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I use pentatonic shapes to visualise the neck and fill in the gaps to make 7 note scales
I never learned CAGED. Alan Limbrick at The Guitar Institute taught 3nps, but he got us to visualise each pattern as being around a chord shape. I guess it was the same idea - to see a pattern as a superset of a chord shape, so the shape was the hook you hung the new pattern knowledge on, and when you were playing off against that chord you knew where the chord tones were within the scale. Always useful
Seriously: If you value it, take/fetch it yourself
That's not to say it's better than CAGED or 3NPS etc. I think Jimmy Bruno uses something very similar to CAGED, Allan Holdsworth/OZ Noy employ a lot of 4NPS. All monstrous players in their own right.
A wise man once told me "my triad is the same as your triad, it's what we do with them that makes us unique". I think that is quite relevant here too
I think I may know what you be referring to with the 5 fret method but won’t post any thoughts as I’d prefer keep the thread free of misinformation. Is there a resource you could point me toward on that?
The only resource I can find online is his website. In a nutshell, it's getting everything (well, a LOT of stuff) - scales, arpeggios and chords all sorted between frets 1-5 in all 12 keys. The work done here just then transfers up the neck to cover it completely.
i studied Popular Music at a place called Bretton Hall back in the 1990s’.
I spent a long time playing Ionian 3 notes per string, patterns of 3/4/5 notes, up in 3rds, triads etc but i dont think I really activated my noggin about the intervals.
As a result my alternate picking technique etc improved dramatically, but im not convinced I moved on musically if you catch my drift.
Im now working through Martin Miller's jtc masterclass which is more focussed on intervals and relating them to CAGED.
Early days but i find it hard to concentrate when working on these exercises for more than a few minutes. Need to develop greater focus!
Not that there's anything wrong with other ways of looking at things. I'm assuming the five fret method and the three note per string methods view things in terms of intervals so it all boils down to different perspectives of essentially the same thing. As you say what really matters is "thinking about what you are doing rather than simple finger/pattern mechanics".
I think very much in terms of CAGED and intervals and posted my thought process on the other related thread at the link below.
http://www.thefretboard.co.uk/discussion/comment/1772138/#Comment_1772138