Doublestop Exercise IShapesTablEdited by David Zimmermandàf@€À@€À @€À@€À @€À @ € À    @ € À  @ € À   @ € À  @ € À   @ € À @€À  @€À@€À  ! À"À#À%À&' À)À*+ - À.À/1 À2 À35 À6 À7 À9 À: ; À=À> ? ÀAÀBC E ÀFÀGI WTop two fingers of a BG chop chord. The root is the top finger. Other is the 3rd. vVery common position to land on when kicking off a tune. Top finger is still the root. Other finger is the 5th. ~Handy when using the 5 space position or to move from the 3 space to the 4 space. Top finger is the 5th. Other is 3rd. WMiddle two fingers of a BG chop chord. Top finger is the 3rd. Other is the root. 1 Space2 SpaceUpside-down 2 Space4 Space0 SpaceCHow easy is this one? Top finger is the 5th. Other is the root. 5 SpaceiA stretch but great for kicking og BG breaks up the neck. Top finger is the 5th. Other is the 3rd. Back to where we started!`Remember these shapes work anywhere on the fret board where you have notes in the scale. €There's a root note (G in this case) at the 5th fret of the D string. Thus, the 1 space position can be played like abovePOr we can go up the strings based on our root and play the 4 space position. DOr go up the strings a based on the root and play the 0 space. 1Or back down the strings and play the 2 space. qThen, remembering that the upside-down 2 space is just up the neck from the 2 space, we can slide up to it. ]Next position is the 4 space which is also the middle two fingers of the BG chop chord...f... which means that just above it are the top two fingers of the BG chop chord or the 1 space. :And just down the neck from the 1 space is the 5 space. /And one more position down is the 0 space. xWhich has a root in it so we can go down the strings and play the 1 space again. Hey, we're back where we started!~With these patterns and some understanding of how they flow from one to the other, you can play all over the fretboard. Doublestop Exercise I - Shapes hopes to introduce the concept of doublestops and begins to explore how they link together within a given key. Shapes are described using the strange (but intuitive?) names that pop into my head while I'm trying to remember them, but I have tried to augment with as much theory as possible. BTW, the key in the exercise is G although the point is that the key doesn't matter. Due to the consistent tuning (5th's) across strings on a mandolin, these shapes work everywhere in all keys!c ") %).Mandolin GDAE001001130000=001:>899<>7F200P042S0002300000000001+D0/0110030::::H<100000070000000000000000000000Page &p / &n / &n &c&2&t &c&6&s &r&3&m &s &r&3&m &r&3&t - &3&s &3&s