The CAGED System

5 open chords become movable as barre chords:

Moveable Barres

The root note octave shapes of the chords encompass the entire neck when all played as the same note:

Octave Shapes (Key of C)

. . . . : . . . . :

C A G E D

Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5

C

P#1

P#2

P#3

P#4

P#5

P#1 (Repeated)

The octave shapes become a point of reference for scales, arpeggios and chord voicings:

The Major Scale (Key of D)

. . . . : . . . . :

D

Pattern 1 Pattern 2 Pattern 3 Pattern 4 Pattern 5

V VII X

XII

Deriving the Harmonized Major Scale

Chromatic Scale (Each note represents 1 fret)

A A# B C C# D D# E F F# G G# (repeats/circular)

(Bb) (Db) (Eb) (Gb)

Maj Scale

w w h w w w h w = whole step = 2 frets

h = half step = 1 fret

Apply  w‐h formula to the chromatic scale to generate the Maj scale for a specific key

This works for each pitch so there are 12 keys/scales total (not including modes)

C Major scale

C D E F G A B C

Chords are based off the idea of thirds

C Ma D Mi E Mi F Ma G Ma A Mi B dim C Ma Triad Qualtiy Matrix

R C D E F G A B C Ma Mi dim

3rd E F G A B C D E R R R R

5th G A B C D E F G 3 3 b3 b3

5 5 5 b5

C Ma7 D Mi7 E Mi7 F Ma7 G Dom7 A Mi7 B Mi7b5 C Ma7 7th chord Quality Matrix

R C D E F G A B C Ma7 Mi7 Dom7 Mi7b5

3rd E F G A B C D E R R R R R

5th G A B C D E F G 3 3 b3 3 b3

7th B C D E F G A B 5 5 5 5 b5

7 7 b7 b7 b7

Basic rule: Memorize two things to gernarate the chords for any key

1. wwhwwwh

2. Ma‐mi‐mi‐Ma‐Ma‐mi‐dim (or Ma7‐mi7‐mi7‐Ma7‐Dom7‐mi7‐mi7b5)

Deriving the Harmonized Minor Scale

Chromatic Scale (Each note represents 1 fret)

A A# B C C# D D# E F F# G G# (repeats/circular)

(Bb) (Db) (Eb) (Gb)

Min Scale

w h w w h w w w = whole step = 2 frets

h = half step = 1 fret

Apply  w‐h formula to the chromatic scale to generate the Min scale for a specific Minor key

This works for each pitch so there are 12 keys/scales total (not including modes)

A Natural Minor scale NOTE: A Min is the relative minor of C Maj (The containt the same 7 notes)

A B C D E F G A The Relative Min scale to any Maj scale beings on the 6th degree of that Maj Scale

Chords are based off the idea of thirds

A Mi B dim C Ma D Mi E Mi F Ma G Ma A Mi Triad Qualtiy Matrix

R A B C D E F G A Ma Mi dim

3rd C D E F G A B C R R R R

5th E F G A B C D E 3 3 b3 b3

5 5 5 b5

A Mi7 B Mi7b5 C Ma7 D Mi7 E Mi7 F Ma7 G Dom7 A Mi7 7th chord Quality Matrix

R A B C D E F G A Ma7 Mi7 Dom7 Mi7b5

3rd C D E F G A B C R R R R R

5th E F G A B C D E 3 3 b3 3 b3

7th G A B C D E F G 5 5 5 5 b5

7 7 b7 b7 b7

Basic rule: Memorize two things to gernarate the chords for any MINOR key

1.whwwhww

2. mi‐dim‐Ma‐mi‐mi‐Ma‐Ma (or mi7‐mi7b5‐Ma7‐mi7‐mi7‐Ma7‐Dom7)

