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Transcript

Live Class: The CAGED System Explained For Real Guitar Use · The Steve Stine Podcast

• 0:57
  SPEAKER_05: Hello.
• 0:58
  SPEAKER_05: Good morning, Steve.
• 1:00
  Steve: Good morning.
• 1:00
  Steve: How you doing?
• 1:01
  SPEAKER_02: Doing well, thank you.
• 1:02
  Steve: Good, good to see you.
• 1:04
  Steve: Good morning.
• 1:05
  Steve: Good morning, everybody.
• 1:06
  Steve: Good morning.
• 1:07
  Steve: Hey, Roger.
• 1:08
  SPEAKER_01: Hi, Steve.
• 1:09
  Steve: Hey, how you doing, buddy?
• 1:11
  SPEAKER_01: I'm good.
• 1:11
  SPEAKER_01: How are you?
• 1:12
  Steve: Good, good.
• 1:13
  Steve: Awesome.
• 1:13
  Steve: Carl is here.
• 1:14
  Steve: How you doing, Carl?
• 1:22
  SPEAKER_05: Okay.
• 1:23
  SPEAKER_05: Now I'm here.
• 1:26
  Steve: Francois's here.
• 1:27
  Steve: Dave is here.
• 1:28
  Steve: John is here.
• 1:29
  Steve: David's here.
• 1:30
  Steve: George.
• 1:30
  Steve: How?
• 1:31
  Steve: How you doing, bud?
• 1:32
  Steve: Oh good.
• 1:33
  Steve: All good.
• 1:34
  Steve: Awesome.
• 1:35
  Steve: Good.
• 1:35
  Steve: Greg is here.
• 1:38
  Steve: Good to see you, bud.
• 1:40
  Steve: All right.
• 1:42
  Steve: Chris is here.
• 1:47
  Steve: Jeff and Marvin, Greg, Len.
• 1:51
  Steve: Len is here.
• 1:52
  Steve: Steve.
• 1:55
  Steve: Awesome.
• 1:56
  Steve: Cool.
• 1:56
  Steve: All right, guys.
• 1:57
  Steve: So uh I'm sure there'll be a few more people coming in, but we're going to talk today about the cage system.
• 2:03
  Steve: What it is, how it works, what you can do with it.
• 2:07
  Steve: And um for some of you, I know you probably already kind of know what this is, and some of you probably know very well what it is, but I still want to talk about it and make sure that we the cage system was a very interesting thing for me because uh, hey James, how you doing, bud?
• 2:23
  Steve: Good to see you, man.
• 2:24
  Steve: Um, the cage system was really important for me because it really opened up my ability of being able to play more melodically.
• 2:32
  Steve: I really had no idea how to do that when I was a kid.
• 2:35
  Steve: Um, I could play fast, I had technique, I could play songs, but I just really struggled with playing melodically, especially in major keys.
• 2:46
  Steve: Um, and so the cage system was just a really important thing for me.
• 2:50
  Steve: And since then, I use it for a lot of different stuff.
• 2:52
  Steve: But what I want to do is just talk to you first about what it is and how it works.
• 2:56
  Steve: So I'm gonna spotlight this so you can see me a little bit better there.
• 3:02
  Steve: Make sure these are working there and go there.
• 3:12
  Steve: All right, perfect.
• 3:14
  Steve: Okay.
• 3:15
  Steve: Carrie is coming in.
• 3:16
  Steve: Okay, so this is basically what what I'm gonna do is just explain to you how this whole system works, and then we'll we'll um I'm I'm gonna find some charts for you as well.
• 3:27
  Steve: Actually, I made some charts.
• 3:29
  Steve: I'll post those when I when I um post the review of this or the the recording of this.
• 3:36
  Steve: So let me show you this first.
• 3:37
  Steve: First, understanding what a cage system is.
• 3:40
  Steve: If I took this C chord right here and I moved it here, it's not gonna work.
• 3:48
  Steve: Why?
• 3:49
  Steve: Because three of the notes are raising by a half step, but the open strings are not.
• 3:55
  Steve: So that's not gonna sound very pretty.
• 3:58
  Steve: But if I was to take the capo, which we all know, if I take the capo and put it here and now play the C chord, it'll sound just fine.
• 4:07
  Steve: Is it a C chord anymore?
• 4:09
  Steve: No, what is it?
• 4:16
  SPEAKER_05: Nope.
• 4:18
  Steve: Nope.
• 4:20
  Steve: Oh, C sharp.
• 4:21
  Steve: C sharp.
• 4:22
  Steve: Thank you.
• 4:22
  Steve: Yeah, that's okay.
• 4:24
  Steve: So if I took this C sharp and I did this, it's not gonna work.
• 4:29
  Steve: I'd have to do this, and now I've got a a D.
• 4:35
  Steve: Even though it looks like a C, it sounds like a D because it's C two frets higher.
• 4:45
  Steve: Does that make sense?
• 4:48
  Steve: We are visual animals, right?
• 4:53
  Steve: We visualize things on the fretboard.
• 4:56
  Steve: But this is no longer a C chord because it's not here.
• 5:00
  Steve: The only time it was C is when it was here.
• 5:03
  Steve: I've moved it up two fret, so it's no longer a C chord.
• 5:06
  Steve: It looks like a C, but it doesn't sound like a C.
• 5:10
  Steve: It sounds like a D.
• 5:11
  Steve: And I could do that with any open chord.
• 5:13
  Steve: I could move any open chord up with a cape bone, we know that.
• 5:17
  Steve: Okay.
• 5:18
  Steve: So what happens with the cage system is what you're literally doing are taking those five chords C, A, G, E, and D that spell the word caged.
• 5:31
  Steve: And you're moving them up and down in that order.
• 5:36
  Steve: So what we're doing is we're taking the chords C and A and G and E and D, and we're moving them up and down the guitar.
• 5:47
  Steve: Okay?
• 5:49
  Steve: So the easiest way to start talking about the cage system is to understand what most of you already know.
• 5:55
  Steve: You already know how to play an open chord.
• 5:58
  Steve: And most of you probably already know how to play a bar chord.
• 6:01
  Steve: How many of you know how to play bar chords?
• 6:04
  Steve: Okay.
• 6:05
  Steve: We have two different primary styles of bar chords.
• 6:08
  Steve: We have what we call six-string bar chords, and we have what we call fifth string bar chords.
• 6:14
  Steve: How many of you know your sixth and fifth string bar chords, at least somewhat?
• 6:19
  Steve: Okay?
• 6:19
  Steve: So you're halfway, you're halfway done with this whole cage thing.
• 6:23
  Steve: We just have to connect everything together.
• 6:25
  Steve: So here's what I want you to understand: I could play a C chord here, which is an open chord.
• 6:33
  Steve: If you know your fifth string bar chords, I could play C here.
• 6:38
  Steve: Doesn't look like C.
• 6:40
  Steve: It actually looks like A, right?
• 6:45
  Steve: But if I play it at the third fret, that means I'm doing A, A sharp, B, C.
• 6:53
  Steve: And I could actually play C here as a six-string bar chord, which is actually an E shape all the way up here on the eighth fret.
• 7:05
  Steve: See, that's the that's what the cage system is, is taking open chords and moving them around the guitar.
• 7:10
  Steve: But what you're gonna try and do is build an entire system, an entire framework that works anywhere on the guitar.
• 7:17
  Steve: That's what I want to show you today.
• 7:18
  Steve: And we're gonna start with the chord C.
• 7:22
  Steve: So we keep the cage system in logical order.
• 7:25
  Steve: And then once you understand how it works, then we'll start moving it to other chords and moving it around.
• 7:31
  Steve: But what I really, really want you to understand is just like we've been talking about for the last couple of weeks, this concept honestly can be life-changing.
• 7:43
  Steve: But you can't kind of sort of know it.
• 7:47
  Steve: You have to know it.
• 7:49
  Steve: So start with chords that you really use a lot and learn to see them with absolute certainty on the fretboard.
• 7:58
  Steve: So we're gonna start by building, but once you've learned how to build, you gotta memorize.
