CAGED System vs. Triad Cycles: Which is Better?
What was the question?
Lenny asked if using the CAGED system to memorize triad cycles hurts his progress. Specifically, he noted that certain cycle movements (like Cycle 3, C major to E minor) seem to map perfectly to standard CAGED shapes. He wanted to know if relying on those shapes was a valid shortcut.
(34:00)
The core idea (in plain English)
The CAGED system covers five specific shapes on the neck, usually spanning five or six strings. It is a useful tool for beginners to visualize chords. However, triad cycles (systematically moving between triads through a specific interval) are more comprehensive.
The shape of a triad on the guitar cannot simply compete with CAGED because CAGED is limited to specific "grips." Triad cycles compel you to find every available inversion on every specific set of strings. If you only stick to CAGED, you might miss unique inversions that exist outside those five standard boxes.
(35:37)
Fretboard breakdown (what to play)
To go beyond the basic boxes, you must practice cycles on specific string sets.
Cycle 3 Practice: Move from a chord to the chord a major third away (e.g., C Major to E Minor).
String Limitations: Do not just grab the nearest convenient shape. Force yourself to play this movement on:
Strings 1-2-3
Strings 2-3-4
Strings 3-4-5
Strings 4-5-6
The Discovery: By doing this, you will eventually find inversions and voice leadings that do not fit neatly into a standard "C shape" or "A shape," expanding your vocabulary significantly. (37:05)
Common mistake to avoid
A common trap is clinging to new information only by relating it to what you already know (like fitting a new triad exercise strictly into an old CAGED box). While this is comfortable, it prevents you from seeing the "hidden" intervals and geometric shapes that exist between the standard shapes.
A 10-minute practice assignment
Take the Cycle 3 movement mentioned (C Major to E Minor).
Choose only the top three strings (G, B, E).
Find C Major. Move the necessary notes to turn it into E Minor without jumping up or down the neck—find the closest possible voicing.
Repeat this for all three inversions of C Major on those same strings.
(38:54)
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