In thinking of terms of Parallel Major and minor scales

Maj C D E F G A B C C Ma D mi E mi F Ma G Ma A mi  B dim

1 2 3 4 5 6 7 8 I Ma II mi III mi IV Ma V Ma VI mi VII dim

C Ma7 D mi7 E mi7 F Ma7 G 7 A mi 7 B mi7b5

I Ma7 II mi7 III mi7 IV Ma7 V Dom7 VI mi7 VII mi7b5

Min C D Eb F G Ab Bb C C mi D dim Eb Ma F mi G mi Ab Ma Bb Ma

1 2 b3 4 5 b6 b7 8 I mi II dim bIII Ma IV mi V mi bVI Ma bVII Ma

C mi7 D mi7b5 Eb Ma7 F mi7 G mi7 Ab Ma7 Bb 7

I mi II mi7b5 bIII Ma7 IV mi7 V mi7 bVI Ma7 bVII Dom7

w = whole step = 2 frets

h = half step = 1 fret

Maj Scale (Ionian) C D E F G A B C w w h w w w h

Dorian D E F G A B C D w h w w w h w

Phrygian E F G A B C D E h w w w h w w

Lydian F G A B C D E F w w w h w w h

Mixolydian G A B C D E F G w w h w w h w

atural Minor (Aeolian) A B C D E F G A w h w w h w w

Locrian B C D E F G A B h w w h w w w

CAGED Pattern # Relative to Major Scale

Maj Scale (Ionian) 1 2 3 4 5 Maj Scale (Ionian) 1 2 3 4 5 6 7

Dorian 5 1 2 3 4 Dorian 1 2 b3 4 5 6 b7

Phrygian 4 5 1 2 3 Phrygian 1 b2 b3 4 5 b6 b7

Lydian 4 5 1 2 3 Lydian 1 2 3 #4 5 6 7

Mixolydian 3 4 5 1 2 Mixolydian 1 2 3 4 5 6 b7

Natural Minor (Aeolian) 2 3 4 5 1 Natural Minor (Aeolian) 1 2 b3 4 5 b6 b7

Locrian 1 2 3 4 5 Locrian 1 b2 b3 4 b5 b6 b7

Harmonic Minor 1 2 b3 4 5 b6 7

Locrian #6 1 b2 b3 4 b5 6 b7

Once you understand the concepts Ionian #5 1 2 3 4 #5 6 7

try assigning 1 of the 5 patterns to each Dorian #4 1 2 b3 #4 5 6 b7

weekday.  For example, practice all the Phrygian Dominant 1 b2 3 4 5 b6 b7

different scales and arppeggios in Lydian #2 1 #2 3 #4 5 6 7

pattern 1 on Mondays, pattern 2 on  Alt Dominant bb7 (Fully Diminished) 1 b2 b3 b4 b5 b6 bb7

Tuesdays etc.

Melodic Minor 1 2 b3 4 5 6 7

If that is too overwhelming then just Dorian b2 1 b2 b3 4 5 6 b7

focus on patterns 2 and 4 of each scale Lydian #5 1 2 3 #4 #5 6 7

and arrppgeggio. These are the most Lydian Dominant 1 2 3 #4 5 6 b7

guitaristic shapes and by learning them Mixolydian b6 1 2 3 4 5 b6 b7

for each mode you will actually cover all Aeolian b5 1 2 b3 4 b5 b6 b7

5 eventually. Altered Scale 1 b2 b3 b4 b5 b6 b7

Altered Scale (Re‐Named) 1 b2 #2 3 b5 #5 b7

Relative Modes

Practice Tips

“CAGED” Octave Shapes

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Major Scale (Ionian): 1 2 3 4 5 6 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Dorian (2nd Mode of the Major Sacle): 1 2 b3 4 5 6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Phrygian (3rd Mode of the Maj. Scale): 1 b2 b3 4 5 b6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Lydian (4th Mode of the Maj. Scale): 1 2 3 #4 5 6 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Mixolydian (5th mode of the Maj. Scale): 1 2 3 4 5 6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Natural Minor (Aeolian, 6th Mode of the Maj. Scale): 1 2 b3 4 5 b6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Locrian (6th Mode of the Maj. Scale): 1 b2 b3 4 b5 b6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Major Pentatonic: 1 2 3 5 6

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Minor Pentatonic: 1 b3 4 5 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Major Blues: 1 2 b3 3 5 6

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Minor Blues: 1 b3 4 b5 5 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Harmonic Minor Scale: 1 2 b3 4 5 b6 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Phrygian Dominant (5th Mode of the Harmonic Minor): 1 b2 3 4 5 b6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Melodic Minor Scale: 1 2 b3 4 5 6 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Lydian Dominant (4th Mode of the Mel. Min. Scale): 1 2 3 #4 5 6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Altered Scale(7th Mode of the Mel. Min. Scale): 1 b2 b3 b4 b5 b6 b7