• 8:03
  Steve: You gotta memorize the system.
• 8:06
  Steve: Right?
• 8:07
  Steve: Just like if I asked you to play a C5 string bar chord, many of you could just go here and do this.
• 8:11
  Steve: You wouldn't have to count, you know where it is.
• 8:14
  Steve: If I asked you to go to a C6 string barcord, you'd go up here and you play this.
• 8:18
  Steve: You don't have to count, you know where it is.
• 8:22
  Steve: That's the difference, right?
• 8:23
  Steve: If you have to count, you sort of know it.
• 8:26
  Steve: If you know where it is, you know where it is.
• 8:29
  Steve: There's nothing to count.
• 8:31
  Steve: So, this is the way the cage system works is we're gonna create a framework that moves across the entire fretboard using the C, the A, the G, the E, and the D chords.
• 8:42
  Steve: So, everybody, if you've got a guitar, and I would highly recommend if you do have a guitar, use it because this will make more sense as we go.
• 8:49
  Steve: Okay.
• 8:51
  Steve: Now, I will preface as you're getting your guitars ready.
• 8:55
  Steve: What we're going to play right now, and what we're actually gonna play in the real world, are two different things.
• 9:02
  Steve: We want to learn to see the framework that we're going to play.
• 9:06
  Steve: But some of these things we're gonna try and play right now are gonna be really, really ugly.
• 9:10
  Steve: Okay?
• 9:11
  Steve: They're not gonna be comfortable for your fingers, and they're not for anybody.
• 9:15
  Steve: Okay?
• 9:17
  Steve: So just follow me.
• 9:18
  Steve: So let's make an open C chord right here.
• 9:22
  Steve: Just a plain old C.
• 9:24
  Steve: That is a C chord in its original position, right?
• 9:28
  Steve: In its root position, so to speak.
• 9:32
  Steve: If we look at the third finger, that's gonna be our guide.
• 9:36
  Steve: We're always gonna look at the farthest note out here as best we can.
• 9:40
  Steve: We're gonna look at the farthest note out.
• 9:42
  Steve: That note right there is a C.
• 9:44
  SPEAKER_05: So from that note, we're gonna bar and make the next shape, which is the A shape.
• 9:54
  SPEAKER_05: Now, if you know your fifth string bar chords, you already know this.
• 9:59
  Steve: But now what I want you to understand is you went from the C shape, connected from this finger, you barred over that and made the A shape.
• 10:07
  Steve: And now you've still got a C chord.
• 10:09
  Steve: C, C.
• 10:13
  Steve: Now, are they always gonna sound exactly the same?
• 10:18
  Steve: No, because the organization of the notes, the notes are still the same, but the organization is changing.
• 10:25
  Steve: The strings that you're strumming are changing.
• 10:28
  Steve: So we have this thing called timbre.
• 10:30
  Steve: Has anybody ever heard of timbre before?
• 10:33
  Steve: Tambre's like when you play the note C on a guitar, and then you play it on a saxophone, and then you play it on a piano, the same octave.
• 10:42
  Steve: They don't sound the same.
• 10:43
  Steve: They're the same note, but you can go, hey, that's a piano, that's not a saxophone.
• 10:47
  Steve: Hey, that's a saxophone, that's not a guitar.
• 10:50
  Steve: That's timbre.
• 10:52
  Steve: So the timbre of each one of these chords changes a little bit.
• 10:55
  Steve: The notes are still the same.
• 10:58
  Steve: So as I'm playing, this is a C.
• 11:01
  Steve: I go to this note right here and bar, and now this is still C.
• 11:07
  Steve: Now, follow along because now it's gonna get kind of ugly.
• 11:11
  SPEAKER_05: Where the third finger is, we're gonna bar over that.
• 11:17
  Steve: Now don't worry about quality.
• 11:19
  Steve: I'm not concerned with how good this is gonna sound, because it's gonna sound pretty ugly for a while here.
• 11:24
  SPEAKER_05: With these other three fingers, we're going to make a G chord.
• 11:32
  SPEAKER_05: G isn't here, G is here.
• 11:37
  Steve: Now, as you try and make this, you're gonna go, this sucks.
• 11:39
  Steve: And it does.
• 11:40
  Steve: And you're never gonna do this.
• 11:41
  Steve: Okay, you're never gonna do this in the real world.
• 11:44
  Steve: Okay?
• 11:45
  Steve: There's a much easier way of doing all of this.
• 11:47
  Steve: But I want you to see now your third finger is on the note C.
• 11:54
  SPEAKER_05: So it's a G shape, but it's gonna sound like C.
• 12:04
  SPEAKER_05: So we had a C chord in its root position.
• 12:09
  Steve: Building off of the ring finger, we have a C chord in the A shape.
• 12:16
  Steve: Building off the first finger, we have a C chord with the G shape.
• 12:24
  Steve: Now again, I don't expect you to make this.
• 12:26
  Steve: Most of you are gonna hate the way this feels.
• 12:29
  Steve: Now, if we look at the two outside notes that are at the eighth fret, we've got our ring finger finger and our pinky.
• 12:36
  Steve: So if we bar over that, the eighth fret there, and make an E shape, because that's the next one.
• 12:45
  Steve: We went C, A, G, E.
• 12:47
  Steve: Now you're on your six-string bar chord.
• 12:52
  Steve: That's the E shape, but it's gonna sound like C.
• 12:59
  Steve: Now we're gonna go through this a few times.
• 13:01
  Steve: I just want you to kind of see what's happening here.
• 13:03
  Steve: Now, if I go to the last notes here, which are my third and my pinky, I really want my pinky at this point.
• 13:10
  Steve: My pinky.
• 13:11
  Steve: So what I'm gonna do is I'm gonna bar over those bottom strings from the pinky, and I'm gonna make the D shape.
• 13:17
  Steve: And again, this is ugly and you're not gonna like it.
• 13:20
  Steve: I just want you to see it.
• 13:23
  Steve: It's not here, it's here.
• 13:26
  Steve: And now I'm playing a C chord, but it's the D shape.
• 13:37
  Steve: So what I've done is I've played the C chord here, the A chord here, the G chord here, the E chord here, and the D chord here.
• 13:50
  Steve: I built this entire framework that covers all my frets from zero all the way up to 12, and then it would start all over with the C and the A and the G one octave higher.
• 14:04
  Steve: So, what that means is I can take any chord, let's not worry about minors right now.
• 14:09
  Steve: We'll come back to minor later.
• 14:10
  Steve: Let's just deal with the C chord.
• 14:12
  Steve: What I've done is I've taken the C chord and learned to play it in five different positions.
• 14:21
  Steve: If you know your open chord and your sixth and fifth string bar chords, you already knew three of the five positions.
• 14:28
  Steve: You're only missing two of those.
• 14:31
  Steve: The reason you're missing those two is because they're they suck.
• 14:36
  Steve: They're hard to play.
• 14:38
  Steve: Right?
• 14:40
  Steve: If you were playing, think about it this way: if you were playing guitar and I asked you to play me a G chord, you would do something like this.
• 14:49
  Steve: If I said to you, oh sorry, I need you to play G sharp, you would never try and go like this.
• 15:01
  Steve: You would never do that.
• 15:02
  Steve: You would go here and play this.
• 15:07
  Steve: Right?
• 15:08
  Steve: You would never in a million years try and play this.
• 15:12
  Steve: Even though it is a G sharp, it's G1 fret higher.
• 15:15
  Steve: Why?
• 15:16
  Steve: Because I can already feel a kink in my shoulder trying to do that.
• 15:19
  Steve: That's why.
• 15:21
  Steve: Okay?
• 15:22
  Steve: Because it's uncomfortable.
• 15:24
  Steve: That's why it's not one of our bar chords.
• 15:27
  Steve: Even though it is, it's uncomfortable.
• 15:32
  Steve: Guys, try and do this for me once.
• 15:34
  Steve: Try and do this for me.
• 15:35
  Steve: Make a C chord.
• 15:37
  SPEAKER_05: If you got your guitar, just make a plain old C chord.
