Chop chords

[groveland]

There has been a good deal of discussion about "How do I chop this chord?" or that chord. I haven't seen any discussion on what to avoid and, just as importantly, why you would avoid certain voicings.

Looking at the dozens of ways to play a straight G chord, the Monroe chop being only one of them, which ones do you avoid? And why?

[John Flynn]

The chop is more about percussive rhythm than it is chordal support. The classic chops work well because they emphsize the lower notes, offsetting the mando's high pitch and because they are very percussive.

But I would not go so far as to say that any legitimate voicing should be "avoided." You should eventually learn every possibility. It's all in the sound you want, which should depend on what other instruments are playing and the effect you are trying to create. So, for instance, if you have a strong bass, midrange and rhythm going with the other instruments in the group, especially if there is another mandolin doing traditional chops, the voicings that emphasize the treble strings may sound fine, especially if they are not over done.

[Ken Sager]

What Johnny said.

Plus, rather than focusing on things to avoid focus on voicings that will allow you to do more melodic things FROM those voicings. Certain chord shapes will lend themselves to easy melodic fills, lead-ins for breaks, etc. Find chord shapes that facilitate your other types of playing, or find ways to play melodic parts from the chords you know.

If I were to avoid anything, I'd avoid voicing chords that force the melodic player to react to my chords. I don't think chop chords should do more than suggest the chord. They're more percussive. I would add sixths or sevenths only if the melody already suggests those chords, but I wouldn't use them to influence the melody without working it out with the band first.

HTH,
Ken

[DMC]

I think a 'chop' refers to a very specific thing. At least it does in my mind. There are two basic shapes (G and D) which can be moved around the finger-board. Releasing the two bottom strings as the pick strikes them is where the percussive effect comes from so the same effect can be achieved with three or even two finger versions of these chords. I think the four finger shapes are useful for the occasional up-stroke or full chord strum.

I don't think other chord shapes create a 'chop' sound. But they are just as useful (for other effects) so of course you should still learn them. :-)

So to answer your question, if you want to chop just avoid all the other chord shapes.

[groveland]

Excellent. What I take away from this are the following chop tips:

1) The idea is to suggest the chord - Simple is better, no alterations - Don't interfere with other melodic things going on.

2) Lower is better - Again, don't interfere with higher voices carrying the melody, and provide a pulse.

3) Certain voicings easily lend themselves to fills, others don't - The ones that do would be more practical choices, yielding convenient breaks and fills.

4) Chop has a signature sound, so to get the sound, use the traditional voicing.

5) It depends a lot on what the other instruments are offering to the sound.

Thanks, folks.

[Kevin K]

One thing that has helped me is to not only release with the left hand quickly but to use the right hand in front of the bridge too during the chop motion to sorta muffle but actually it makes it crisp, short, and loud. Very percussive.