Renamed: 1 b2 #2 3 b5 #6 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Major Triad Arpeggio: 1 3 5

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Minor Triad Arpeggio: 1 b3 5

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Major 7th Arpeggio: 1 3 5 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Minor 7th Arpeggio: 1 b3 5 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Dominant 7th Arpeggio: 1 3 5 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Minor 7th b5 Arpeggio: 1 b3 b5 b7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Minor Major 7th Arpeggio: 1 b3 5 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Major 7th #5 Arpeggio: 1 3 #5 7

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

Fully Diminished 7th Arpeggio: 1 b3 b5 bb7

This is a symmetrical arpeggio. All 5 patterns are identical.

Pattern 1 Pattern 2 Pattern 3

Pattern 4 Pattern 5

1. No fingerings are indicated. Although it is important to begin practicing with a defined

fingering, in the long run it will be important to let your playing context determine your

fingering.

2. Only items listed in bold are presented in this work. Italicized items are redundant.

The rest are not used commonly

Ionian (Major Scale) Ma Ma7

Dorian Mi Mi 7

Phrygian Mi Mi 7

Lydian Ma Ma 7

Mixolydian Ma Dom 7

Aeolian (Natural Minor) Mi Mi 7

Lociran Dim Mi 7b5

Harmonic Minor Mi Ma7

Locrian #6 Mi 7 b5

Ionian #5 Ma7 #5

Dorian #4 Mi 7

Phrygian Dominant Dom 7

Lydian #2 Ma 7

Alt Dominant bb7 (Fully Diminished) Dim 7 (Fully diminished)

Melodic Minor Mi Ma7

Dorian b2 Mi 7

Lydian #5 Ma7 #5

Lydian Dominant Dom 7

Mixolydian b6 Dom 7

Aeolian b5 Mi 7b5

Altered Scale Dim 7 (Fully diminished)

Wholetone (whole/whole)

Diminished (whole/half)

Dominant Diminished (half/whole)

Notes on this book:

Scales & Their Modes Related Arpeggios

Symetical Scales (Non 5 Pattern)

***Note: Can always play the Arppeggio For any Chord

Chord Type Scale Choice Diatonic Sub Arpp Choice Mel Min Sub Arp ChoriceIII mi, V Ma

Major, Ma7, Ma6, Ma9 Major Scale, Major Pent

Maj 7(#11), Maj 7 (#11, 13) Lydian II ma, VII mi

Maj7 (#5) Lydian Augmented (3rd mode of mel min) III Ma

Min 7 min 9, min 11 Min Pent, Dorian, Aeolina (Nat Min), Phryian (except when there is a natural 9) III Ma, V Ma

Minor (Maj 7) Harm Min, Me Min bIII Aug

min 6 Mel Min, Dorian II Sus

min 13 Mel Min, Dorian bVII Ma 7

dom 7, dom 9 Mixolydian, Blues, Major Pent, Lydian Dom(= #4, b7) III Dim, V mi

Notes RE: Dom chordsMaj Resolution Mixo or Lyd Dom

Min Resolution Phryg Dom (5th mode Harm Min)

Tri Tone Sub Lyd Dom (Note, only resolving Dom chords can be tri tone subbed)

dom 7 sus, dom 9 sus Mixolydian, Maj Pent V mi 7

Dom 9 (#11), Dom 13 (#11) Lydian Dominant (#4, b7) V mi (Ma 7)

Dom 7 (#9, and/or b9,and/or #5,and/or b5) Dominant Diminished (whole/half), Altered (1 b2 #2 3 b5 #5 b7)

Dom 13 (#9, b9) Dominant Diminished (whole/half)

Diminished Diminished Scale (Half/Whole)

Augmented Whole tone

min 7 (b5) Locrian, Lorcria #2 (6 mode of mel min) bIII mi, V Ma

***Note: Can always play the Arppeggio For any Chord *** Roman Numeral is relative to root of chord from the left

Chord/Scale Relationships