Using CAGED technique 2

In the previous chapter showed you how to find the CAGED chords from a progression without straying too far from the playing position. Getting used to this allows you to easily visualise and locate chord tones. Using these chord tones within your guitar solo will enable you to create lead breaks that always work with the chord progression. Most guitar solos are a mixture of scales, licks and chord tones. The real art is being able to mix these ideas together. The easiset way to accomplish this is to practice the playing the tones only to create a melodic solo. Being able to find these notes with ease is very important and until you can do so, it’s best not to try using them too much with scale playing until they become a natural part of your guitar playing.
The TAB below shows how you can experiment by creating a simple melodic guitar solo based on the same chord progression as that in Lesson 1. Remember, staying as close to one position as possible is the important thing. The other thing to remember is you don’t need to be using all six strings otherwise it becomes predictable. You also don’t need to play all of the notes within a chord, for example, you could just hold onto one note from a chord for an entire bar and then the next chord change you could play a few more chord tones from the next chord. Breaking it up like this steers it away from being too cheesy. The example below also sounds a bit cheesy but you need to start like this to make sure you are learning properly. As you gain experience these ideas will creep into your natural scale type of soloing and this is when the CAGED method starts being useful. Although I think “method” is the wrong word. It’s better to think of CAGED as being a kind of overlay or guide across the fretboard rather than a system or method. Eventually you won’t even think about CAGED, everything just becomes chord tones and notes.

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Using CAGEd technique 1

Playing chords in one position
Two of the biggest differences between pro and amateur guitar solos are knowing when to play the right notes at the right time and making those note transitions work smoothly. This is something that you might think would take years to accomplish but it’s not really that hard. Sure it takes some time but the biggest hurdle the beginner guitarist has overcoming this problem is most beginner and amateur guitarists just don’t know how to go about practicing this kind of stuff. Where do you start?
Learning the notes on the fretboard is definitely a big deal and helps your guitar solos massively but a lot of rock and blues use a lot of very common chord progressions. This is the best place to get started on putting the CAGED system to good use and see some real benefits in a short amount of time from the CAGED method.
Knowing the CAGED chords and being able to find them quickly is the easiest way to make use of chord tones in your guitar solos. Once you know these very well then you can use the system to make sure you land on the good sounding notes whenever the chords change in a chord progression. You know those guitar solos you hear that always sound so natural and flowing with the music, those are the ones that make sure the chord changes are reflected within the solo itself as well as the other instruments playing the backing. If a solo is self supporting then it’s always going to fit well within the rest of the band.
Once you have this kind of stuff down then you are on your way. Don’t get too excited though, there is a lot to learn yet, this is just the basics of putting the CAGED guitar system to good use. The toughest part is getting so used to it that you can move to any chord while moving your fretting hand as little as possible away from it’s current position. Why? Because this is how you get your guitar solo to sound so smooth and fit perfectly with the music. If you can manage to choose notes within your guitar solo that change between the chords with the least amount of distance, this is when you start to sound like a real pro. We can’t rush ahead this fast so for now lets just take an example chord progression and look for the CAGED chords that are closest to the position we are playing. For this example lets say we are around the fifth fret and using the following chord sequence.
Chords: A / F# minor / D / E
Here are the CAGED chords around the fifth fret.

Being able to find those patterns quickly takes some practice and the more you know the notes on the fretboard the better. It really doesn’t take very long to do learn any of these things, here’s a fact, most beginners spend more time looking for answers and tricks on how to learn the fretboard than it actually takes to learn them with the correct practice!
Just do a few exercises everyday, it doesn’t need to be anything in particular.. Just pay attention to what you are playing and practice the above idea in all twelve keys regularly, within a month you’ll be well on your way. Within a few months you could know the entire fretboard with ease as long as you stay focused and make sure you are learning and not just going through the motions. I’ll do an in depth lesson on that another time but right now lets stick with the CAGED system!
For now, all you need to do is practice the above chords in those positions. Don’t worry if you find them difficult to finger, the point is to get to know the note positions and chord patterns. When it comes to creating our guitar solos, we want all of those notes firmly fixed in our minds without any thought required. It’s good if you can play them as full chords but for the sake of what we are learning here, you only need to play the notes. The TAB below will give you the idea. Practice regular for a few days and then you will be ready to move on to the next lesson.

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Maj 7 chords

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Minor 7 chords

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CAGED minor chords

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CAGED 7th chords

So we can see that C requires all 4 fingers, G and D require 3 fingers and A and E require only 2 fingers.

