Re: G chord
The big 4-string chop chords (especially the Monroe one) have an appeal in that they are universal--learn one grip and you've got them all. The problem is you can be playing one chord in the lower register of the mando, then the next chord is way high on the mando, and it all sounds wonky. Plus it's a big finger stretch that not all can do, and sometimes causes folks to develop bad habits of playing flat fingered because that's the only way they can reach all the notes. What I've learned and what I teach my students:
1. You don't need all four strings/notes to make a chord. Radim Zenkl first showed me that at Kaufman Kamp, and it was followed up by Don Steirnberg at Kamp and then my private teacher, Bruce Graybill. Don and Bruce are masters at making a full sounding chord with just two notes. For the most part, my chords are three string and almost always on G D and A.
2. You do need to develop closed chords--no open strings. Open strings don't chop well. And closed chords can be moved. Fiddlers playing in B-flat to show off? Show them--use A shape cords one fret up and mock the guitar players as they scramble for a capo.
3. Keep your chords in the same tessitura--the same basic range of notes. I learned this from our FEARLESS LEADER SCOTT TICHENOR at a seminar of his I attended. It just sounds better and makes for faster chord changes. I've had people stare at my left hand when I'm playing and question how I do it in that I am playing a lot of different chords and not moving much. It's really just working out your grips in a given key signature. And you don't have to always use the same tessitura for each set of chords. My grips I use for A major turn into a higher version of C major when shifted up a few frets.
Attached/below is a handout I use for my students that has my basic grips by key signature. See if they're helpful to you. Most all can be morphed into a 7th or a minor by moving one finger.
Phil Vinyard
Gibson Jam Master F Standard #12 May 13, 2009
Gibson Model A #67336 ca. 1921
Harwood Bowlback ca. 1900
Trinity College TM-325 Octave Mandolin
Freshwater Mandocello
Krutz 200 Upright Bass
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