ALL Guitars have this same problem

Every Guitar has this same problem. There is a strange fact about the guitar that once you see it, you won't be able to unsee it. But what I’m going to show you will also make everything you learn or do on guitar much easier from now on. Scales, chords, solos, everything you do on guitar will be easier.
Guitar tuning, guitar lessons, basic theory lessons,guitar tuning standard, guitar, guitar quirks, guitar tuning explained, guitar lesson, tune my guitar, the great divide, fault line, strange guitar fact, strange guitar facts
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Comments and suggestions for video topics are always welcome.

[@JazzRockswithAdam]

Leave a comment. Have you ever thought about the guitar this way before? How do you think of the fault line/the great divide?

[@sintrophy]

I do deeply appreciate the wisdom your vids promotes! THX!!! I used to play guitar many years ago, then switched to Chapman Stick. Recently I got the accousic archtop and did not consider anything else except all 4th tunings due to lifetime spend with the Stick. From my rather unusual perspective, it sounded weird, that one cannot play ordinary chords easily in all 4th tunings… Surely, “guitar idioms” are not happening, as well as copying traditional or classical parts, but triads, all drop2/3 voicings as well as 100 % Freddie Green are all there. “Missing” only awkward note doubling of “standard” chords in traditional tuning… 🖖👀

[@procarpenter1788]

Thanks for pointing out the players that tune in fourths. Chords are doable, and there lots of benefits, but as someone said somewhere, it closes as many doors as it opens. I still use it sometimes.

[@JazzRockswithAdam]

Yeah, I agree. I’m still trying to learn standard tuning! 🤣

[@procarpenter1788]

@@JazzRockswithAdam same here, man. It seems impossible. That stupid third 💀

[@JazzRockswithAdam]

@@procarpenter1788 We all learn to deal…

[@m.vonhollen6673]

You said to leave a comment. I read a reply of yours in which you said that you weren’t a fan of the CAGED system. - I believe I’ve found 2 flaws in that system, and that I’ve found a way to improve it. 1) CAGED is based on triads and it needs to be based on the Dominant 7 chord. That’s because the triad only goes to 5, and we need to get the b7 to divide the octave into 1-3-5-b7, otherwise there’s too big of a gap between 5 and the octave. 2) CAGED starts on C; that’s an easy-to-remember word, but C is the piano’s key. A guitar has 2 E strings, and its lowest note is E. - So I think EDCAG-7 is a better mnemonic device than CAGED. - Now let me try to sell you on that. - Play E7 at open position and as a barre chord at the 12th fret. Play E7 using the D7 shape between frets 2-4; using the C7 shape between frets 5-7; using the A7 shape as a barre chord between frets 7-9; and using the G7 shape between frets 9-12. - Now teach yourself how to arpeggiate 1-3-5-b7 within each of those 6 chord shapes (the 5 of EDCAG-7 plus the octave at fret 12. - Here’s another important piece of the fretboard puzzle, the MIGHTY TRITONE. E7 has G# and D as its notes 3/b7 tritone. Because the tritone keeps its shape when inverted, it will form a DIAGONAL LINE that cuts right across the fretboard. In the case of E7, from low E to high E, play frets 4-5-6-7-9-10. E7’s tritone is also located at frets 1-3-4 of the GBE strings; and also at frets 10-11-12-13-15-16. - Those tritones will be inside those EDCAG-7 shapes; and one can be used to find the other. - In a Blues that uses 3 Dominant 7 chords, those 3 chords will have 3 tritones located right next to each other (because the shape remains the same when inverted). - Play along to a 12-bar Blues that uses 3 Dominant 7 chords, and start by “comping” (just playing) the 3 tritones along with the chord changes. - Use those tritones to: a) find all of the EDCAG-7 chords, b) arpeggiate the 3 Dominant 7 chords. - Once this “skeletal” structure of EDCAG-7, of tritones, and of 1-3-5-b7 arpeggios has been firmly established, it’s time to add in the other notes. So first, 1-3-5-b7; then add in 4; then add in b3 BUT always resolve b3 UPWARDS into 3 (a chord tone); then add in b5 from the Blues scale; and finally 2 and 6 (both more difficult to make work but doable). Now you have Mixolydian + the Blues scale combined for 1-2-b3/3-4-b5-5-6-b7. That’s 9 out of 12 notes, and even b2-b6-7 can be used in chromatic lines as long as they resolve. - It took me years of study to finally figure this out. Why wasn’t CAGED working for people (or me)? Only 3 part harmony, and trying to match a Major triad with a Minor Pentatonic scale. Well I believe EDCAG-7 plus the DIAGONAL TRITONE VISUAL, these 2 concepts, make happen a better understanding of the fretboard. Long-winded, I know, but I hope you’ll give these ideas a shot. Maybe even pass them on? Thanks.