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Chord formula

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Chord Leading

What is chord leading?

It is the tendency for one chord to lead to the next chord. It is the feeling that it needs to move somewhere else.

How does chord leading?

Leading and resolution are directly tied to one another. As you know, the leading tone is the 7th tone of the scale, or the 7th chord of the progression. Well, honestly all notes have a tendency to go somewhere. Some have stronger tendencies than others. The strongest tendency to resolve is from the 7th tone. The reason this is because the 7th is one half step up from the tonic or root.

Which chords lead to which?

Well, that is the whole reason for this section. To find out what leads to what and to a lesser degree, why. It has to do with resolution, though. As we'll see.

Chord resolution

Resolution is the need to end up somewhere (on a particular note.) Chords resolve to othe chords more stable in the key. Sometimes you use a chord that isn't even in the key and they have to be resolved to a chord in key. You can have subtle and smooth resolution or strong resolution. Subtle resolution is generally done in half steps. This is why the 7th chord is called the leading tone, because it leads or resolves so naturally to the tonic. The 5th to the 1st would be considered a strong resolution.

What do all those names mean? (TONIC, SUPERTONIC, MEDIANT, etc...)?

Each one of these terms describes a relationship between it and the tonic or root of the chord / key. In our discussion of the chord flow chart, I'll explain what each one means and does in detail.

Do I need to know what they mean?

No, not really. You can learn by ear what strength each of these chords does in relation to the tonic. That's the main reason I had you go through all of those chord cadences above, to gain that feel. Gaining this feel is one of the hardest things to do. But once you do doors will open for you musically.

Chord Leading Chart

• The following chart DOES NOT explain what chords HAVE to do.
• This is simply a chart explaining how strong of a relationship the chords in a key have with regards to leading and cadences.
• Any of these chords CAN RESOLVE DIRECTLY TO THE TONIC. But the further away the chord lies from the tonic, the stronger it is on its own it is or less it needs to be resolved to the tonic.
• The chord next to it is the most natural move to get it to the tonic.

Basically this chart shows the PATH OF LEAST RESISTANCE.

TONIC CATEGORY: (RESTFUL CATEGORY)

The TONIC is home base. All roads lead to here. The 3 can resolve anywhere. It is the closest related chord to the tonic so it stands alone best. That's why it's furthest away. It shares the 3-5 tones of the tonic. Very consonant. Often used to replace the tonic in a progression. The 6 most naturally moves to the 2 chord. But, sometimes it shows up in the SUBDOMINANT CATEGORY. If this happens it progresses to the 5th chord nicely. The 3 (mediant) and the 6 (submediant) are separated by a fifth. We'll talk a little more about this in the Circle of Fifths lesson. The chords in this section share 2 common tones, none of which are the 4 tone. The four tone is restless so these all have a restful feel, as if they didn't need to go anywhere. So basically you can move to any chord from these without sounding bad.

SUBDOMINANT CATEGORY: (MODERATE MOVEMENT)

The 2 (supertonic) is a very common chord used. And it is usually followed by 5 (dominant) it shares 2 notes with this chord. Also if you move up one 5th degree from the 5th or the root, you get to the second. So basically it's 2 5ths away from the root. This makes the ii - V - I one of the most common progressions. The 4 (subdominant) is a feel good tone. If we resolve from the 4 to the tonic directly, we get a very smooth, calming effect. Often called the "Amen" cadence. Otherwise it most naturally resolves or leads to the dominant 5th. So the ii and the IV share the 4 tone, which causes them to have a similar restless feel.

DOMINANT CATEGORY:

These are the chords that most WANT to go to the tonic. The dominant shares one note with the tonic and that is the 5 tone. Otherwise it contains the 7 leading tone. Both of these notes make this chord resolve very strongly to the tonic. Remember of course it can move to other chords as well but it makes a loud statement when it move to the tonic. The leading chord contains no shared notes with the tonic. But it does have two notes that resolve 1/2 step up. Remember we said that 1/2 step resolutions are very smooth and logical. This is where the 7 chord (leading chord, not a 7th chord) comes in. It feels like it needs to go "home."

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Sandwich Exercise

Used in conjunction with the CAGED system this exercise has the very powerful effect of enabling you to find a major scale in any key, anywhere on the fretboard, in either forward or backward diagonal positions.
Once mastered with the major scale it can then also be used to learn all other scales and modes.

