Moving the G chord form will wrap up all of the CAGED chord forms.
The G form is similar to the C form, in that it has a R-3 for the ‘base’ of the chord (6-5 strings). We are playing ‘back’ (towards the nut) from the root on string 6. In practice, we often leave the 6 string root out of the chord and play just the inside 4 strings (5-4-3-2) for the Major type chord (this slash chord version is shown below).
Once we get into a shape, it can be shifted to every position. 12 things, for knowing 1 = good mileage. And, like all of the CAGED forms, it is also commonly broken down into other usable pieces.
G to A Flat
For the tablature, the big numbers are frets, the little numbers are fingers. The red diagonal line is that an active finger in the first chord is moving to a new location in the second. Empty strings are inactive. When we see a 1 finger in the tablature on the nut, this is showing us the fingering that will move onto the board. This isn’t necessary, just a way to understand how the shape is configured, based on the nut.
We can use the 3 and 2 fingers on the 6-5 strings and add the pinky on the root on string 1, but this might just be too much work. Yet, it is possible.
Common Slash Chord Version
This is considered a slash chord (and can be written as one, but doesn’t have to be). We’ve left off the 6 string root, leaving the 3rd of the chord in the bass. This is a bit easier to fret and has good resonance. We could also view this fingering as an A form with the 3rd in the bass. If we understand how this can be viewed to be a G or an A form, we know CAGED pretty well and can start forgetting about it.
Names by Position
When we move the chord to these positions, these are what each are named. 12 for 1 (even more, when we include other fragments – 24 potential fingerings on this page).