[@JazzRockswithAdam]

I’ll have a look at it. But the tritone thing is the key. I use tritones all the time especially comping chords under my solos (or any 3rd & 7th, or 6th). But I like the way you’re thinking. It already be more “jazz friendly” thinking in 4 part chords. Thanks for your well thought out comment.

[@michaeldennisguitarlessons]

I would suggest to your viewers they consider organizing the guitar fretboard into “2 string groupings”. Every 2 strings is tuned to a “perfect 4th”. Melodic material created on “2 string groupings” on “most places” of the guitar neck (the exceptions being very low and very high on the fretboard) are “exactly duplicated” in “3” different places. IMHO, I think this is a very practical way to learn the guitar fingerboard.

[@JazzRockswithAdam]

That’s exactly how I look at guitar as well. You can get repetitive things easily when thinking that way. Thanks for your comment.

[@holzhausholz8215]

This goes well with your learn the fretboard challenge- thanks!

[@JazzRockswithAdam]

Yes! I never thought about that but you’re correct. Thanks for checking it out.

[@arpeggioblues5924]

I converted to 4ths tuning 12 months ago.. now I can play prog rock/jazz fusion, by ear.. all the patterns are the same.. all I had to do was learn 1/3 the number of scales, modes, triads etc.. all the patterns look the same.. if you know where the tonic, and the 5th are, you can master it 300% faster than traditional campfire guitar tuning (EADGBE).. I converted, I'll never go back..

[@JazzRockswithAdam]

Wow! Good for you!

[@GuitarQuackery]

I like how you call it the great divide. And I guess we could say that the other flaw is that 2nd string, as the world still has not come to an agreement if we should call it B or H, LOL. Great video.

[@JazzRockswithAdam]

Ha! Maybe H in Germany. Thanks for checking out the vid, Dr.!

[@olivierroquelle8007]

That’s why bassists rule! 😄😉

[@JazzRockswithAdam]

And they always ave a gig too!!

[@mussieafeworki2726]

Good man

[@JazzRockswithAdam]

Thanks!

[@Malcolm.Y]

I like your channel because you teach lyrical, not scale, improvisation. But this topic slides toward navel-gazing. Tuning to 4ths won't just make it hard to sound authentic on the Rolling Stones and Bluegrass, you say - but, I'd throw in Spanish, Classical and Brazillian - if generes matter, There is so mucn already available, it makes me wonder why mess with it. For example, there aren't many, but I wonder why some people play the guitar left-handed. No one plays a left-handed piano.

[@JazzRockswithAdam]

I think it’s harder to build a left handed piano than guitar. Some people think that guitar is upside down. The bass strings on the bottom. I wouldn’t want to do 4ths tuning as well. I’m just getting the hang of standard tuning! Not sure what navel gazing is. But I think it’s a necessary topic for newbies who might not realize how the guitar operates.

[@michaelzimmer1115]

I looked at all perfect 4ths tuning a while back. I thought that although consistent, it would make a lot of chords much harder to play. There are tradeoffs either way, but the bulk of music, and even the CAGED system, depends on standard tuning. The CAGED system by the way is a true description, always true, for standard tuning. It does not constrain or dictate, it only explains and enables comprehension. Those who object to it don't understand that it is axiomatic, and will always be true for standard tuning. You can also look at the perfect 4ths inherent in standard tuning and the CAGED system: E, A, D, G, C, F, Bb, ... You alluded to it going from A to D. I call the 3rd to 2nd string interval the tuning anomaly, for want of a better term. By the way, a better way of looking at CAGED is in patterns of octaves up the neck. The notes and octaves can be any of those notes available to a musician. Every note follows the same pattern, not just CAGED.

[@JazzRockswithAdam]

I could never go all 4ths tuning either. I’m not fan of CAGED system for jazz. I think in terms of notes not shapes. If it works for someone else, go for it. Thanks for the comment.