The Sandwich exercise

Start by learning these seven octave patterns:

Forward diagonals:

 Backward diagonals

For each octave pattern:

1. Play the octave (one slice of bread)
2. Play the major scale up and down (the filling in the sandwich)
3. Play the octave pattern again (the other slice of bread)


Note that where you drill this on the fretboard doesn’t matter - 

it’s which string you start each pattern on that determines the actual shapes.





For example, starting at A on the sixth string:

Forward diagonals:

e------------------------------------------------
B------------------------------------------------
G------------------------------------------------
D----7-------------4-6-7-6-4----------------7----
A------------4-5-7-----------7-5-4---------------
E--5-----5-7-----------------------7-5----5------

e------------------------------------------------
B------------------------------------------------
G----7-------------4-6-7-6-4----------------7----
D------------4-5-7-----------7-5-4---------------
A--5-----5-7-----------------------7-5----5------
E------------------------------------------------

e------------------------------------------------
B----8-------------5-7-8-7-5----------------8----
G------------4-5-7-----------7-5-4---------------
D--5-----5-7-----------------------5-7----5------
A------------------------------------------------
E------------------------------------------------

e----8-------------5-7-8-7-5----------------8----
B------------5-6-8-----------8-6-5---------------
G--5-----5-7-----------------------7-5----5------
D------------------------------------------------
A------------------------------------------------
E------------------------------------------------ 

Backward diagonals:

e------------------------------------------------
B------------------------------------------------
G----2---------------1-2-1------------------2----
D----------------2-4-------4-2-------------------
A----------2-4-5---------------5-4-2-------------
E--5-----5---------------------------5----5------

e------------------------------------------------
B----3---------------2-3-2------------------3----
G----------------2-4-------4-2-------------------
D----------2-4-5---------------5-4-2-------------
A--5-----5---------------------------5----5------
E------------------------------------------------

e----3---------------2-3-2------------------3----
B----------------3-5-------5-3-------------------
G----------2-4-5---------------5-4-2-------------
D--5-----5---------------------------5----5------
A------------------------------------------------
E------------------------------------------------

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Making barre chords or movable chords

Now we know E and A open chords. We first get barre chord from there point of view.

Types of moveable chords

Root 6 Moveable chords

Root 6 chords have their root or tonic, you guessed it, on the 6th string. Below are the forms for the major, minor and the dominant root 6 chords. Keep in mind that these are all moveable up and down the fretboard. Just click on the type of chord you want to see below and the fretboard will show up and show you the Root 6 Moveable chords.

Root 5 Moveable chords

Root 5 chords have their root or tonic, you guessed it, on the 5th string. Below are the forms for the major, minor and the dominant root 5 chords. Keep in mind that these are all moveable up and down the fretboard. Just like the Root 6 chords. Just click below to view the fretboard and the Root 6 moveable chords.

Root 4 Moveable chords

Root 4 chords have their root or tonic, you guessed it, on the 5th string. Below are the forms for the major, minor and the dominant root 4 chords. Keep in mind that these are all moveable up and down the fretboard. Just like the Root 6 and Root 5 chords. Some of these you can see come from the Root 6 chords. Click on the name belowe of the type of chord you want to see and the fretboard will appear.

Moveable chord charts

Moveable MAJOR CHORDS
6th string
5th string
4th string
minor CHORDS
6th string
5th string
4th string
MAJOR 7 CHORDS
6th string
5th string
4th string
minor 7 CHORDS
6th string
5th string
4th string
DOMINANT 7 CHORDS
6th string
5th string
4th string
DIMINISHED CHORDS
6th string
5th string
4th string
AUGMENTED CHORDS
6th string
5th string
4th string

Learning MOVEABLE CHORDS

1. Learn every note on the first 2 strings.
2. Then I memorize one form for the 6th string Major chords. Play it up the string naming each chord as you go along.
3. Then I do it over again with the 2nd chord formation if there is one.
4. Finish the 6th string then move on to the 5th string and do the same thing. Then the fourth.
5. After the major chord forms are pretty well memorized go on to the minor chord forms: 6th string 1st, 5th string then 4th string.
6. Then move to the 7 chords. All the while note the difference in their sounds and characteristics. After the 7 chords try the diminished then the augmented.

Once you get all of these chord forms try to play around and figure out more difficult or complicated chords.