• 15:42
  Steve: Now, pretend like your first finger has been cut off in a bizarre gardening accident.
• 15:47
  Steve: You don't have a first finger.
• 15:48
  Steve: Okay?
• 15:49
  Steve: You were pruning uh roses or something, and you don't have a first finger anymore.
• 15:53
  Steve: Okay?
• 15:54
  Steve: Now you're gonna make a C chord with these three fingers.
• 15:59
  SPEAKER_05: Try and make a C chord with those three fingers.
• 16:04
  SPEAKER_05: How terrible is that?
• 16:08
  SPEAKER_05: Now once you've kind of done that, try and take those three fingers and move them up a fret and bar.
• 16:16
  Steve: And what you've done is created C sharp.
• 16:21
  Steve: But you very easily could have just done C sharp like this.
• 16:24
  Steve: But think about it, what are you really doing?
• 16:26
  Steve: You're doing the caged.
• 16:28
  Steve: You're playing this that connects to this.
• 16:35
  SPEAKER_01: But I will never play a C chord like that.
• 16:38
  Steve: Most people wouldn't.
• 16:39
  Steve: That's right.
• 16:40
  Steve: So the point is not that you have to play, because this is where we get into what we call chord fragments.
• 16:48
  Steve: You don't have to play the whole shape.
• 16:51
  Steve: Here's my point.
• 16:53
  Steve: If I could take the C chord, the C system, this the cage system, and see this C and this A shape, and especially this G shape right here, which is really hard to do, and this E shape and this D shape.
• 17:11
  Steve: And I could visualize them on my guitar, I can choose to play a fragment of that chord, not the whole chord.
• 17:22
  Steve: So if I come up to this ugly G shape right here, instead of trying to play this whole thing, which is really 8, 7, 5, 5, 5, 8, that's what I'm playing.
• 17:31
  Steve: 8, 7, 5, 5, 5, 8.
• 17:34
  Steve: I could choose to just play this or this or that.
• 17:48
  Steve: Or that.
• 18:01
  Steve: And the other thing that we're gonna learn how to do is that that cage system that we're building, there are scales underneath there too, aren't there?
• 18:08
  Steve: Your pentatonic system is sitting under there too.
• 18:13
  Steve: So if you think about what we've been doing with the F sharp minor and the D and the E, that jam track we've been doing, that's what we've been doing.
• 18:21
  Steve: We've been doing the cage system.
• 18:22
  Steve: You just haven't thought about it that way.
• 18:25
  Steve: And we're doing it in just one spot on the guitar.
• 18:29
  Steve: But we can actually learn how to do that all over the guitar by seeing multiple chords in multiple positions, but it takes time.
• 18:38
  Steve: We can't be in a hurry with this.
• 18:40
  Steve: So the first thing we have to do is just get used to seeing the structure, the system, the cage system across the guitar before we can actually start using it.
• 18:50
  Steve: So step one is do we understand what the cage system is?
• 18:55
  Steve: It's a C shape, an A shape, a G shape, an E shape, and a D shape, and it's always in that order.
• 19:02
  Steve: It's always in that order.
• 19:04
  Steve: They'll always connect together the exact same way.
• 19:09
  Steve: C connects to A, connects to G, connects to E, connects to D.
• 19:19
  Steve: So if I look up here to this one, which again isn't very comfortable to play, I might just use this.
• 19:29
  Steve: Or I might use this.
• 19:32
  Steve: I might just use that part.
• 19:39
  Steve: Okay.
• 19:40
  Steve: So the cage system can be used for playing chords, obviously.
• 19:48
  Steve: It could be used for playing chord fragments, just a piece of a chord.
• 19:53
  Steve: Not the whole chord, but the piece of a chord.
• 19:57
  Steve: It can be used for chord comping.
• 20:00
  Steve: Like I use this system a ton in church.
• 20:06
  Steve: Okay?
• 20:07
  Steve: If I'm playing with one of my rock bands, I'm playing the song.
• 20:11
  Steve: But in church, I'm always playing layer stuff, layers of things.
• 20:15
  Steve: Because if there's another guitar player and they're already playing chords and whatever, I don't need to play the exact same thing they're playing.
• 20:21
  Steve: So I will find some other thing to do using this cage system.
• 20:27
  Steve: So I might take, you know, whatever.
• 20:30
  Steve: Like I might go to this six-string bar chord, this E shape here, and I could go in and make something.
• 20:54
  Steve: Where I start using a fragment of that chord shape and do something else with it.
• 21:00
  Steve: Now, needless to say, I gotta kind of know what the scale is underneath there.
• 21:03
  Steve: That's another conversation.
• 21:05
  Steve: These things will start wrapping together.
• 21:07
  Steve: It's just gonna take time.
• 21:09
  Steve: Okay?
• 21:10
  Steve: But when you think of songs like um any of that kind of stuff.
• 21:22
  Steve: Like I all the songs I used to like as a kid all seem like that, like rock and roll all night.
• 21:29
  Steve: You know, I always used to call it the 70s chord.
• 21:31
  Steve: Like that 70s chord is a fragment of the Kate system.
• 21:34
  Steve: That's what it is.
• 21:38
  Steve: So before we move on from here, because there's a lot of stuff I'd like to talk to you about, but I don't want to lose anybody.
• 21:45
  Steve: Okay, so the first thing we need to do is does everybody understand what's actually happening here?
• 21:50
  Steve: I'm taking these five chords and playing them.
• 21:54
  Steve: These five shapes are actually creating the same chord in five different positions.
• 21:58
  Steve: Does that make sense, everybody?
• 22:02
  Steve: Now, if you already knew your open chord and your two bar chords, your six and fifth string bar chords, you already knew three out of the five.
• 22:11
  SPEAKER_05: So the beauty of this system is there's a shortcut.
• 22:17
  Steve: Let me show you that.
• 22:19
  Steve: And then I'm gonna move it to another chord so you can see this.
• 22:21
  Steve: So the beauty of this system is there's a shortcut.
• 22:24
  Steve: If you know your fifth string bar chord, if you know your fifth string bar chord no matter where you are, underneath your fifth string bar chord is the C.
• 22:58
  Steve: shape always always always always always always underneath the fifth string bar chord which is an a shape would be the c shape and above the fifth string bar chord would be the G shape okay so please be honest with me if I start losing you okay so now what I'm gonna do let's do this guys if you have your your your uh your guitar with you let's move up to a fifth string bar chord let's move up to E seventh fret let's go to an E major bar chord on the fifth string so again it's an A shape it's sitting right here seventh fret so below me I don't I don't want to move yet but I'm gonna show you this below me is the C chord it's sitting right here here's the top of it right there so my pinky would go where my first finger is and then I would build the rest of the C chord now again I'm not saying this is going to be easy to do I want you to try and see it it's sitting right there and above me would be the G shape.
• 24:25
  Steve: So building off of this right here that's where I would bar and I would make my G chord now again I'm not saying this is easy to do I'm not saying it needs to sound good I'm just trying to get you to visualize it so I could see C sitting there C or excuse me E, sorry, E.
• 24:45
  Steve: The C shape of E, the A shape of E, and the G shape of E.
• 24:51
  Steve: So if you know your fifth string bar chords and you gotta know them well, right?
• 24:55
  Steve: I mean if you don't really know your fifth string barchords this is going to be kind of tough to do but if you know your fifth string bar chord underneath the fifth string barchord would be the C shape.
• 25:06
  Steve: Above the fifth string bar chord would be the G shape.
• 25:09
  Steve: So you could just start by learning how to visualize those two pieces.
• 25:15
  Steve: Here's another shortcut let's go to the six string C barchord at the eighth fret.
• 25:22
  Steve: Most of you probably know your six string bar chords okay so now I'm on the eighth fret doing the E shape which means below me would be the what the G shape very good so where this finger is right here would be the G shape.
• 25:53
  SPEAKER_05: Now again I'm not saying it has to be great I'm saying can you see that?
• 26:01
  SPEAKER_05: And above this would be the D shape should be right here.
• 26:08
  SPEAKER_01: And I am again gonna give you a chart with this on there and above the D shape would be the C shape all over again I don't I don't I don't see the shape underneath the bar.