[@michaelzimmer1115]

My point is that CAGED is descriptive. It is always true. You can cast any chord method within the parameters of CAGED. It is a function, as I said, of the patterns formed in standard tuning for octave shapes. CAGED is just one fundamental way of organizing these shapes. The octave shapes correspond to the CAGED roots, or scale tonics, or arpeggio roots. You don't have to play the CAGED shapes, you can incoprorate any chord system within these octave shapes. CAGED descibes, and does not prescribe or proscribe. Some of the CAGED shapes are a B#% to play, and it gets worse when you get to chords beyond major, and even worse when you move to other higher order chords. Still, the octave shapes are always there, for any note, regardless of idiom or genre, and CAGED has captured the essence of that underlying pattern. Pick any note and record its octaves on paper, as though a fretboard and you will see that the CAGED shapes for chord roots emerge. It took me 30 years or so to recognize this, and move beyond CAGED as a way of playing. but as a way explaining. The conventional ways of explaining CAGED suck. They give people a totally wrong idea of what the system does.

[@JazzRockswithAdam]

@@michaelzimmer1115 Cool, thanks for sharing.

[@michaelzimmer1115]

I looked at CAGED for the C major chord. The 5 CAGED shapes encompass all of the C, E, and G notes on the fretboard. Each of the 5 CAGED shapes uses almost all of the C, E, G notes in that position on the neck. The unused notes can easily be added to the CAGED shapes as alternates, and often are added. I did not look at other qualities of chords, but logic tells me that what is true of major will be true of minor, and true of any other quality of chord. Some shapes in CAGED are hard to play, and I think some are pretty nigh impossible. However, my conclusion is that CAGED shapes are a superset of all chord voicings. A few chords of a higher complexity will be ambiguous as to which CAGED shape best describes them. They will be on the boundary between one shape and the next. Other chord voicings essentially take a subset of CAGED shape notes and are pretty much part of a bigger CAGED shape, those few that are not part of a standard CAGED shape are part of very slightly altered CAGED shape. I looked at triads and inversions on 4 sets of contiguous strings, and found each and every one was part of a CAGED shape. Moreover, the major CAGED shapes were themselves composed of triads and inversions, and in some cases just ascending 4ths for a sets of 3 adjacent strings. For example, in the CAGED "E" shape for the E chord are the notes: E, B, E, G#, B, E. Clearly E, B, E do not form a triad, whereas E, G#, B and G#, B, E do. They are closed chords in root and 1st inversion shapes. So, you can get inversions and open chords by selecting the strings you play in a CAGED shape. The secret to CAGED is that it is best understood by looking at the shapes of octaves and unisons formed by any arbitrarily chosen note. They are the same patterns on the fretboard, but shifted and rotated for any single note. These octave pairs are the essence of CAGED, not chord shapes. I have found a suggestion on the internet that others have recognized this truth, but generally people think of CAGED as chord shapes, and more often just major chord shapes. This is so limiting, and does not get at the essence of CAGED. As I mentioned, some CAGED shapes are more difficult than others, but some alternative chords are more difficult than others. Difficult is a very personal thing of course, and relates to a person's gifts and training. Some cannot do a CAGED full "G" shape, I can. Some cannot do a CAGED full "C" shape. I cannot. I wrote a book on CAGED 3 decades ago. Still cannot do some of the chords. I look at some of the drop chord voicings as well. No way I could have done those even before age crippled my skill.

[@JazzRockswithAdam]

@@michaelzimmer1115 Michael, thanks for your detailed comment. I’ll have to read this at a different time when I’m not near falling asleep.

[@Earthstein]

Thank you!

[@JazzRockswithAdam]

Absolutely!

[@michaelginex881]

Ever think the tuning in fourths except between the 3rd and 2nd was for a reason, and may be the result of educated thought evolving over a couple of thousand years?

[@JazzRockswithAdam]

Exactly! That’s why I still use standard tuning myself. The guitar is not that old though. It’s somewhere between 400-500 years old. But was influenced by the lute and the Spanish vihuela. The guitar as we know it now with 6 strings and the same tuning didn’t happen until the mid 1800s. But yes there’s history there, for sure. But lots of people use different tunings all the time. My 7-string guitar has the standard 6 strings but with an added high A.

[@hotmetalslugs]

@@JazzRockswithAdam Well-played! That other comment was not only needlessly snarky, but incredibly wrong.

[@JazzRockswithAdam]

@@hotmetalslugs Thanks. I guess I’ve made it! As my channel has been getting more “successful” in the last few months, it seems to bring more troll-like activity my way. I didn’t think he was directing the snarkiness at me, just about tuning in general. Maybe I’m wrong… Thanks for chiming in!

[@JazzRockswithAdam]

@@hotmetalslugs Half the time I wonder if people even watch the video. You should have seen some comments I’ve deleted on my last video.