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Various shapes of chords = CAGED system

We have various open chords, consider open chords of C, A, G, E, D.
I have written major chord notes like 1 3 5 , for example for C chord it is C, E , G...now we can note how these notes are on different strings.
C shape chord = C E G
x-----------
|----3-----1
|----2-----3
|----------5
|----1-----1
|----------3

A shape chords = A C# E
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----2----C#3
|---------E-5

G shape chord = G B D
|----3------1
|----2------3
|-----------5
|-----------1
|-----------3
|----3------5

 
E shape chord = E G#/Ab B

|----------1
|----2-----5
|----2-----1
|----1-----3
|----------5
|----------1


D shape = D F# A
|----------x
|----------x 

|----------1 
|----2-----5
|----3-----1
|----2-----3


So we can summarize it as :
Shape    Note order on string
C              1 3 5 1 3
A              1 5 1 3 5
G             1 3 5 1 5 1
E             1 5 1 3 5 1
D            1 5 1 3   
Note that A,E,D resemble in order and also C, G resemble a bit.
Now we can make various barre chords according to these shapes. See making barre chords.

CAGED system 
Start by locating the Root Notes of each of these familiar chords:

Each set of root notes forms a unique movable Octave Pattern :

By laying these five patterns out so that they overlap each other in the order that spells the word 'CAGED' we are able to chart every occurrence of any given note on the fretboard:

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Applying Various Chord formula

Now we have to apply various chord formula like 1 3 5, 1 3b 5, etc on some chord. For example we pick up A chord.
So A has 1 3 5 as A , A+2T, A+2T+1.5 T
So 1 = A
3 = C#
5 = E
So we have to select A , C# and E from string and we have A chord.
Learn how to read chord diagrams.

One way to do so is like this:

x-----------
|---------A-
|----2----E-
|----2----A-
|----2----C#
|---------E-


A is played open is base note of the chord.  We have marked them according to the chords formula.
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----2----C#3
|---------E-5

Now for minor chord we need, 1 3b 5...so we have to flatten 3,i.e C# here. So we have to move finger  to flatten it, so Am chord is:
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----1----C-3
|---------E-5

     Am

Sus Chords
Sus2 is 1 2 5 chords. So we have to flatten 3 by 1T or 2 frets.
So we have   
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|---------b-2
|---------E-5
 Asus2
Similarily sus4 chords are 1 4 5 chords, that add .5T or 1 fret to 3 note in scale.
x-----------
|---------A-1
|----2----E-5
|----2----A-1
|----3----D-2
|---------E-5
 Asus4


7 Chords

Now for A7 we need 1 3 5 7...7 = 5 + 1.5T= E = 1.5T = G
We know that 1 = 8 in octave, that is 8 and 1 is same note...So we can have 8 - 1T = 7...So we will flatten 1 i.e.A(not base one but in the G string) by 2 frets...So we have:
x-----------
|---------A-1
|----2----E-5
|---------G-1
|----2----C#3
|---------E-5

     A7

Similarily Am7 is 1 3b 5 7...so we have       

x-----------
|---------A-1
|----2----E-5
|---------A-1
|----1----C-3
|---------E-5

     Am7


Diminished Chords
Diminished chords have formula 1 3b 5b..
So we have to flatten both C# and E by 1 fret.
x-----------
|---------A-1
|----1----Eb5
|----2----A-1
|----1----C-3
|---------E-5

     Adim
Diminished 7
Formula for this is 1   3b   5b   7b  dim-7          = minor 5 flat 7 = m5b7
7 = 5 + 1.5T so  7b = 5+1T or 8(or 1) - 1.5T or 3 frets
x-----------
|----------1
|----1-----5b
|----2-----1
|----1-----3
|----2-----7b
Adim7
x-----------
|----------1
|----1-----5b
|----2-----1
|----1-----3
|----2-----7b

Half Diminished 7
Formula is 1   3b   5b   7    half diminished  =  minor 5 

x-----------
|----------1
|----1-----5b
|----2-----1
|----1-----3
|----3-----7

Augmented
Formula for augmented chord is 1    3     5#  .
x-----------
|----------1
|----3-----5#
|----2-----1
|----2-----3
|----1-----5#

So we can also make chords for E, C etc.

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Reading chord diagrams

Dots on the Fretboard Diagrams show you where to place your left-hand fingers.

Here is a diagram for an Open 'D' chord.

     'O' = Play the String Open(Some times not mentioned)

     'X' = Don't Play That String

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THE MAJOR SCALE AND PROGRESSION THEORY

There are so many chords and chord progressions, the combinations of them are virtually unending. So we'll start with the old standby, the MAJOR SCALE and how it affects chord progressions.

1. There are 7 notes in the major scale, each made up of different intervals.
2. You can build chords on each of these notes.
3. Some of them are minor chords, some of them are major chords, some of them are diminished chords.