• 26:28
  SPEAKER_01: I mean I can tell you I don't see it.
• 26:31
  SPEAKER_01: On which one on which one in particular well it really doesn't matter you say if I can play the fifth I can play any fifth string bar chord or any six string bar chord.
• 26:43
  SPEAKER_01: And if I'm playing if I'm playing a fifth string bar chord here you you're telling me I should be able to see another shape underneath it.
• 26:51
  SPEAKER_01: I do not see that shape underneath it.
• 26:53
  Steve: Okay let's go back to the beginning Roger.
• 26:56
  Steve: So here's a C chord right here right okay so make that C chord.
• 27:02
  Steve: Yep no problem right here on the third finger right here which is a C Yep we're gonna make the fifth string bar chord right there.
• 27:10
  Steve: Mm-hmm gotcha make that bar chord stay there.
• 27:14
  Steve: Got it try and visualize the C chord off of this bar right here.
• 27:18
  Steve: Can you see the C chord over there?
• 27:21
  SPEAKER_01: Well I can only because I know it's there and I know the C chord so well all my life yep yep yep yep okay so you can see it right yeah okay let's move this up one fret.
• 27:34
  Steve: Okay so now you got a sharp yep can you still see the C chord sitting right there?
• 27:40
  Steve: Yeah okay let's move it up again can you still see the C chord sitting right there?
• 27:49
  Steve: Yes that's what we're learning how to do okay so we're learning to visualize if this if I was right here my C chord is going to be here right yeah okay but I would need a bar in front of that right you see that's all we're doing that's all we're doing so if you can see this fifth string bar chord the C chord is sitting right underneath it the C shape I should say the C shape but we would need a bar in front of that.
• 28:25
  SPEAKER_01: Now what that bar that that uh fifth string bar chord you made just then when you say you can see the C shape right under it it's really not right under it.
• 28:35
  SPEAKER_01: It's up like two frets is it not?
• 28:37
  Steve: Well I'm I'm just thinking I you can use whatever terminology I'm just thinking about it coming off of this first finger right here.
• 28:43
  Steve: That's the connection point you see okay all right now that makes all the difference in the world perfect perfect yep so that's why like when let me start all over everybody so you can kind of see this.
• 28:54
  Steve: So for me the the the whole thing is is that the last note of each one of these shapes is the connection point.
• 29:01
  Steve: So when I'm on a C chord right here this right here is the connection point to the next one.
• 29:08
  Steve: Well but and it won't always be the root Roger it's just it's just it's a visual thing.
• 29:13
  Steve: But you are right it is the C.
• 29:14
  Steve: You got it.
• 29:15
  Steve: So now I'm on the fifth string A chord.
• 29:18
  Steve: Now if I take this finger right here this ring finger which is also a C and I bar uh well it's technically a G right here but I I'm but it's the C chord right so I'm so I'm barring over that instead of using my first my third finger to bar it I'm using my first finger to bar.
• 29:42
  Steve: And now what I'm gonna do is I'm gonna make the now this is the ugly one.
• 29:46
  Steve: I'm gonna make a G shape with these other three fingers right so what I want to be able to do is visualize this C shape this A shape and this G shape connecting together.
• 30:02
  Steve: So now when I'm on the fifth string bar chord below it I can see the C chord and then off of here above it I can see the G shape okay okay so and and Roger for you specifically when I see the G shape the G shape is the Jimi Hendrix thing that's all his major is coming off that G question I don't know what that was but that that particular fingering is is is is like you say there's no way I mean I know a lot of and nobody and nobody does nobody does no nobody goes in and tries to do this there's there nobody does but the point is is that you can grab a fragment out of it you know you can grab something out of that yes what I do what I do because I can't play that chord so I I find a G triad I play it a different way.
• 31:10
  Steve: Yeah so so what I'm saying is you can visualize it though because what we're really trying to do with this system is not find harder ways to play what we can already play.
• 31:20
  Steve: That's really not the point.
• 31:21
  Steve: The point is to visualize it so you can grab something out of that chord.
• 31:26
  Steve: Because someday we're not just going to see the C chord we're gonna see the F chord that exists in the same spot.
• 31:34
  Steve: And then we're gonna see the G chord that exists in the same spot.
• 31:37
  Steve: You see what I'm saying?
• 31:39
  Steve: You'll see all of those here and here and here and here and here you'll see all of these chords overlapping each other in the same spot across the guitar.
• 31:48
  Steve: That's the bigger picture.
• 31:50
  Steve: We're just not there yet okay we got to learn to just see something before we can see all these other things.
• 31:56
  Steve: Does that make sense Roger?
• 31:57
  Steve: Yes okay thanks buddy thank you yep Steve what do you got man?
• 32:03
  SPEAKER_10: What is the uh what would be the bar on the like C sharp that you just showed what's the bar on the C the C position never can figure that one out.
• 32:15
  SPEAKER_10: The the C shape you mean yeah C shape if you move it what's how do you bar that one?
• 32:20
  Steve: Okay so absolutely so if I take this C chord and I move it up one fret I'm gonna need to bar in front of it right because that's what my capo would do.
• 32:28
  SPEAKER_07: Right.
• 32:28
  Steve: So if I took this C chord moved it up one fret I'd have to bar right here right so what I'm gonna have to do is instead of using these three fingers I can't have I can't use my first finger so I'm gonna have to re-finger the C chord with these three fingers which is going to feel really uncomfortable.
• 32:47
  Steve: Instead of using these three fingers I can't have I can't use my and then your bar would be here do you see the C chord sitting right here with these three fingers but now my first finger is able to do the the barring now guys remember these three fingers you're not necessarily going to play this entire shape what you're gonna ultimately look for once you can see it is just playing a fragment like this.
• 33:15
  Steve: I might just play this much of that I can see this here but because it's uncomfortable to play I might just play this much of it.
• 33:29
  Steve: Does that make sense everybody?
• 33:31
  Steve: You're seeing it but that doesn't mean you have to play the whole thing you can go in there and just grab a little piece of it but you got to see it first.
• 33:42
  SPEAKER_08: Is that answering your question Steve or is that still confusing to you hey Steve maybe we should just stay on those three positions those others are those are nightmares.
• 33:53
  Steve: No no no and so here's here's let me let me give you a taste of where we're going to go okay let me show you if we looked at let's look at and then Chris I'll get to you in a second let's say we wanted to play a one four five in the key of C, just so you can see this in action.
• 34:14
  Steve: If we wanted to play a one four five in the key of C, which is C, F, and G, right?
• 34:19
  Steve: We know we can play C, F, G.
• 34:22
  Steve: And guess what?
• 34:23
  Steve: They're all in the same position, aren't they?
• 34:25
  Steve: You're not going C, F, G, right?
• 34:28
  Steve: You can play C, F, and G all in this one position, which is the point of the cage system.
• 34:34
  Steve: But let's say we wanted to do that somewhere else.
• 34:37
  Steve: Now watch this.
• 34:38
  Steve: Again, I'm not I don't want you to do this.
• 34:40
  Steve: I want you to just see what I'm doing and see if you can acknowledge it.
• 34:43
  Steve: Okay?
• 34:44
  Steve: And then I'll get back to Chris.
• 34:45
  Steve: So let's say I wanted to do C here.
• 34:51
  Steve: That's a fifth string bar chord.
• 34:53
  Steve: Do you all agree with me?
• 34:53
  Steve: There's a C chord right there.
• 34:55
  Steve: It's the A shape.
• 34:56
  Steve: Here's C connects to A.
• 34:58
  Steve: It's right there.
• 35:00
  Steve: I got an F chord coming up.
• 35:03
  Steve: Okay?
• 35:03
  Steve: Uh you know well the band I'm in the F chord is coming up next.
• 35:07
  Steve: Now I can go here and that's okay.
• 35:10
  Steve: But I don't want to make that big of a shift.
• 35:12
  Steve: Maybe I'm soloing or something.
• 35:14
  Steve: Watch this.
• 35:16
  Steve: Here's my C chord.
