Shape Connect • Track 1.2
Em-Am, Am-C, C-F, F-D7, & D7-A. The map above is clickable.
E to Am
Here are are programming motion between the chords. In real time, this movement is a snap. We are programming the snap.
This is a Lift & Land, plus the mute with the thumb is an Add/Sub. This is the same shape lifting and landing up and down a level. Keep the shape while traveling. When we strum the strings open on the up-strum [to lift and snap], we get an effect. Later, if we don’t want this effect, we miss this strum. For now, strum [hit] all the time, including this up-strum on the & of beat 4.
Am to C
This is a simple Lift & Land. The thumb mutes the 6; the 1 & 2 fingers stay, while the 3 finger moves. The staying fingers can let up to a touch [mute] during the change, and press when the 3 lands and you strum it.
This is similar to the Em to G6 change using the 2 & 3 fingers [same configuration, just down a level, plus the 1 finger staying on 2nd string/1st fret].
C to F
This is a Lift & Land. The thumb mute & 1 finger stay, while the 2 & 3 fingers move.
Our suggested F finger is the 1 finger muting the 1 string. The one string can also be open – this would make the chord an FMaj7 – or just a pretty chord]. And, the 1st fret on the 1 string could also be barred with the 1 fret on the 2nd string, but I personally don’t use this fingering [accept for adding melody – as a hinge bar – a temporary fingering]. It’s okay to bar it like this, but not necessary. Our rule for barring is do it only if it is necessary for the sound you are wanting to hear.
The pinky is also free – try adding it on the 3 fret, string 1 on both chords. For the C, this is just another chord tone [the 5th – G]. For F, it is a 9, so the chord would be Fadd9.
F to D7
This is another simple Lift & Land. The thumb mutes for both chords, the 1 & 2 fingers stay, while the 3 finger moves.
If you want to train the pinky, try it as the moving finger. The 3 and 2 will stay. Good training.
D7 to A
This is a Lift & Land, with fingering options. We’ve shown 3 options in the tablature, 4 in the video [barring with the 2 is the extra one]. One consistent finger for all of our choices, is that the thumb mutes the 6 string in all versions.
A Chord Talk
For any A chord voiced as they are above, if the 4, 3, and 2 strings are ringing together with the open A string, the 1 string can be muted. With the open A ringing, and these strings, this chord meets the threshold for an A chord [even less can pass]. The 1 string is just reinforcement, unless it is a melodic tone.
In the first A fingering above, finger logic is inverted. We’ve shown it first, because it is often the easiest change.
The second fingering above could be called academic or the subway fingering for the A chord. We are packing them in.
Three & Four
The third fingering above is a bar chord. A bar chord is using a single finger in a single fret space to play multiple strings. It could also be barred with the 2. And even the 3. And even the 4! Yet, 1 or 2 fingers are the obvious choices. When the A chord form moves up the board, the 3 or 4 covers the bar. Also, if you really wanted the 1 string open, sometimes barring with a 1 [4 and 3 strings] and playing the 2 fret on the 2 string with the 2 finger is an option [I call this ‘classical A’].
Finally, but maybe not ultimate finally, the A chord can be played with the 2, 3, and 4 fingers for the 4, 3, and 2 strings, respectively. This is an alternate subway chord.
Over time, we build chord preferences [fingerings/voicings] for chords. Certain situations may also call upon different fingerings or voicings for chords. My default preference for A is barring with the 1 finger for the voicing we are working on here.