Beautiful. The explaination of the CAGED system in the beginning is great bc it gives clear picture of how these chords are derived. The heptatonic is a great resource to have bc now u know as a guitarist that if one line doesnt come out smoothly on the fingers theres 6 more to try. What was new for me is the economy picking ive been using alternate but now ill have to slowly get to grips with this great technique. Always a great pleasure listening to u. Shalom✌🏿
Excellent lesson, Richie. For you classical guitarists out there, take your Segovia scale fingerings and throw them away. Get a copy of Scale Pattern Studies by Aaron Shearer and find out how to connect scale forms by the four shifting mechanisms. (And get Richie's books while you're at it!)
Great lesson as usual Richie. Since I started learning the heptatonic systems as you teach it, the fretboard now makes sense to me, both vertically for improvising with good voice leading as well as horizontal to easily and smoothly expand the range, I have taken many lessons privately and with Berklee online over the years, and no one taught me this system or something similar, much less the approach to improvisation based on it. I highly recommend it, and yes, go get Richie's books as they will open the road to learning to improvise.
So weird that folks talk about CAGED but ignore that if you play those chord forms in order while playing the same chord it spans the entire octave to me, that's the first benefit of CAGED...
@@RichieZellon To see chord tones mapped out across a position of the neck within scale patterns. I never said you can use any fingering for any chord. I said you can use alternate scale fingerings around a CAGED chord shape. This includes scale patterns with either two or three notes per string. The way you explain it, it sounds like you're saying scales are taught a specific way around a CAGED chord shape. I see the underlying scale patterns in the CAGED chord shapes but no one is tied to that.
@vvblues If you're using alternate fingerings that don't generate the actual chord shape, I think it's pointless, at least from a jazz guitar perspective, especially when mapping chords to scales when playing chord melody.
@@RichieZellon I appreciate you getting back to me. I guess we're looking at the fret board differently. For single note soloing and improvisation I'm looking at the CAGED shapes as the most important notes within any scale pattern I decide upon. I never feel beholden to one pattern. I switch between CAGED scale shapes and three-note-per-string patterns while always having a chord shape available. Thanks again. Love your channel.
I took a piano class at school. We didn't have a piano, so I taught myself how it works on guitar. Learning the 7 positions not only gave me the image of the entire fretboard, but switching between 3 notes per string, to 2 (on the G or B string, depending) got me to learn economy picking with both odd and even groupings. We can't not play them because a technique limits us, we just combine techniques.😊 This combination makes string skipping easier for me, too.
The "heptatonic" 7 shapes gives a clear image of the entire fretboard. No matter where you are, you know everything that's next door, to everything that's all of the way down the road. If someone learns that with 3 note scales (in 7 positions), that can work too. But it doesn't help us learn to easily transition from 3 notes to 2 notes per sting. Regardless, a 5 position system for a 7 note scale leaves 2 blind spots. Hope that helps.😊
Jimmy Bruno is very adamant about calling his fingering system “Pitch Collections” even though it is CAGED based, and the exact same five fingerings Howard Roberts mapped out in his Guitar Compendium. These days JB pointedly dismisses an academic approach to teaching jazz guitar, as it wasn’t the way he and other jazz guitar greats learned their craft. He was more restrained when he had a master class at Musicians Institute years ago. Regardless, he’s a great jazz guitar player. I’ve assimilated Richie’s Heptatonic Fingering System, and I find it not only expands CAGED, but also encompasses the elements of 3NPS. It basically combines the extended CAGED version with 3NPS system. I highly recommend it.
I think Jimmy Bruno's 5 fingerings differs from CAGED in that it's not based on open chord shapes even if there is a correlation. Positions start from scale degrees which relate well to chord inversions 7(1*), 2, 3*, and 5*. He includes a version of economy picking as well. When practiced as he shows, in all 12 keys back cycling through in 5ths it covers and connects every note. One benefit here it that you aren't thinking open chord shapes, but scale degree. So instead of "I'll play Bb major in the open G shape", it's "Bb from the 5th position, which is F". Big difference my opinion.
@@RichieZellon i did some searching and it actually is, leavitt uses it in some of his books, but they dont teach it as a standalone system, its derived from other system they call "position playing" which allows 2 frets for the index finger and 2 frets for the pinky rather than 1 fret per finger, which makes more sense since the chromatic scale spans 5 frets and not 4
I like to unlock the cage it’s not CAGED it’s cBagFed it’s the alphabet. Open chord forms ascend the neck in reverse alphabetical order. Step out if the cage!
IMHO there is too much focus on speed. It comes naturally unless you really need gonzo speed. Guitarists today may be faster than Charlie, Django and Wes, but do their solos permanently tatoo your mind like those cats? So far not for me. I can appreciate the skill, but for me it is more of a wow factor than musical inspiration. For those familiar with JJ Cale, maybe the laziest guitar soloist ever, and he was such a major influence on Clapton that he recorded a cd with him. Most of those simple solos from classic pop and rock, Beattles ect are still etched in my mind. Would the Beatles have been better with a shredder? I say no way. I strive to fit the tune, enhance the tune rather than try to impress with chops.
Beautiful. The explaination of the CAGED system in the beginning is great bc it gives clear picture of how these chords are derived. The heptatonic is a great resource to have bc now u know as a guitarist that if one line doesnt come out smoothly on the fingers theres 6 more to try. What was new for me is the economy picking ive been using alternate but now ill have to slowly get to grips with this great technique. Always a great pleasure listening to u. Shalom✌🏿
Thanks, happy economy picking! :)
Excellent lesson, Richie. For you classical guitarists out there, take your Segovia scale fingerings and throw them away. Get a copy of Scale Pattern Studies by Aaron Shearer and find out how to connect scale forms by the four shifting mechanisms. (And get Richie's books while you're at it!)