• 35:17
  Steve: But I don't want to play the whole C.
• 35:19
  Steve: I'm just gonna play a fragment of it.
• 35:20
  Steve: I'm just gonna play these notes of that chord.
• 35:24
  Steve: I'm just playing those notes right there.
• 35:28
  Steve: Make sense?
• 35:29
  Steve: So I'm just playing these three strings of that C chord.
• 35:32
  Steve: And here comes an F chord I have a C shaped F chord sitting right here.
• 35:41
  Steve: So I might go there's my F.
• 35:48
  Steve: How many times have you guys heard that sound before probably a million so here's my C, here's my F chord instead of these big block sounds see how big and blocky and different they sound where when I play this and go to this it's like an extension of itself.
• 36:13
  Steve: It's very comfortable.
• 36:14
  Steve: It's not a big blocky change.
• 36:17
  Steve: And then back.
• 36:21
  Steve: Now I got a G chord coming well what do I want to do over the G chord?
• 36:25
  Steve: Well I could go to a D shape of a G.
• 36:28
  Steve: Now again I'm not asking you to know this.
• 36:31
  unknown: Okay?
• 36:31
  Steve: I'm just telling you this is how it works.
• 36:33
  Steve: Here's a G chord sitting right here.
• 36:35
  Steve: But I don't need the whole shape.
• 36:36
  Steve: I might just go to these there's my G.
• 36:41
  Steve: There's my F.
• 36:44
  Steve: There's my C.
• 36:48
  Steve: See how much more uniform that sounds now I start doing a and I start doing something like that over a church song.
• 37:15
  Steve: Whatever.
• 37:16
  Steve: See I'm not going like I don't have that whole thing going.
• 37:22
  Steve: I've got more of a s uh a an easier flow to this whole thing.
• 37:26
  Steve: And guess what's sitting underneath all of these chords?
• 37:35
  Steve: The scale is under there.
• 37:37
  Steve: So I could take this little fragment of C and this little fragment of F and this little fragment of G and create a melody just like we were doing over the song.
• 37:47
  Steve: Now again I'm not expecting you to understand and see everything I just did but do you do you comprehend how that could be beneficial?
• 37:56
  SPEAKER_05: Okay.
• 37:57
  SPEAKER_05: Chris did you have something buddy before I get to David?
• 38:01
  Chris Macry: Yeah I was just gonna say I don't do a lot of comping in the kind of music I play I'm mostly a hard rock heavy although since I joined the academy I do do a little more of it.
• 38:10
  Chris Macry: But anyways what I use a cave cage system for mostly and I'm pretty familiar with it because I did that way back when I started but anyways if I'm to say I'm soloing up around the eighth tenth thread area and I'm doing melodic soloing and I just for example I say oh crap a C chord is coming up instead of just doing a scale run sometimes I just grab some notes from that area to play melodic.
• 38:32
  Steve: Yes instead of just you know yeah like I said for me totally totally Chris thank you the the the when I first started learning the case system it's what introduced me to melody because I could find chords anywhere.
• 38:44
  Steve: Exactly I could find any chord anywhere no matter where I was on the fretboard.
• 38:49
  Steve: And when I started playing with my jazz friends this became very important because I could find a chord chords that don't fit in the same key.
• 38:59
  Steve: I couldn't just rely on the scale because the scale doesn't work all over all the chords.
• 39:04
  Steve: So I could find these these triads or these these cage system ideas.
• 39:09
  Chris Macry: That was another thing I've got to say some guys might be easier to just think of them as triads other than caged yeah but I want I the only thing is I want them to see the entire shape.
• 39:20
  Steve: That's the only thing is let's try and visualize the entire shape.
• 39:23
  Chris Macry: I get it but the triads are inside those shapes.
• 39:26
  Steve: They are but they're in different inversions of course oh yeah of course that's the only thing that makes this difficult is when you try and talk about this you can't talk about it in so now you got to start talking about first inversion and second inversion and that sort of thing.
• 39:38
  Steve: But totally I mean there's there's a lot of different ways we could look at this thanks buddy that's awesome.
• 39:43
  Steve: David what do you got man?
• 39:45
  Steve: Yeah so uh to put in context I play in this jam group once a week and they're like seven five seven guitar players and I don't want to play you know open chords and be stepping on everybody else so I'm looking for different places to play it but the question is okay I can find one of the cage um patterns somewhere else on the guitar but then let's say they go to a different chord I can't see it right away like what is that pattern what is the cage shape at that position for this chord how how do you learn that well okay so that's that's a great question David so the you have to give it time right that that's the first thing I'll say you can either build out in its entirety each chord that you need which seems like a lot of work but the reality is you don't need 358 chords.
• 40:39
  Steve: I mean if you start breaking it down how many chords do you really play most of the time right you're not in E flat that often you're not in a flat that often I'm not saying that they're not important what I'm saying is G is way more important.
• 40:51
  Steve: A is way more important C is way more important.
• 40:55
  Steve: So one thing would be to build out the fretboard with a chord like C.
• 41:02
  Steve: Like come back next week and have the C chord built out visually I'm not saying you got to play the whole shape.
• 41:11
  Steve: I'm saying can you grab a fragment from the first three strings or the second strings right two three and four or three four five or four five six can you grab a fragment out of it because you can see it.
• 41:23
  Steve: That would be step one is building out an a chord across the entire fretboard to absolution right that would be step one step two is the shortcut which is if you're on a fifth string bar chord you can see the C shape below you and the G shape above you and then the six string you can see the G shape below you and the D shape above you.
• 41:50
  Steve: Now you don't have to do both of these you could just do one you could just do one shortcut but you'd have to know that bar chord really really well to be able to find whatever on on either side of it.
• 42:04
  Steve: And you don't have to find the C below you and the G above or the uh the G above you you could just find the C below you but it's gonna again as we keep making this smaller David we're we're we keep minimizing the amount of opportunity right because we can't find as many things.
• 42:21
  Steve: This is why in my opinion the best way of doing this is sit down.
• 42:26
  Steve: Guys I would I I I challenge you to see your entire fretboard as a C chord by next week now I'm gonna give you a chart okay but you visualize C into A into G into E into D and then it starts all over C, of course with a bar because I didn't have a bar down here I had a the nut, right?
• 43:04
  Steve: So it'd be C into A, into G, and then things get too small.
• 43:09
  Steve: Okay?
• 43:10
  Steve: But and I'm not saying you have to go all the way up there I'm just saying that that's how it works.
• 43:16
  Steve: So does it really need to be that difficult to learn to visualize this their chords you already know everybody on this call already knows how to play a C chord and an A chord and a G chord and an E chord and a D chord.
• 43:29
  SPEAKER_05: You're just laying them out so instead of transposing what you do is you just learn C.
• 43:41
  Steve: So for the rest of your life no matter what happens you've got C.
• 43:46
  Steve: And then you learn A or G or D or F.
• 43:51
  Steve: Now again I'm not saying that you can do all this in a week this takes time if this makes sense to anybody when I was younger and I've I've told you guys the same pseudo lie when I was younger I was told that all you have to do when you're playing in a key and you want to play in another key is just move everybody up or move everything down.
• 44:20
  Steve: The whole system shifts doesn't it's a if you learn how to play A minor pentatonic and you want to play in B minor pentatonic all you gotta do is shift it up two frets it's true and it's also not true because if you don't actually practice it in B minor you're not going to be able to do all the things you do in A minor because you don't see it as well.
• 44:46
  Steve: In theory yes you do just move it up but in the real world you can't really manipulate something if you're trying to move it and transpose it and re visualize it.
• 44:56
  Steve: You understand what I'm saying?
• 44:58
  Steve: If you want to get really good at playing in B minor, guess what you do?
• 45:03
  SPEAKER_05: You practice in B minor.
• 45:06
  SPEAKER_05: So when you're in A, you're an A.
• 45:09
  SPEAKER_05: When you're in B, you're in B.
• 45:13
  SPEAKER_05: And your brain can do that.
• 45:17
  Steve: Your brain can see all those things.
