Originally Posted by
catmandu2
Merely to demonstrate that all chords are "moveable" - even the ones that people are conditioned into thinking are not (as evidenced by the suggestions on this thread).
I was not attempting to demonstrate anything but this point. However...
In a comprehensive pedagogic system (classical, jazz, etc) "fingerings" and formations are incidental to sound/harmony/composition - promoting such hand "growth." These "awkward" forms, as you state, are common and necessary in these idioms. Seen from a non-classical view, for example, I'm sure that classical fingerings do indeed appear "awkward" - they certainly were for me when I was first learning. For a classical guitarist, however, these and any number of "awkward" fingerings are de rigeuer - as complex fingerings are found in the music.
*I've tried to be succinct. But elaborating a bit more: an arduous technical pedagogic system (e.g., "classical") teaches optimal use of fingers. It's more like piano in this regard - where each finger is deployed equally. Therefore, requiring technical facility (ability to handle challenging fingerings, etc). It will also tend to encourage a broader view of fingerboard/fingering possibilities, compositional capacities, etc.
I won't belabor the rest of it. I think it's axiomatic.
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