why do chop chords "chop"?

**abram** · Jul-26-2004, 1:32pm

i've always thought its interesting that chop chords have such a nicer rythmic sound to them than barre chords (ie, A 2245), which seem to ring more. any ideas as to why?

**pdlstl** · Jul-26-2004, 3:47pm

If you're playing bluegrass, the upright bass becomes the bass drum and the mandolin chop becomes the snare.

Therefore, because the "chop" is very percussive sounding (when played properly), it provides a nice rhythmic sound on the 2 and 4 beats of a measure.

**bmac** · Jul-26-2004, 6:39pm

For those of us not versed in bluegrass mandolin technique... Would someone define a "chop" chord.. How is it achieved manually... and how does it differ from a standard chord strumed on a mandolin??? And what is the quality one is after when using a chop chord? I hope this is not too basic a question. I've heard the term a lot and can probably guess what is means.. but I would like to hear its definition from those who really know its meaning.

Thanks,

Bart

**sunburst** · Jul-26-2004, 7:34pm

Bart, that's a big question. Actually, several questions.
I'm going to make an attempt at answering just for fun and see what others have to say.

A chop cord is held with the left hand, strummed sharply with the right, and almost immediately released with the left, leaving the fingers on the strings to damp them.
It makes a rythmic "chop". The cord form cannot contain open strings, or they will ring over and it wont be a "chop". Any open strings have to be damped.

What quality are ya after? Well, it depends on the situation. Sometimes the strings may be held with the left hand for more or less time to vary the affect, but in general you're after a percussive sound that will penetrate tha sound of the band and add the syncopation to the bluegrass rythem.

I've heard Sam Bush and probably others use the A 2245 bar cord for certain affects. It kind of gives more of a growl to the cord because of the lower pitched notes compared to the standard chop cords.
That brings me to why the chop cords sound the way they do. I think it's because the bass strings are noted farther up the neck bringing the pitches within the cord closer together, and putting the I and V of the cord on the more massive wound strings.

**Keith Wallen** · Jul-27-2004, 7:04am

Great explanation sunburst!

**EasyEd** · Jul-27-2004, 8:43am

Hey All,

You can get a chop cord sound by muting the strings with your right hand as well but only if the beat is slow enough. If you use your right hand you can use open chords however as I said the music has to be fairly slow. Otherwise Sunburst has it right.

Take Care! -Ed-

**Ken Berner** · Jul-27-2004, 9:21am

sunburst and Easy Ed, I sometimes use 9 11 12 open for an "A" chop chord, and definitely agree that some muting with the heel of the right hand does enhance your chop technique greatly. There is more than one way to "skin a cat" when it comes to chop, and seldom do I get down to the "E" string when left open.

**bmac** · Jul-27-2004, 11:11am

Thanks for the definition and explanations. They do clarify my understanding. I will listen for them on bluegrass music.

Bart

**bmac** · Jul-27-2004, 11:12am

Thanks for the definition and explanations. They do clarify my understanding. I will listen for them on bluegrass music.

Bart

**Tom C** · Jul-27-2004, 11:34am

I would say Sam bush gets a very percussive sound compared to chod tone when choppin and David grisman get more tone in his choppin.

**abram** · Jul-28-2004, 5:18pm

I was talking about the classic Bill Monroe G chord, 7523, which, if muted with the left hand always seems to me to sound closer to a snare drum than any other way to play a G in a closed position, such as 7557. I've noticed that most bluegrass players use this form to play rythm, playing a chord such as D as 745, and many times moving them up the neck for different keys.

**pdlstl** · Jul-28-2004, 5:39pm

abram,

For me, it's the percussiveness (did I make up a word?) that floats my boat. #And the deep, throaty, woody tone ain't bad either. Plus, I love the fact that myself and the bass player can really drive both the song and the band.

One can't be timid and behind the beat when chopping up -tempo tunes. On these, being on top of, or slightly ahead the beat can create a situation that just flat-out grooves!

From time-to-time I've had mild-mannered mandolin players in my studio who, no matter how much direction was given them, just couldn't drive an up-tempo number. I finally learned to just nudge the chop track west a smidgen. The bands reaction is always very positive. Comments always include, "the song has life now!", or, "man, it's cooking now!". Strive to chop loud, proud and on the beat! :-)

YMMV (depending on the person smacking the doghouse!)