REMEMBER THAT CHORDS CAN BE SUBSTITUTED BY OTHER CHORDS IN THEIR FAMILY so the I, IV and V may be substituted for other major family chords

the Major Chord Progression Pattern:

Major I ... minor ii ... minor iii ... Major IV ... Major V ... minor vi ... diminished vii

Chord / Key	A	B	C	D	E	F	G
I	A	B	C	D	E	F	G
ii	b minor	c# minor	d minor	e minor	f# minor	g minor	a minor
iii	c# minor	d# minor	e minor	f# minor	g# minor	a minor	b minor
IV	D	E	F	G	A	B	C
V	E	F#	G	A	B	C	D
vi	f# minor	g# minor	a minor	b minor	c# minor	d minor	e minor
Vdim	G# dim	A# dim	B dim	C# dim	D# dim	E dim	F# dim

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Chord substitution

ii ... IV
III, vi ... I
VIIo ... V ii ... IV
III, vi ... I
VIIo ... V

GENERAL COMMENTS

Chord substitution overview:

• Any chord in the dominant family can substitute for another dominant family chord
• Any chord in the major family can substitute for another major family chord
• Any minor can substitute for another minor family chord

Okay now the complicated explanation
Chord substitution can be a complex and wonderful thing. For the sake of simplicity, we'm not going to cover extended chords here like 9ths, 6ths, add whatever and all of those. We're going to stick to our basic chords from the Circle of Fifths and the chord scale tones. This will provide us with a good idea of how most substitutions in progressions work and give us some ideas to try to incorporate into our writing.
The idea that chords can substitute other chords depends and the fact that chords have feelings, tensions and
directions. A chord with a different feeling, tension or direction than the one you want to change or substitute simply won't work. It will end up sounding out of place or awkward.
So what we need to do is find out what the chord is that shares the same tension, feeling or direction.
Now obviously, based on all the stuff we just went over in the chord leading, chord scale tones, and circle of fifths
section, figuring our why is probably going to be an in-depth endeavor. But let's give it a shot to see if we can't figure it out. Actually, we may even already know the answer. We'll see.
First let's look at all the notes that chords share in a Key:
grey are shared notes

	1	2	3	4	5	6	7
C
dm
em
F
G
am
Bdim

yeah...and?
1. Every note is shared between 3 chords. So what happens is that every chord shares 2 notes with at least 2 other chords.
2. So why can't we substitute any of these for any of the others?
Because it has to do with what tones these chords share. As we stated already in the chord leading section, there are notes that are restful, moderately restless and restless.
The chords that share restless tones Tonic Category I iii VI
The chords that share moderately restless tones Subdominant Category ii IV
The chords that share restless tones Dominant Category V VIIo
Chord Substitution Summary:
any chord from the tonic category can probably substitute for any other tonic chord.
any chord from the subdominant category can substitute for any other subdominant chord.
any dominant chord can substitute for any other dominant chord.

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Some Major and minor chords

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Finding chords with chords formula

Example consider A shape....

