Doublestop Exercise III-IV-V RelationshipsTablEdited by David Zimmermanx   @@@  @    @   @ @@@ @@@ ! "@"""#@###%%@&&() *@***+@+++..@//001 1 2@2223@33355@6689 :@:::;@;;;==@>>@A B@BBBC@CCCEE@FFHI J@JJJK@KKKNN@OOPQ R@RRRS@SSSUU@VVXY Z@ZZZ[@[[[^^@__`a b@bbbc@cccee@ffhi j@jjjk@kkknn@ooppq q r@rrrs@sssuu@vvxy z@zzz{@{{{}}@~~ @@@ @@@ @@@ @@@ @@@ @@@  @@@ @@@ @   @@ @ @   @ @   @@ @@@ @   @@ @ @   @  @ @@ @   @@@@@ @ @    @     @@@ @@@ @ !@!!!"@"""# %%@&&()@)))*@***+ ..@//001@1112@2223 3 55@6689@999:@:::; ==@>>@A@AAAB@BBBC EE@FFHI@IIIJ@JJJK NN@OOPQ@QQQR@RRRS UU@VVXY@YYYZ@ZZZ[ ^^@__`a@aaab@bbbc ee@ffhi@iiij@jjjk nn@ooppq@qqqr@rrrs s uu@vvxy@yyyz@zzz{ }}@~~@@ @@@ @@@ @@@ @@@ @@@ @@@  @@@ @@ @    @@@ @@ @    @@@ @@ @    @@@ @@ @   @@ @    @ @    @    @ @    @     @ @    @    @ @   @ @ ! @! ! ! " @" " " # %%@&&()@)))* @* * * + ..@//001 @1 1 1 2 @2 223 3 55@6689 @9 9 9 : @: : : ; ==@>>@@@@@A@AAAB@BC EE@FFH@HHHI@IIIJK NN@OOP@PPPQ@QQQRS UU@VVX@XXXY@YYYZ[ ^^@__`@```a@aaabc ee@ffh@hhhi@iiijk nn@oop@pppq@qqqrrs s uu@vvx@xxxy@yyyz{ }}@~~@@ @@@ @@@ @@@ @@@ @@@ @@@  @@@ @@@ @@@ @@@ @@@ @@@ @@@ @@@  @@@ @@ @    @ @    @      @@ @    @@ @    @ @   ! @! ! ! "# %%@&&( @( ( ( )@)))*+ ..@//0@0001 @1 1 1 223 3 55@668@8889 @9 9 9 :; ==@>>@ @@ @ @ A @A A A BC EE@FFH @H H H I @I I I JK NN@OOP @P P P Q @Q Q Q RS UU@VVX @X X X Y @Y Y Y Z[ ^^@__` @` ` ` a @a a a bc ee@ffh @h h h i @i i i jk nn@oop @p p p q @q q q rrs s uu@vvx @x x x y @y y y z{ }}@~~ @   @ @ @    @    @ @   @ @ @    @    @ @   @ @ @    @    @ @   @    @ @   @ @GCD G & D String D & A String A & E String5 space2 spaceUpside-down 2 space4 space0 space1 space5 space0;d04 space>`;Upside down 3 sp1 spaceP<<No space;!Doublestop Exercise II - I-IV-V Relationships hopes to build on Doublestop Exercise I - Shapes to show how the shapes can be used over a chord progression (a typical I-IV-V). In this exercise, we move through each doublestop shape in the key of G starting on the G and D strings and show some convenient ways to play the IV (C) and V (D) chords from each position (there will often be more than one convenient doublestop). Note that the shapes used for the IV and V chords are the same ones we saw in Exercise I. If the chord progression were to stay on one of these chords (or if you have a fast mind and faster fingers), you could move through the positions over the chord just as we did at the end of Exercise I (1 space position leads to the 2 space which leads to the upside-down 2 space, etc). c w") %).3838Mandolincw5:?DBass