Every guitarist — myself included — has at some point scratched their head over the seemingly arbitrary naming of the CAGED system. But in this post, I take a playful second look and uncover a hidden logic that actually makes the names… kind of make sense. Plus, we explore an alternate tuning that ties it all together in a surprisingly elegant way.
The Problem with CAGED Naming
The CAGED system is one of the most widely taught frameworks for navigating the guitar fretboard. But let’s be honest: the naming of the shapes feels arbitrary to many guitarists.
Why is a chord form called the “A shape” when it’s used to play a C major chord? Why do shape names refer to open chord patterns instead of function, root position, or interval structure?
These critiques are valid. They highlight the disconnection between what the shape is called and what it’s doing musically.
In a world where precision matters—especially for learners and improvisers—the CAGED naming feels like an ergonomic convenience rather than a theoretically sound system.
A Second Thought: What If It Is About the Root String?
On closer inspection, there’s a subtle logic: each shape in the CAGED system corresponds to a specific string where the root note commonly lies.
| Shape | Root String(s) |
|---|---|
| C | 5th (A), 2nd (B) |
| A | 5th (A) |
| G | 6th (E), 3rd (G) |
| E | 6th (E) |
| D | 4th (D) |
This starts to look more rational—especially if we imagine a guitar tuned like this:
E – A – D – G – C – EWith this EADGCE tuning (a perfect fourth tuning with a high C string), suddenly the C shape has its upper root on a “C string” — preserving the same symmetry other shapes enjoy in standard tuning. The B string quirk in standard tuning (a major 3rd interval from G to B) disrupts this elegant logic.
In this light, the shape names begin to reflect their vertical root alignment:
- E shape = root on E string
- A shape = root on A string
- … and so on.
It’s a geometric and ergonomic logic — not just legacy nomenclature.
Why Use These Shapes? Vertical Access
Another reason why the CAGED system works — despite its naming — is that each shape provides vertical access to pitch range.
Unlike single-string or horizontal scale runs, CAGED shapes:
- Span low to high pitches across multiple strings
- Give fuller voicings for chords and arpeggios
- Make the most out of fretboard real estate
They feel natural to the hand and are easy to slide up and down the neck while maintaining shape integrity.
CAGED wasn’t just about pattern logic. It was about ergonomic efficiency — and that’s why it stuck.
[Bonus] Exploring the EADGCE Tuning
Since we brought up the EADGCE tuning, let’s play with it a bit.
This tuning maintains perfect fourths across all strings, removing the G–B irregularity found in standard tuning. The result is a series of geometrically consistent shapes, offering a fresh canvas for reimagining the CAGED system. However, this uniformity comes at a price: the second string can feel underutilized (see below examples of C major and A minor triads) due to the wider stretches required in certain fingerings. Standard tuning’s drop of the second string to B—though it breaks the perfect-fourth pattern—is a clever compromise that prioritizes playability and practicality.
🔸 C Major Scale (EADGCE)
🔸 C Major CAGED Chord (EADGCE)
🔸 A Minor CAGED Chord (EADGCE)
Final Thoughts
The CAGED system may look arbitrary at first, but there’s hidden logic in the way shape names relate to root string locations. That logic becomes even clearer under a more symmetrical tuning system like EADGCE.
Whether you’re a CAGED believer or critic, exploring the geometry, tuning logic, and ergonomic roots of the system can deepen your understanding of the fretboard — and maybe even inspire a better system for the future.