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Some basic Chords

This page has fingerings for some basic chords. The numbers are the fingers. "1 - - - 1" means your first finger will be pressing across all the strings indicated. If this is too difficult, sometimes you can just press one or two strings. For instance, on the Bb you can just press the first string with the first finger, but then you wouldn't play the fifth string. The "x" means you don't play this string unless you want to use it as an alternate bass. A Open      A             A7             Am           Am7 x__________   x__________   x__________   x__________ | | | | | |   | | | | | |   | | | | 1 |   | | | | 1 | | | 2 3 4 |   | | 2 | 3 |   | | 2 3 | |   | | 2 | | | | | | | | |   | | | | | |   | | | | | |   | | | | | | Bb Chords with A shape      Bb            Bb7           Bbm          Bbm7 x__________   x__________   x__________   x__________ | 1 - - - 1   | 1 - - - 1   | 1 - - - 1   | 1 - - - 1 | | | | | |   | | | | | |   | | | | 2 |   | | | | 2 | | | 2 3 4 |   | | 3 | 4 |   | | 3 4 | |   | | 3 | | | | | | | | |   | | | | | |   | | | | | |   | | | | | | B chords with A shape except B7       B             B7            Bm           Bm7 x__________   x__________   x__________   x__________ | | | | | |   | | 1 | | |   | | | | | |   | | | | | | | 1 - - - 1   | 2 | 3 | 4   | 1 - - - 1   | 1 - - - 1 | | | | | |   | | | | | |   | | | | 2 |   | | | | 2 | | | 2 3 4 |   | | | | | |   | | 3 4 | |   | | 3 | | | | | | | | |   | | | | | |   | | | | | |   | | | | | |        C             C7            Cm( A shape ) Cm7(A shape ) x__________   x__________   x__________   x__________ | | | | 1 |   | | | | 1 |   | | | | | |   | | | | | | | | 2 | | |   | | 2 | | |   | | | | | |   | | | | | | | 3 | | | |   | 3 | 4 | |   | 1 - - - 1   | 1 - - - 1 | | | | | |   | | | | | |   | | | | 2 |   | | | | 2 | | | | | | |   | | | | | |   | | 3 4 | |   | | 3 | | | | | | | | |   | | | | | |   | | | | | |   | | | | | |         D             D7            Dm           Dm7 x_x________   x_x________   x_x________   x_x________ | | | | | |   | | | | 1 |   | | | | | 1   | | | | 1 1 | | | 1 | 2   | | | 2 | 3   | | | 2 | |   | | | 2 | | | | | | 3 |   | | | | | |   | | | | 3 |   | | | | | | | | | | | |   | | | | | |   | | | | | |   | | | | | |         E             E7            Em           Em7 ___________   ___________   ___________   ___________ | | | 1 | |   | | | 1 | |   | | | | | |   | | | | | | | 2 3 | | |   | 2 | | | |   | 2 3 | | |   | 2 3 | | | | | | | | |   | | | | | |   | | | | | |   | | | | 4 | | | | | | |   | | | | | |   | | | | | |   | | | | | |         F             F7            Fm           Fm7 ___________   ___________   ___________   ___________ 1 - - - - 1   1 - - - - 1   1 - - - - 1   1 - - - - 1 | | | 2 | |   | | | 2 | |   | | | | | |   | | | | | | | 3 4 | | |   | 3 | | | |   | 3 4 | | |   | 3 | | | | | | | | | |   | | | | | |   | | | | | |   | | | | | |         F#           F#7           F#m          F#m7 ___________   ___________   ___________   ___________ | | | | | |   | | | | | |   | | | | | |   | | | | | | 1 - - - - 1   1 - - - - 1   1 - - - - 1   1 - - - - 1 | | | 2 | |   | | | 2 | |   | | | | | |   | | | | | | | 3 4 | | |   | 3 | | | |   | 3 4 | | |   | 3 | | | | | | | | | |   | | | | | |   | | | | | |   | | | | | |         G             G7            Gm           Gm7 ___________   ___________   ___________   ___________ | | | | | |   | | | | | 1   | | | | | |   | | | | | | | 1 | | | |   | 2 | | | |   | | | | | |   | | | | | | 2 | | | | 3   3 | | | | |   1 - - - - 1   1 - - - - 1 | | | | | |   | | | | | |   | | | | | |   | | | | | | | | | | | |   | | | | | |   | 3 4 | | |   | 3 | | | | | | | | | |   | | | | | |   | | | | | |   | | | | | |  Some other chords    Gmaj7        Cmaj7        D/F#bass      Am/Dbass ___________   x__________   __x________   x_x________ | | | | | |   | | | | | |   | | | | | |   | | | | 1 | | 2 | | | 1   | | 2 | | |   T | | 1 | 2   | | | 2 | | 3 | | | | |   | 3 | | | |   | | | | 3 |   | | | | | | | | | | | |   | | | | | |   | | | | | |   | | | | | | Note - Bb, B chords are seen in A shape; Similarily Cm and Cm7 is shown in A shape chords. F# and Gm, Gm7 are shown in E shape. So we can hold any chord with C,A,G,E,D shapes...using the CAGED system.

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Diminished and Augmented Chords

We know that diminished chord has formula...
1   3b    5b        diminished   =   minor5 = m5
1    3     5#        augmented
1   3b   5b   7b  dim-7          = minor 5 flat 7 = m5b7
1   3b   5b   7    half diminished  =  minor 5
 

Applying the formula for C chords

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Chord formula and Tonal difference between notes in chord

Chord                                 Notes              
Major                          1   +2T      3      +1.5T      5             
Minor                          1   +1.5T    3      +2T        5           
Dim                             1   +1.5T    3      +1.5T      5             
Aug                             1   +2T      3      +2T        5#              
dim-7                          1   +1.5T     3b    +1.5T     5b    +1.5T    7b
half-dim                      1   +1.5T    3b    +1.5T      5b    +2T      7

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