TOPIC: Moveable forms

Last night we learned about moveable forms. You can use 1, 2 or 3 chord forms at various locations along the fretboard to get the 1-4-5 progression, but using 3 chord forms requires the least amount of movement up or down the neck (generally a good thing). On the guitar, for example, you can take an A-chord form, move it up 5 frets and now you have a D-chord. Now, to get the 1-4-5 progression at that position, you're using the A-shape for the 1 (gives you a D-chord), the D-shape for the 4 (gives you a G-chord), and the E-shape for the 5 (gives you an A-chord). So these A,D,E shapes (which is the 1-4-5 in key of A) at this location on the fretboard provide the D,G,A which are the 1,4,5 progression for the key of D. On the Guitar there are 5 moveable forms (C-A-G-E-D). On the Banjo there are 3 (I think). Not sure about the Mando.

Great info. I've been fiddling around (no pun intended) with this sort of approach with different backing tracks and crossover songs I'm working on/have worked on.
I've also been trying to take a similar path with my transposing, focusing primarily upon the fingering, rather than the actual notes and going up the neck, doing the same song in as many different keys as I can. Hymns (This is My Father's World, Simple Gifts, Amazing Grace) are great for that because of their simple melodies (and lots of scales, which helps). I'm looking forward to the day when I can actually do that on the fly, though... (and I sure hope FM doesn't read this....)

During the Class on Wed June 11th we worked on the song Key To The Highway.The rhythm , strumming and chopping was considered a most important part of playing the blues. Stay away from that happy ,bouncy bluegrass rhythm ! Those of us who put in some practice time were able to play a bit of the lead parts and it was recommended that more effort be put forth in that area.

And then there are those of us that are still working on the happy, bouncy bluegrass rhythm. Well, we all have our demons I suppose...
I'd love to try some blues fiddle closer to fall. While I'm mostly languishing in the land of Eccles, Bach, and Veracini for the summer, I intend to focus further upon improv and other blues related techniques. I also want to try and listen to some more recognizable fiddlers like Clemens. Great though Garrett and Perlman are, they don't always cut it for blues. (I am contemplating Hendrix on fiddle, though. Electric, anyone? )