Can the Spread Voiced Triad Workout reflect CAGED?

I’ve been working through it and love the challenge. Was wondering if the shapes we learn can be applied to the CAGED method with each shape pertaining to a letter?

Glad to hear that you’re having a blast @mouthfreshner ! Absolutely. It’s a little harder than closed positions of course, but with a bit of practice and a proficient understanding of CAGED fundamentals, you should be able to get your head around it quickly enough :sunglasses:

Let me know if there are any particular shapes that you struggle to see the CAGED relevance and I’ll be able to fill in the gaps for you :v:

Yeah with the open voice it’s extremely challenging… I tried for a few hours to get this going and here is what I came up with…

Set 1 of Triads:

  • First 3 shapes played in the video are based on the E major shape, the last triad in the set belonging to the D major shape.

Set 2:

  • 1st Triad: G major shape
  • 2nd Triad: Could be A shape?
  • 3rd Triad: A major
  • 4th Triad: No Clue, still working on it.

Set 3 and so forth I am very uncertain on (I know some of the sets repeat luckily) :slightly_smiling_face:

Since the workout is in different chords of a key instead of a single chord expanded in CAGED format it is very difficult to decipher which spread triad inversion belongs to which CAGED shape. I rewatched “Major Triad Construction” lesson in case I missed something, still struggling though…

Is there a guide/trick you can provide to connecting them more efficiently?

Thanks Darryl!

You’re mostly correct, though it seems that you’re lacking a little understanding of CAGED that will help you fill the parts you’re uncertain of.

Set 1 – you’re correct.

Set 2 – you’re correct. The 4th triad is still in the A position. Why? Because the notes predominantly exist ahead of the root note of the A position.

Good job so far though, you’re doing some really great beneficial analysis :sunglasses: Keep us in the loop if you have any more revelations :v:

Thanks Darryl! I am still a bit uncertain on the minors, here is what I ended up coming up with:

Set 3: (Am) – 1. 2. and 3. are E Minor Shape.

  1. is Minor A shape

Set 6: (Em) – 1. is G minor Shape,

  1. D minor?

  2. A Minor Shape?

  3. D minor shape?

Set 8: (F#Dim) – Same shapes as Set 1 with Dim added

Ok so in set 3, you’ve gotten the 4th one wrong. After E position comes D position – not so sure where you got A from? :thinking:

Again with set 6, you’re mixing the positions too radically for some reason. If the root position is an A minor shape (number 3 in the sequence – hopefully that one is at least clear to the eyes), then the surrounding positions must be either C, A, or G, since C and G are its direct neighbours. The answer is in fact: 1: Gm position, 2: Am position, 3: Am position, 4: Am position.

Set 8 – you are correct. 1: Edim position, 2: Edim position, 3: Edim position, 4: Ddim position.

Hopefully this fills in some gaps? :smiley:

You might benefit find more insight in the latter part of the CAGED Masterclass, since it’s clear that you already have some understanding of CAGED already, but there are perhaps just a few gaps. The former section might also reassert your foundational understanding or perspective of CAGED :sunglasses:

Thank you, that helps immensely! :pray:

For sure, I will check out the Masterclass!

While going through the workout, wondered about Eric Johnson’s spread triads. Do players like him modify and memorize these same shapes to their desired voicing, then perform more or less? I’m thinking with this exercise and discovering more CAGED shape voicings can equally make/understand those unique ones that appear in his music (and yours). :grinning:

Spread voiced or not, the more familiar you become with them = the more broad your vocabulary will be. With a broad vocabulary and understanding of the neck, you’ll be able to pull out any choice of triads you’d like during an improvisation or composed piece :sunglasses: