SF's top secret guide to guitar chords

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Sascha Franck wrote:
tee boy wrote: - Is this method not just the CAGED method?
As said in another reply, it's not exactly fundamentally different from the CAGED method, but it leaves something out while adding the left out content otherwise (IMO at least).
- If so, do you not think a 'laymens' guide to CAGED would be more beneficial before going into more indepth voicing rules etc?
Well, to be honest, no.
From what I can see there's all sorts of different approaches to the CAGED method as well (admittedly I haven't been looking in a while), so it's not as if there would be any sort of general consensus.

Apart from that, the two methods desribed so far have some things in common which should enable almost any player looking for something beyond open position and "barré over all 6 strings" chords to easily adopt things to his/her style.
A) They are easily moveable throughout the fretboard, just as barré chords (method #1 even refers to them, at least more or less).
B) They are somewhat consistent in their layout, offering a "root note on E6 or A5" approach, which is again something which most barré (or even power) chord users will be familiar with.
C) IMO they offer access to some more or less advanced options a bit quicker than CAGED (I wouldn't bet on that though).

Apart from all that, the methods described are used sucessfully since almost a decade (some things even longer) in my personal teaching.

I have to admit that everything I posted so far would look better on a proper website, in a book or along with some nice pictures. But for whatever reasons I decided to post them here at first, plus, I'm not a website designer or layout expert at all.
Just a thought, cuz in my own experience it pays to make things a apparently basic as possible when attempting to teach new concepts. Initially, talk of voicings and extended chords can tend to cloud and over complicate imo.
I like to use basic concepts myself as well.
But I can't see anything going much beyond that so far.
See, IMO method #1 is more or less like "1200 barré chords for guitar" compressed into 3 diagrams and a few explanations. In fact, "1200 chords..." doesn't even offer you insight into which note has to be changed in order to achieve this or that (btw, is there any book called "1200 chords..."? If so, I should change those quotes as it was just some randomly chosen title).
Method #2 offers an approach I haven't seen often yet at all (actually, I've never seen it, just something partially similar) - and I don't find it to be overly complicated either.

I could really recommend checking out what I've written so far, most of my students never had a problem to understand things at all, and I defenitely asked them to play rather complexed chord progressions as their homework, some things they've never even heard about before.
Well, of course, such highly compressed "methods" do indeed work best in a one-on-one teaching situation, so in case anything becomes unclear I could easily play some example or explain things a bit further.
Still, I do believe that these approaches DO have their value.
I mean, I analyzed a LOT of books on all that shit (along with books about harmony and the likes) and, even if this might pretty much sound like patting myself on the back, I usually found things to be explained in a way more complicated way.

No your right, totally. I think on retrospect my issue (if you could call it that, lol) was more with the delivery than the content itself. I agree that in a one to one session this stuff would most likely not be too much. I think its just extremely difficult though to put such things across in a single post on an internet forum. In my own limited teaching experience, Iv found that making concepts stupidly simple at first is by far the best method of approaching more complex stuff, and I'd imagine that would apply tenfold here. I mean, you dont have the option of smacking your student with a ruler if they start to 'glaze over' on the internet! Iv also found that physically grabbing students fingers and forcing them into positions is a choice tools of the trade, but once again not possible in this case.

Indeed, if you can get this stuff across on a forum with no personal contact at all, then you should be patting yourself on the back!

btw, I suggest you try the ruler technique, works like a charm :wink: :D

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Actually, I'd like to ask you another question if it aint going to OT:

How have found the whole software studio lark has effected your teaching methods? Iv found that by running two guitars DI into Amplitude, and being able to record and loop phrases has totally changed how i work.

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tee boy wrote:Actually, I'd like to ask you another question if it aint going to OT:

How have found the whole software studio lark has effected your teaching methods? Iv found that by running two guitars DI into Amplitude, and being able to record and loop phrases has totally changed how i work.
Well, I've actually been teaching similar to this since quite a while, just that my amp simulations have been a) hardware (I still have the very first Hughes&Kettner RedBox somewhere) and b) not as flexible or good sounding. I'm still using hardware simulations, btw. (a POD and a VAmp).
I have also been recording things for quite some time, but of course using computers had a big impact on my teaching efficiency, especially when it comes to doing practice backings.
Very often people come with some "could we do this song?" demands and I would just load the song into the sequencer and rebuild it. That's indeed a great help, especially when it comes to playing song parts cycled.
Occasionally I may also slow down one or the other part - way easier as back then, only having a Fostex 4-tracker.
There are 3 kinds of people:
Those who can do maths and those who can't.

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Mister Sascha, thank you so much for these and your other educational posts ... I have started an SF folder to collect them
5 twelve

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