• 45:20
  Steve: When you're always thinking of it as a sliding scale, it's hard to see certain things.
• 45:30
  Steve: So with this cage system, the whole thing is that if you start trying to do too much at once and you try and see too many things, it starts falling apart.
• 45:39
  SPEAKER_05: If you can just see the C chord.
• 45:45
  SPEAKER_05: And then whatever.
• 45:47
  SPEAKER_05: We can keep working with this.
• 45:50
  SPEAKER_05: Okay.
• 45:51
  Steve: So, yes, Roger, what do you got, buddy?
• 45:55
  SPEAKER_01: Yeah, I can see.
• 45:56
  SPEAKER_01: Uh see, I can already see I can see three chords of the whole thing, the C A G E D.
• 46:03
  SPEAKER_01: I can I can already see those three.
• 46:06
  SPEAKER_01: Just, you know, throw that stupid G and that D away, and I'm good to go.
• 46:11
  SPEAKER_01: I mean, I know where there's a bunch of G triads in that area, and I just go ahead and play them that way because I know where they are.
• 46:19
  SPEAKER_01: I can see, I can see a lot of triads.
• 46:22
  SPEAKER_01: First of all, I took that triad course you put out there, and I gotta tell you, to learn the major and minor triads, that's the the one of the best things I've ever looked at.
• 46:30
  SPEAKER_01: That was easy to learn.
• 46:32
  SPEAKER_01: And I and I got on that right away, and I'm still looking at I'm through the major part completely.
• 46:37
  SPEAKER_01: Like you said, root position, first inversion, second inversion, and knowing what those notes are and why that inversion, you know, where that low note is, is a is a is the five now the low note, or is it the third now the low note?
• 46:50
  SPEAKER_01: So that I'm learning that, which I think is really fantastic that that everybody should understand that.
• 46:55
  Steve: That's awesome.
• 46:56
  SPEAKER_01: That's exactly because when you're when you're especially when you're chord chasing, if you know what those notes actually are in those shapes, because you need to know what those notes are if you're gonna chase chords around or chord tones.
• 47:10
  Steve: Well, that that is the trick.
• 47:11
  Steve: Yep, and that's the whole thing, is is is and that's why our conversation has been this for the last few weeks.
• 47:17
  Steve: Thank you, Roger.
• 47:17
  Steve: That's awesome.
• 47:18
  Steve: Is in order to really chase chords, in order to really find melodies, you've got to you've got to anticipate what the next chord is and make a connection to it.
• 47:30
  Steve: And if there's a lot of chords that are happening, or the tempo's a little bit faster, or whatever, it's hard for people to see all that at the same time.
• 47:39
  Steve: Which is why when you were practicing going from F sharp minor to D to A to E, right?
• 47:47
  Steve: Trying to visualize F sharp minor and D and A and E or E.
• 47:54
  Steve: Again, Kate system, like use it all the time.
• 47:56
  Steve: I use it for everything.
• 47:58
  Steve: Okay, I don't just play E or D.
• 48:01
  Steve: I use I use this stuff all the time.
• 48:03
  Steve: But that's what I'm visualizing as I'm as I'm playing.
• 48:06
  Steve: So I and and when I move up here, I've still got all those chords.
• 48:10
  Steve: They're all still sitting here.
• 48:11
  Steve: You know, I've got F sharp minor sitting here, and A and D.
• 48:17
  Steve: D and E right here.
• 48:23
  Steve: And if I move up here, I got the same thing.
• 48:25
  Steve: F sharp minor and whatever, A and D and E.
• 48:32
  Steve: Right?
• 48:32
  Steve: So they're always everywhere.
• 48:34
  Steve: Everything is everywhere.
• 48:36
  Steve: But it takes time to get there.
• 48:38
  Steve: It just takes practice.
• 48:40
  Steve: So, guys, you know how this guitar thing works.
• 48:44
  Steve: You learn segments of things, you learn an avenue of confidence around your fretboard.
• 48:50
  Steve: You know this position, but you don't really know this position.
• 48:53
  Steve: You know this position, but you don't know the bottom part of this position, right?
• 48:56
  Steve: Whatever.
• 48:58
  Steve: Those are your confidence points.
• 49:00
  Steve: That's when you jam with other people, that's where you're gonna go.
• 49:05
  Steve: The more you keep expanding your ability to go different places with confidence and do whatever it is you need to do with confidence, the more opportunity you have.
• 49:18
  Steve: That's the bottom line.
• 49:22
  Steve: So it all depends on what it is you're trying to do, right?
• 49:26
  Steve: I mean, again, if you look at BB King, and I hate to keep picking on B.B.
• 49:29
  Steve: King, I've picked on the guy my whole life.
• 49:31
  Steve: I love B.B.
• 49:31
  Steve: King, don't get me wrong.
• 49:33
  Steve: But he didn't see all this.
• 49:37
  SPEAKER_05: So did he play it?
• 49:39
  SPEAKER_05: No.
• 49:40
  SPEAKER_05: Because he didn't see it.
• 49:42
  SPEAKER_05: It doesn't mean anything negative at all.
• 49:46
  SPEAKER_05: But it does mean that what he did, he did incredibly well.
• 49:50
  Steve: He just didn't do other things because he couldn't see these other things.
• 49:55
  Steve: And again, don't take that as a negative.
• 49:56
  Steve: I don't mean it negative at all.
• 49:57
  Steve: I'm being honest.
• 49:58
  Steve: I can't speak French.
• 50:01
  Steve: I can't.
• 50:02
  Steve: Francoacand, right?
• 50:04
  Steve: I can't speak French.
• 50:06
  Steve: Okay?
• 50:06
  Steve: He can speak English.
• 50:09
  Steve: He's already got one on me, right?
• 50:11
  Steve: I can't.
• 50:12
  Steve: I'd have to go through the process to learn how to speak French.
• 50:16
  Steve: And there's a difference between saying things in French and being able to speak French.
• 50:20
  Steve: There's a significant difference between the two.
• 50:24
  Steve: So when it comes to guitar playing, what we keep trying to do is just suss out what it is that we need and how do we get there.
• 50:31
  Steve: And for me, everything started with scale shapes.
• 50:39
  Steve: That's where I started, like everybody does.
• 50:41
  Steve: Started developing my ability to move and do all this stuff and things like that.
• 50:45
  Steve: But what I was always missing was connection to the chords.
• 50:50
  Steve: And the more I started playing with people that play different styles of music than me and started putting myself in more uncomfortable positions, not just always playing the same things I'm comfortable with, I started realizing there's things in there I don't really, I can't really connect to.
• 51:04
  Steve: I can't think that fast.
• 51:06
  Steve: I can't do that.
• 51:09
  Steve: So I'm not gonna play with them.
• 51:12
  Steve: And then I was like, I'm not gonna not do that.
• 51:14
  Steve: I'd rather play with them and figure out what I'm missing.
• 51:17
  Steve: How do I fix that?
• 51:18
  Steve: So the beauty of this cage system is it just opens up a significant amount of opportunity.
• 51:32
  Steve: To see all of these things.
• 51:38
  Steve: Sorry, if I go here, maybe drop into G, drop into an F, drop into a C sharp minor, which has nothing to do with it.
• 51:56
  Steve: Back into E.
• 51:59
  Steve: You could sit and go anywhere you want over any chord that you want.
• 52:03
  Steve: That's what makes it really interesting.
• 52:04
  Steve: So, any last questions about this?
• 52:07
  Steve: Here's here's my here's two things I would love for you to do.
• 52:11
  Steve: And tag me if you make a post.
• 52:13
  Steve: Okay?
• 52:15
  Steve: What I would love is if you make a post and your post is intentionally core chasing, in some capacity, core chasing, especially in a major key, not so much in a minor key, something in a major key.
• 52:28
  Steve: I would love for you to tag me in it so I can actually see it.
• 52:31
  Steve: Because I get busy and I can't always see everybody's posts.
• 52:34
  Steve: The second thing I'd like you to do is I would like to challenge you over the next week to be able to see all five of these positions on the court C.
• 52:48
  SPEAKER_05: Is that reasonable?
