D minor pentatonic in the open position. Also, how to GROOVE on this connection so that it becomes internalized.
5:47 Runtime
1.5 Difficulty
A short etude that combines C, Am, and G with thier respective pentatonic scales in a minimal & soundscapey way. This is to show you how we might use this idea in a song.
1:32 Runtime
Now lets break it all down in detail.
6:32 Runtime
Welcome to CAGED going up the fretboard! Every chord has 5 options. That's really all there is to it. Every triad, arpeggio, inversion, lick, run, etc. is somehow connected to one of these. Here they are in C major.
0:56 Runtime
2:28 Runtime
How to see the connection between the C major chord and the C major pentatonic out of the "A" shape. Also, how to GROOVE on this connection so that it becomes internalized.
7:31 Runtime
How to see the connection between the C major chord and the C major pentatonic out of the "G" shape. Also, how to GROOVE on this connection so that it becomes internalized.
7:08 Runtime
How to see the connection between the C major chord and the C major pentatonic out of the "E" shape. Also, how to GROOVE on this connection so that it becomes internalized.
6:22 Runtime
How to see the connection between the C major chord and the C major pentatonic out of the "D" shape. Also, how to GROOVE on this connection so that it becomes internalized.
10:01 Runtime
Welcome to CAGED going up the fretboard! Every chord has 5 options. That's really all there is to it. Every triad, arpeggio, inversion, lick, run, etc. is somehow connected to one of these. Here they are in C minor.
0:43 Runtime
3:45 Runtime
How to see the connection between the C minor chord and the C minor pentatonic in the open position. Also, how to GROOVE on this connection so that it becomes internalized.
4:49 Runtime
How to see the connection between the C minor chord and the C minor pentatonic out of the "A" shape. Also, how to GROOVE on this connection so that it becomes internalized.
7:33 Runtime
How to see the connection between the C minor chord and the C minor pentatonic out of the "G" shape. Also, how to GROOVE on this connection so that it becomes internalized.
5:49 Runtime
How to see the connection between the C minor chord and the C minor pentatonic out of the "E" shape. Also, how to GROOVE on this connection so that it becomes internalized.
5:00 Runtime
How to see the connection between the C minor chord and the C minor pentatonic out of the "D" shape. Also, how to GROOVE on this connection so that it becomes internalized.
5:54 Runtime
A short etude that combines several of the C minor pentatonic structures in a minimal & soundscapey way. This is to show you how we might use this idea in a song.
1:05 Runtime
2.0 Difficulty
9:41 Runtime
Once we understand the CAGED shapes and their respective pentatonics, the next step is moving them off of the strutures I've presented and onto any other chord you may ever encounter in your life.
0:59 Runtime
How to move the open position C chord up two frets, thereby creating a "C shaped D chord."
5:32 Runtime
How to move the open position C minor chord up two frets, thereby creating a "C shaped D minor chord."
5:13 Runtime
A short etude that combines several of the A minor pentatonic structures in a minimal & soundscapey way. This is to show you how we might use this idea in a song.
0:39 Runtime
6:20 Runtime
In real life, chords change. That's where CAGED becomes very useful. And yes, tricky! To test our ability to recall the structures we play over simple 2 chord changes.
1:14 Runtime
A short etude that goes between Bm and G in a minimal & soundscapey way. By using CAGED shapes and thier respective pentatonics, we are able to float across the fretboard.
0:55 Runtime
6:53 Runtime
A short etude that goes between E and C in a minimal & soundscapey way. By using CAGED shapes and thier respective pentatonics, we are able to float across the fretboard.
0:49 Runtime
9:34 Runtime
Any time we play 2 notes together we are playing some kind of doublestop. Pentatonics are very unique in their ability to generate so many simple, thouroughly musical combinations.
1:17 Runtime
From the perspective of the Am barre chord at the 5th fret (the CAGED "E" shape), take our minor pentatonic scale and begin pairing notes that are easily achieved by laying our fingers flat.
From the perspective of the Am barre chord at the 5th fret (the CAGED "E" shape), take our minor pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat. Now SLIDE those pairs around.
2:53 Runtime
From the perspective of the Am barre chord at the 5th fret (the CAGED "E" shape), take our minor pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat. Then, raise the lower tone of the pair while keeping the upper tone static.
4:52 Runtime
From the perspective of the Am barre chord at the 5th fret (the CAGED "E" shape), take our minor pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat. Then, hammeron the lower tone of the pair while keeping the upper tone static. THIS IS THE "HENDRIX" DOUBLESTOP.
4:10 Runtime
From the perspective of the Am barre chord at the 5th fret (the CAGED "E" shape), we look at the possibilites of combining single-note pentatonic melodies with doublestops.
3:53 Runtime
From the perspective of the C barre chord at the 8th fret (the CAGED "E" shape), take our major pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat.
3:32 Runtime
From the perspective of the C barre chord at the 8th fret (the CAGED "E" shape), take our major pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat. Now SLIDE those pairs around.
2:35 Runtime
From the perspective of the C barre chord at the 8th fret (the CAGED "E" shape), take our major pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat. Then, raise the lower tone of the pair while keeping the upper tone static.
4:03 Runtime
From the perspective of the C barre chord at the 8th fret (the CAGED "E" shape), take our major pentatonic scale and begin pairing notes that are easily achieved my laying our fingers flat. Then, hammeron the lower tone of the pair while keeping the upper tone static. THIS IS THE "HENDRIX" DOUBLESTOP.
4:47 Runtime
From the perspective of the C barre chord at the 8th fret (the CAGED "E" shape), we look at the possibilites of combining single-note pentatonic melodies with doublestops.
6:57 Runtime
A short etude that goes across a simple 4 bar progression in a minimal & soundscapey way. By using CAGED shapes, thier respective pentatonics & doublestops we are able to float across the fretboard.
1:27 Runtime
11:55 Runtime
A walkthrough what sound tools I'm using for this series and why I chose to use them.
10:29 Runtime
Play slow and elegant. Breathe. Take it easy, my duders! That's the main thing - the more we can relax and give ourselves the time and space we need to play clean, the better we play, the better we feel!
2:05 Runtime
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Blue Cactus, Birds and Arrows
All three of the above actualy.
Been looking for a help into using CAGED over pentatonic. scales and so this course looks like a good opportunity to get some practice
helps to apply what I already knew (but struggled to apply).
Super cool lesson thanks. Really dig that playing.