Track One is built for absolute success.
Track Two provides more challenging changes, but still has some easy ones as well. Two's starter group can also be a solid starting point for most beginners.
Shape Connect video is fretting hand only.
The strumming is down-up, hitting all of the time.
We give a 3 - 4 count-in, then play the change twice.
For any change, strum along with the video.
If a change provides a specific challenge, stop strumming, program motion (check out Deep Dive), and retry. Also, we can strum the chords longer - so 8 beats (2 measures) each instead of 4 beats (one measure). This provides plenty of time to mentally be ready for the change. See the change!
"Every chord has a shape. The fingers, wrist, and arm create a form, a way it feels."
Shape Connect is a system designed specifically for learning to switch chords (connect one to the next). It includes all of the essential 'open string, first position' chords to help you get your rhythm playing going. It follows a specific sequence challenging fingers in specific ways, in two tracks. Even making just the first two changes, Em-G6 & Em-E while strumming without stopping, proves that you can play rhythm guitar (which at most its basic level is strumming chord changes).
Sometimes, a song provides the first set of chords that we learn. That makes sense. Yet, it can take a long time to learn these essential 18 chords ("open string, first position"). A system like this makes sure you have them.
Chord changes are the action of the fingers moving. When we program enough specific, planned paths & combinations, while being exact, a switch point occurs, and every chord change is easy.
The sequence tells a story. The sequence took a decade to figure out. It works, when followed, and may not be necessary. And, drive determines outcomes.
The goal of Shape Connect is to be able to strum and change chords. This is a beginner's thing, so it's good for everyone.
Often, the necessary chord connections of a basic song can provide us with the chords we learn first. This method can work - it is the lottery form - sometimes it goes well, at other times, it stifles...one difficult change can bring down the process.
A single song should not determine whether students stay with playing (I often see this). And, there are simplifications of everything, so an important song can get a treatment, but it might just not sound exactly right (like the recording). Playing to audio is a solution.
Another option is a chord learning system like this one...sequenced, planned, & specific. CC challenges fingers in a specific order in two different chord tracks. There are also extra bits of data along the way (will be expanded, accepting and will place media).
The method: 2 chords back and forth until you have it. I've seen track one done in 20 minutes to 1 year, for absolute starters. With older students, at about month 3 or 4, however, drive can drop off. I often use both, concurrently, or even start with track 2 for certain students.
If a student can do all of these changes within 1 or 2 months, the track is set. Teachers can put their spin on each change [changing elements, renewed fingerings or revoicings, weight, songs, patterns, etc.].
Fretting a chord is the consequence of correct travel. A chord change is the transition between chords. When we are about to fret a chord, we are most often coming from a different chord, and sometimes from a mute or even nothing. To be successful at making the connection, we program motion through space, in time. We even use slow motion to program the exact travel path.
So, our job is to focus and make the connections between chords. We will work with pairs of chords, back and forth, until we know that we have it. For each change we ask, what does this chord change take? What's staying? What's moving? What exactly do my fingers need to do to make a change happen?
When we do this enough, with enough changes, we can play any change. Keep in mind that the strumming hand should never stop while training chord changes. Stop strumming and learn the change, then add the strumming back.
What we need is proof through success. If we can play [synchronize] the first 2 changes of Track One (a lift/land & an add/sub), this is proof that we can be a reliable rhythm player.
Synchronization with the steady strumming motor is our goal. The sounds we hear may not be perfect at the beginning. We clarify the tonal quality of each chord over time. Focus on syncing the movement, first. The sounds will clarify with experience and stronger hands.
Track One is built for absolute success.
Track Two provides more challenging changes, but still has some easy ones as well. Two's starter group can also be a solid starting point for most beginners. When you can play the changes in the first group [G, Cadd9, D, Em], you can play 1000′s of songs. The simplified fingerings for this group are very common.
First up: chords are the consequence of correct travel. To end at our destinations [chords], we program the exact transitions between chords. Be exact. Don't train mistakes.
Chord changes are the action in between fretted chords. When this traveling happens successfully, chords happen.
We need to make chord connections, in time [synchronized], with the strumming hand. We link fretting changes to the downs/ups of strumming.
To program the motion of a change over space, in time, we use slow motion, when necessary. Also, exercises like 'taking away the strum' ensure that you have the switch. We map the space.
Important: even if connections are happening completely, we keep strumming. We don't let the steering wheel [fretting hand] stop the motor. We keep resetting the chord...making adjustments.
We use chord puzzles to direct finger traffic. Chord puzzles indicate changes from one chord to the next. Here's one:
For puzzles with the same chord on each side of a middle chord, this means that we are making the change with 2 different fingerings [not using both within the same 2 chord progression]. We practice the first fingering until we get it, then try the other.
Our core idea, as mentioned, for mastering strumming and changing chords is that when training, the motor hand will not stop, even when or if the fretting hand may falter; and, we synchronize the fretting hand to this non-stop motor.
The motor hand [strumming hand] is the engine. It does not stop until the exercise or the song is over.