• 52:51
  SPEAKER_05: Okay.
• 52:52
  SPEAKER_05: David says yes.
• 52:53
  SPEAKER_05: Jeff says yes, Stan says yes, yeah?
• 52:56
  SPEAKER_05: Does that seem reasonable to you guys?
• 52:58
  SPEAKER_05: Stan, what do you got, buddy?
• 53:03
  SPEAKER_02: Steve, maybe those charts that you have will help me.
• 53:06
  SPEAKER_02: I'm kind of a visual type guy.
• 53:08
  SPEAKER_02: Well, right now, I I'll be totally honest with you.
• 53:10
  SPEAKER_02: I'm just sort of getting it, you know.
• 53:14
  Steve: Yeah, yeah, yeah.
• 53:15
  Steve: And and we're in no hurry, my friend.
• 53:16
  Steve: So I'm not asking you to have this perfectly by next week.
• 53:21
  Steve: What I want you to do is see if oh, Marvin says it's part of his practice routine.
• 53:26
  Steve: That's awesome.
• 53:27
  Steve: So, what I want you to try and do is get to the point where, again, I'm not asking you to play them so they all sound good.
• 53:37
  Steve: Because some of these shapes suck.
• 53:39
  Steve: That's why we don't that's why you don't learn them.
• 53:40
  Steve: That's why you learn a six-string and a fifth-string bar chord.
• 53:44
  Steve: Because those are the easy ones.
• 53:45
  Steve: E and A shapes are easy.
• 53:47
  Steve: The C shape with a bars is Ox.
• 53:49
  Steve: The G shape with a bars is Ox.
• 53:52
  Steve: But what we want to be able to do is visualize it.
• 53:54
  Steve: So, yeah, Stan, today I will post with that chart to show you what that is, so you can see that.
• 54:00
  Steve: And yep, David, we will do minors.
• 54:03
  Steve: Um the the the the what makes the minors harder is you can't see them in block form like we're doing now.
• 54:10
  Steve: The the bars don't really do any good.
• 54:12
  Steve: Once we switch them to minors, you can't play big chunks.
• 54:16
  Steve: They they become more difficult.
• 54:17
  Steve: But we'll totally look at it.
• 54:19
  Steve: It's it's much easier once you can see the major to be able to convert it to the minor.
• 54:24
  Steve: But we will look at the minor, David, for sure.
• 54:26
  Steve: Okay?
• 54:28
  Steve: Yep.
• 54:28
  Steve: And Chris says the cage course is in the classroom.
• 54:30
  Steve: Appreciate that, buddy.
• 54:32
  Steve: I appreciate you calling that out because I always forget that.
• 54:34
  Steve: So, guys, can we do that?
• 54:36
  Steve: Can we try and learn to visualize and to the best of your ability, play these five shapes over C for next week?
• 54:43
  Steve: Is that something we could do?
• 54:46
  Steve: Yeah?
• 54:47
  SPEAKER_01: And then reconnect?
• 54:48
  SPEAKER_01: Yeah, but the but the Yeah, I can play all five shapes of the C, but I'm not gonna play the G and the D the way the way you play it.
• 54:58
  Steve: I want you to visualize it as best.
• 55:00
  SPEAKER_01: I can visualize, I can visualize it, but my my hand I I'd have a bro, I'd have a broken wrist if I tried to do that.
• 55:07
  Steve: Yeah, and that's why I'm saying that, and that's why I just said you don't have to what what I don't want you to focus on is how perfect you can play them.
• 55:14
  Steve: What I want you to be able to do is visualize those shapes so there's no question of what connects to what.
• 55:21
  Steve: You can just see them.
• 55:23
  SPEAKER_01: How am I gonna do a solo for you in uh in a major key if I if I'm not gonna play that G the way you're showing it, or that D the way you're showing it, because I can't.
• 55:34
  Steve: You wouldn't you wouldn't play.
• 55:35
  Steve: I I'm not again, Roger.
• 55:37
  Steve: I'm not asking you to play the chord.
• 55:39
  Steve: I'm asking you to visualize that's the G chord right there in the real world.
• 55:50
  Steve: It that's it right there.
• 55:51
  Steve: I don't need to play the whole block.
• 55:53
  Steve: I don't need to make this, I need to see it.
• 56:05
  Steve: See?
• 56:05
  Steve: I could grab these notes or these notes, these, these, these, these, these, these.
• 56:12
  Steve: Any of that.
• 56:14
  Steve: The D shape.
• 56:15
  Steve: We're in sorry, I'm in C, so we gotta come up here.
• 56:19
  Steve: So my D shape is up here.
• 56:21
  Steve: You don't have to make this whole shape.
• 56:22
  Steve: You want to see it.
• 56:23
  Steve: I could play this, this, and this, or this, this, and this, right?
• 56:34
  Steve: Does that make sense, Roger?
• 56:36
  Steve: You don't have to be able to play the entire shape.
• 56:38
  Steve: You want to learn to visualize it because you're not gonna play the the whole point of the cage system is not to play this.
• 56:45
  Steve: That's not why we're learning this.
• 56:48
  Steve: What we're learning how to do is visualize it.
• 56:50
  Steve: So if I see the C chord sitting here, and then I want A or F, I can see it sitting right there.
• 56:59
  Steve: And if I want G, I can see it sitting right there.
• 57:05
  Steve: There's my C.
• 57:08
  Steve: There's my F.
• 57:11
  SPEAKER_07: There's my G.
• 57:16
  Steve: Back to C sitting right there.
• 57:19
  Steve: See, that's the bigger picture, right?
• 57:21
  Steve: Is learning not just to see this.
• 57:24
  Steve: Again, we're starting with one thing, but we're gonna learn to see other things at the same time.
• 57:28
  Steve: And then we can just simply click over into that next chord.
• 57:32
  Steve: And then click over into the next chord.
• 57:35
  Steve: Do you guys get what I'm saying?
• 57:37
  Steve: That's the power of the cage system.
• 57:39
  Steve: Is things aren't over there and over there.
• 57:41
  Steve: Everything's right here.
• 57:42
  Steve: And you're just changing it into this, and then changing it into this.
• 57:48
  Steve: So, Roger, I'm not asking you to make the shapes.
• 57:51
  Steve: Well, I mean, do the best you can with it.
• 57:53
  Steve: I'm not asking you to try and make them sound perfect.
• 57:56
  Steve: What I'm saying is what I want you to be able to do is be able to visualize those across the fretboard, even the G shape, but learn to visualize it, even the D shape, learn to visualize it.
• 58:06
  SPEAKER_01: So we But I'm not gonna play it, right?
• 58:08
  SPEAKER_01: But I would Okay, so here's I think what I'm trying to say is how do you know I'm visualizing it if I'm not gonna play it?
• 58:15
  SPEAKER_01: I'm gonna play, I'm gonna play a chord there.
• 58:18
  SPEAKER_01: I'm gonna play a triad there, but it may not be the shape that you that you're that that you're saying I should see.
• 58:24
  SPEAKER_01: I see it, but I'll play a different triad that actually works and sounds good.
• 58:29
  SPEAKER_01: Yes?
• 58:30
  SPEAKER_01: No?
• 58:30
  Steve: What I'd like you to be able to do is this I'd love for you to be able to go.
• 58:41
  Steve: Okay.
• 58:43
  Steve: You can break them into pieces, you can do whatever you want with that.
• 58:46
  SPEAKER_01: Okay, I got you.
• 58:48
  Steve: You see, but be able to see it in all the positions.
• 58:51
  SPEAKER_01: Okay.
• 58:51
  Steve: You know, you don't have to play it all as one chunk, just be able to visualize it.
• 58:55
  Steve: Because what we want to be able to do, thanks, Jeff.
• 59:02
  Steve: Is be able to connect them together across the whole guys.
• 59:05
  Steve: What I'm gonna try and do over this next few months is get you to really start opening up everything that you're seeing on this fretboard.
• 59:14
  Steve: And then be able to use this stuff.
• 59:17
  Steve: Not just how much can you see.
• 59:19
  Steve: I don't care about that.