Great lesson as usual Richie. Since I started learning the heptatonic systems as you teach it, the fretboard now makes sense to me, both vertically for improvising with good voice leading as well as horizontal to easily and smoothly expand the range, I have taken many lessons privately and with Berklee online over the years, and no one taught me this system or something similar, much less the approach to improvisation based on it. I highly recommend it, and yes, go get Richie's books as they will open the road to learning to improvise.
Thank you kindly, glad to be of help!
Great video ! I’m off to the shed to test the hexatonic method. 👍🏻
Thanks, glad it was helpful!
So weird that folks talk about CAGED but ignore that if you play those chord forms in order while playing the same chord it spans the entire octave to me, that's the first benefit of CAGED...
My understanding is that the chord shapes don't dictate the scale pattern in CAGED. You can play any scale fingering you want around that chord shape.
It's the other way around...scales dictate the chord shapes...and if you can use any fingering for any chord, what purpose does C-A-G-E-D serve?
@@RichieZellon To see chord tones mapped out across a position of the neck within scale patterns. I never said you can use any fingering for any chord. I said you can use alternate scale fingerings around a CAGED chord shape. This includes scale patterns with either two or three notes per string. The way you explain it, it sounds like you're saying scales are taught a specific way around a CAGED chord shape. I see the underlying scale patterns in the CAGED chord shapes but no one is tied to that.
@vvblues If you're using alternate fingerings that don't generate the actual chord shape, I think it's pointless, at least from a jazz guitar perspective, especially when mapping chords to scales when playing chord melody.
@@RichieZellon I appreciate you getting back to me. I guess we're looking at the fret board differently. For single note soloing and improvisation I'm looking at the CAGED shapes as the most important notes within any scale pattern I decide upon. I never feel beholden to one pattern. I switch between CAGED scale shapes and three-note-per-string patterns while always having a chord shape available. Thanks again. Love your channel.
My favorite is the exceptatonic---i play it quite well, it annoys others.
I took a piano class at school. We didn't have a piano, so I taught myself how it works on guitar. Learning the 7 positions not only gave me the image of the entire fretboard, but switching between 3 notes per string, to 2 (on the G or B string, depending) got me to learn economy picking with both odd and even groupings. We can't not play them because a technique limits us, we just combine techniques.😊 This combination makes string skipping easier for me, too.
Glad to hear that...it's just common sense!
How does the heptatonic compare to Jimmy Bruno's famous 5 fingerings?
All 5 fingerings are usually CAGED. Don't know if Bruno teaches something different.
The "heptatonic" 7 shapes gives a clear image of the entire fretboard. No matter where you are, you know everything that's next door, to everything that's all of the way down the road. If someone learns that with 3 note scales (in 7 positions), that can work too. But it doesn't help us learn to easily transition from 3 notes to 2 notes per sting.
Regardless, a 5 position system for a 7 note scale leaves 2 blind spots. Hope that helps.😊
Jimmy Bruno is very adamant about calling his fingering system “Pitch Collections” even though it is CAGED based, and the exact same five fingerings Howard Roberts mapped out in his Guitar Compendium. These days JB pointedly dismisses an academic approach to teaching jazz guitar, as it wasn’t the way he and other jazz guitar greats learned their craft. He was more restrained when he had a master class at Musicians Institute years ago. Regardless, he’s a great jazz guitar player.
I’ve assimilated Richie’s Heptatonic Fingering System, and I find it not only expands CAGED, but also encompasses the elements of 3NPS. It basically combines the extended CAGED version with 3NPS system. I highly recommend it.
I think Jimmy Bruno's 5 fingerings differs from CAGED in that it's not based on open chord shapes even if there is a correlation. Positions start from scale degrees which relate well to chord inversions 7(1*), 2, 3*, and 5*. He includes a version of economy picking as well. When practiced as he shows, in all 12 keys back cycling through in 5ths it covers and connects every note.
One benefit here it that you aren't thinking open chord shapes, but scale degree. So instead of "I'll play Bb major in the open G shape", it's "Bb from the 5th position, which is F". Big difference my opinion.
is the heptatonic system the same as "berklee's 7 position scales"?
Sorry, I'm not familiar with them. It might be...
@@RichieZellon i did some searching and it actually is, leavitt uses it in some of his books, but they dont teach it as a standalone system, its derived from other system they call "position playing" which allows 2 frets for the index finger and 2 frets for the pinky rather than 1 fret per finger, which makes more sense since the chromatic scale spans 5 frets and not 4
I like to unlock the cage it’s not CAGED it’s cBagFed it’s the alphabet. Open chord forms ascend the neck in reverse alphabetical order. Step out if the cage!
IMHO there is too much focus on speed. It comes naturally unless you really need gonzo speed. Guitarists today may be faster than Charlie, Django and Wes, but do their solos permanently tatoo your mind like those cats? So far not for me. I can appreciate the skill, but for me it is more of a wow factor than musical inspiration. For those familiar with JJ Cale, maybe the laziest guitar soloist ever, and he was such a major influence on Clapton that he recorded a cd with him. Most of those simple solos from classic pop and rock, Beattles ect are still etched in my mind. Would the Beatles have been better with a shredder? I say no way. I strive to fit the tune, enhance the tune rather than try to impress with chops.
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