The fretting hand is the steering wheel. We are creating shapes with the fretting hand to guide the harmony. We are synchronizing the fretting hand to the non-stop motor. The steering wheel should not turn off the motor. If it does, we will never get anywhere.
If the fretting hand is not nailing the change, we don't 'just keep trying'. We stop strumming and work the fretting hand individually using the 'take away the strum' for any pair of chords. If a change is super challenging, we use super slow motion for the snap.
The slower we go, the more information we are giving our hands. We are programming an exact path for what it takes to make the change happen. Chords are a consequence of correct travel. The change [when fingers are moving] is where all the action is located. Do this part right, chords happen.
We can certainly get to the bottom of the stairs by falling down them. We can repeat this process, but very rarely replicate our exact fall. If this is how we train to play guitar, we are training mistakes. When we learn to take simple steps, we get down the steps in a decent time-frame & can recreate the process again & again. This is how we train to strum & change chords. We take our time, work smart, be deliberate, & enjoy ease in our learning process. We don't train mistakes.
I have seen folks strum for months on end, only to still not strum and change chords in time. This is rare, yet does happen. And, I have seen children [and adults] do exactly what is described here and be able to strum basic changes within a single coaching session.
Strumming a song requires us to make smooth connections between chords. We have to know how to finger some type of voicing [whether the one that is actually recorded for a song or some other version], know how to connect adjacent chords, & know when the chords change.
In a song, we look for every necessary chord change & make sure we connect those chords. Then we know the song will not break. We have a strong chain via linking.
For any song, we make a list of the chords within it, then look for which chords go to which chords. We practice going back and forth between each pair [change] until we know that we can connect every pair. This is in contrast to 'just keep trying' to make the changes as they appear in a song. We build a strong chain by working in pairs. This makes good sense & can save us countless hours of training mistakes.
For particularly challenging chord pairs, we utilize the 'touch-press-touch-hover' for single chords, & the 'touch-press-touch-snap' for pairs.
Chords are consequences of correct travel. A chord change is the transition between chords.
If you want to maximize your practice time, these exercises do exactly that. Rather than 'just keep trying' to get a chord in the hands or making a chord change, we work smart. This means that we program the motion through space using controlled motion.
Touch-Press-Touch-Hover is for a single chord. It acts as a way to 'take a feeling picture' of a chord. We are telling our hands, through a sequence of events, that 'this is an E chord' or 'this is what an E chord feels like'. We say what the chord name is and when necessary, make a camera clicking noise.
Touch-Press-Touch-Snap is for a chord change. It programs our hand the exact path to travel to get to the next chord. Fretted chords are the consequence of correct travel, so mapping the change is where all the action is.
We can also mix them as in the video. We Touch-Press-Touch-Snap, but when we get the new chord, we Touch-Press-Touch-Hover for as long as needed, then hover to the next chord, repeating the cycle.
This exercise is for a single chord, yet can be mixed into the 2 chord exercise.
Start by touching the chord. We can use any chord [we will mention C Major]. By touch, we mean that you put your finger tips on the strings in the shape of the chord, but don't press. Once you are lightly touching, press. This press is 'taking a feeling picture' of the chord. You might want to say "C Major" when you press. I like to make a camera sound too ["ch-ch" - chord tactile photography!]. Then, go back to a touch. Then, hover above the chord, keeping the shape in the air [we often find out if we have had too much coffee]. Repeat this process as many times as needed to know that you know the chord. And, repeat this process for any and every chord that is challenging to you.
This exercise is for a chord change between any 2 chords.
We begin as we begin the T-P-T-H exercise. We touch, then press, then touch a chord. This time, when we hover, we slow motion 'snap' to the next chord. We'll use C to D in this explanation. We touch-press-touch the C chord, then when we lift, we map the space in slow motion to the D chord. By using slow motion, we are telling our hand exactly how to get to the D chord. We then touch-press-touch the D chord, then slowly snap back to the C. We repeat this as many times as necessary to ensure we have the change. We have mapped the space.
Once we use slow motion enough times [1-10 times - whatever it takes], we are now ready to try the quick snap. A snap is snapping into the chord. As soon as we lift the chord after the touch-press-touch, we snap our hand into the next shape. In real time, this is how we will play changes. As soon as we lift, we snap into the next shape, then land it on the downbeat of the chord [we are already in the shape, we just land it].
We can also mix in the touch-press-touch-hover on each of the chords to take extra pictures within the exercise.
The more chords that we use to snap into a chord, the less we will have to use this exercise. If we did this exercise using 3 or 4 different chords into a D chord, we will find that D will happen automatically from any chord. By taking our time and mapping the space, our work pays dividends in other chord scenarios.
This is another way of saying that if we do these exercises with care and precision, we don't have to do them for very long [or hundreds of chords]. Our whole playing system benefits from doing these things right. We are doing things right, from the start, and we avoid 'just trying' to get the changes.
We take our time; map the space; nail the changes.