• 59:20
  Steve: What I care about is can you convert this into something that sounds real, sounds musical.
• 59:24
  Steve: That's why you're here.
• 59:26
  Steve: You see?
• 59:27
  Steve: So whether you can or can't play this perfectly or can't do this perfectly or can't see, we're all different that way.
• 59:34
  Steve: What I'm saying is, I would love for you all to be able to come back and go, Steve, I unequivocally can see that C chord across the fretboard in all those positions.
• 59:42
  Steve: I can't play every one of them, but I can see it.
• 59:45
  Steve: I can absolutely see it.
• 59:48
  Steve: Or I'm having a problem with this, Steve.
• 59:50
  Steve: Why can't I do this?
• 59:51
  Steve: Why can't I see this?
• 59:52
  Steve: Okay, let's fix it.
• 59:54
  Steve: And then let's start looking at another chord.
• 59:57
  Steve: And then can we see those two chords interacting with each other?
• 1:00:02
  Steve: And then let's look at another chord.
• 1:00:04
  Steve: Can we see those chords interacting with each other?
• 1:00:07
  Steve: So we're not learning relative, we're learning absolution.
• 1:00:12
  Steve: Here's your C chord for the rest of your life.
• 1:00:14
  Steve: Here's C.
• 1:00:15
  Steve: You never have to think about it ever again.
• 1:00:18
  Steve: Do you see the difference?
• 1:00:19
  Steve: Robert, what do you got, buddy?
• 1:00:21
  SPEAKER_03: Hey, is the C chord played the same on um position um from regular C C major?
• 1:00:28
  SPEAKER_03: Down at the 13th, Brett, is that the same position?
• 1:00:31
  SPEAKER_03: It is.
• 1:00:32
  SPEAKER_03: It is.
• 1:00:32
  SPEAKER_03: Okay, all right.
• 1:00:33
  SPEAKER_03: Yep, it's just one octave higher.
• 1:00:34
  Steve: So, you know, again, you could put a bar in front of it.
• 1:00:37
  Steve: Yeah, right, to put it all in the same register.
• 1:00:40
  Steve: But yeah, that's exactly what it is.
• 1:00:42
  Steve: Okay.
• 1:00:42
  SPEAKER_03: All right, just verify.
• 1:00:44
  SPEAKER_03: Thank you.
• 1:00:44
  Steve: Absolutely.
• 1:00:46
  Steve: Okay, guys, are we good?
• 1:00:48
  Steve: Do we feel good?
• 1:00:50
  Steve: I will post this later today.
• 1:00:51
  Steve: I will post that chart for you.
• 1:00:53
  Steve: And then if you have any questions, obviously talk to the guys.
• 1:00:56
  Steve: Send me a message, and we'll just keep building this out as we go.
• 1:01:00
  Steve: But let's try for next week.
• 1:01:03
  Steve: Take that chart and just study it.
• 1:01:05
  Steve: And then look at your guitar and just study it.
• 1:01:08
  Steve: Just study it.
• 1:01:10
  Steve: Right?
• 1:01:10
  Steve: Always remind yourself that your learning isn't just about playing, it's about what do you see.
• 1:01:18
  Steve: I would love for you to be able to walk away and never think about this C chord ever again.
• 1:01:22
  Steve: You can just see it.
• 1:01:24
  SPEAKER_01: I already can.
• 1:01:26
  Steve: That's perfect.
• 1:01:27
  Steve: Can I ask you a quick question?
• 1:01:28
  Steve: Of course you can, buddy.
• 1:01:30
  SPEAKER_09: Uh, it doesn't have to do with what we're doing, but I was playing a song last week, and the person said you had to tune the guitar down 50 cents.
• 1:01:38
  SPEAKER_09: What does that mean?
• 1:01:40
  SPEAKER_09: Okay, so what would 50 cents 50 cents?
• 1:01:48
  SPEAKER_09: The song Strawberry Feels Forever for the Beatles.
• 1:01:51
  unknown: Okay.
• 1:01:52
  SPEAKER_01: 50 cents might mean a half step, right?
• 1:01:54
  Steve: It's not it's not quite a half step.
• 1:01:56
  Steve: So so what happens is again, I can't say I'm not, I don't know the Beatles.
• 1:02:03
  Steve: But what happens is a lot of the songs back in the day weren't tuned to A440.
• 1:02:08
  Steve: They weren't tuned to this tuning.
• 1:02:11
  Steve: Because people didn't walk around with guitar tuners.
• 1:02:13
  Steve: They just showed up in the studio and went, Paul, give me your A.
• 1:02:17
  Steve: And then they would tune to each other, right?
• 1:02:19
  Steve: And whatever tuning that was was what everybody was tuned to.
• 1:02:23
  Steve: They didn't tune to a digital tuner, they didn't tune to a tuner, they just tuned to each other.
• 1:02:28
  Chris Macry: And I throw two sentences.
• 1:02:30
  Chris Macry: What's that?
• 1:02:31
  Chris Macry: Yeah.
• 1:02:31
  Chris Macry: So here's an example.
• 1:02:33
  Chris Macry: Uh the song, um, it's a long way to the top, but if you want to rock and roll by ACDC.
• 1:02:39
  Chris Macry: I had to learn that.
• 1:02:41
  Chris Macry: And it's not in A440, but it's not a half step up either.
• 1:02:45
  Chris Macry: It's somewhere in between.
• 1:02:47
  Chris Macry: I don't know whether they sped the recording up when they recorded it or what.
• 1:02:50
  Chris Macry: So that's so what you got to do then, bro, is just you know, tune your guitar down or up slightly, whichever way it is, until until you find it, if that makes any sense.
• 1:02:59
  Chris Macry: It's probably A432, is probably what fits.
• 1:03:02
  Steve: Yeah, I mean, they're usually a little close, and ACDC's a fun example because until Back in Black, nothing was in tune.
• 1:03:08
  SPEAKER_05: Right.
• 1:03:08
  Steve: I mean, you might have a song that was kind of in tune, but and the guys weren't even in tune with each other.
• 1:03:14
  Steve: So you listen to like you listen to Night Prowler and they're they're not even in tune.
• 1:03:18
  SPEAKER_05: Exactly.
• 1:03:18
  Steve: So, but once they got with a with a producer that said, no, no, no, you guys are tuning.
• 1:03:24
  Steve: So in Back in Black, everything changed.
• 1:03:26
  Steve: And since then, everything changed.
• 1:03:28
  Steve: But before that, if you think about the the culture too, a lot of these guys, again, they would just like the stones, they would just show up, they would tune to each other, and they weren't even really in tune themselves.
• 1:03:39
  SPEAKER_08: Kate Rick was never known how to be a word guitar.
• 1:03:42
  Steve: You know what I mean?
• 1:03:43
  Steve: So so it was it, but but the honesty is that that's and like like Chris said, sometimes in the recording process, the the tape would get stretched out, which would change the pitch too.
• 1:03:55
  Steve: You know, because they used to do real to real tape, right?
• 1:03:57
  Steve: So in the process of all this stuff, cutting and doing all these things, the tape itself would get stretched out, which would change the pitch.
• 1:04:04
  Steve: So you might have a song where in the actual song the pitch is changing.
• 1:04:10
  Steve: See?
• 1:04:12
  Steve: So that's that's what's interesting about all that stuff.
• 1:04:15
  Steve: Um, but anyway, that's that's yeah, it's it's all very interesting.
• 1:04:20
  Steve: Anyway, guys, I gotta go.
• 1:04:22
  Steve: Have a great day.
• 1:04:23
  Steve: Work on that.
• 1:04:24
  Steve: Let me know if you have any questions about it, and let's let's keep hitting stuff, okay?
• 1:04:28
  Steve: Take care, everybody.
• 1:04:30
  Steve: Okay, Steve.
• 1:04:30
  SPEAKER_10: Thank you very much.
• 1:04:31
  Steve: Yeah, absolutely.
• 1:04:32
  Steve: Have a great week, okay?
• 1:04:33
  Steve: Bye, everybody.
• 1:04:34
  SPEAKER_10: Okay, thanks.