As promised in the Q&A at the end, here is a follow up to Mike’s question.
Example 1
A progression in the key of F using the I, IV and V chords.
||: F | Bb | C | Bb :||
||: I | IV | V | IV :||
Let’s begin with the tonic chord of F major and assume that it is being played with an E-shape barre chord at fret 1. That means we can play it with a capo replacing the barre at fret 1. Thus, when we begin to use the Capo Conversion Chart, we take the key of E as our starting point.
All three chords are highlighted in yellow.
With capo at fret 1, the chord progression has become:
||: E-shape | A-shape | B-shape | A-shape :||
||: I | IV | V | IV :||
On the Capo Conversion Chart we have this starting position. Remember, we are in the key of F and we remain in the key of F. We are merely viewing things as though in the key of E and we have the capo already in place on fret 1 to correspond with that perspective.
We have replaced the need to play an E-shape barre chord for F major with the need to play an A-shape barre chord for C. Perhaps that is not a good result. Plus, of course, it achieves no separation in sound from a guitar playing those chords in the first few frets. For both of those reasons we can now decide to move clockwise around the chart and find a set of chords we like, we are confident playing and that provide some tonal separation in the two guitar parts.
Here are two options with two moves.
We can make one clockwise move, taking the capo up an additional two frets. The capo moves to fret 3.
1 + 2 = 3
The chord progression now becomes:
||: D-shape | G-shape | A-shape | G-shape :||
||: I | IV | V | IV :||
We can continue and go an additional two frets with the capo, placing it at fret 5 now.
1 + 2 + 2 = 5
The chord progression now becomes:
||: C-shape | F-shape | G-shape | F-shape :||
||: I | IV | V | IV :||
The F-shape could be played as a mini-barre or an Fmaj7 so long as it sounds good.
One further move could be made, taking the capo three further frets beyond the current position.
1 + 2 + 2 + 3 = 8
It may start to become awkward playing with a capo so far along the neck. For that reason I have not included it in the highlighted chord shapes on the chart. If, however, you try it and can manage it, the chord progression now becomes:
||: A-shape | D-shape | E-shape | D-shape :||
||: I | IV | V | IV :||
Example 2
A progression in the key of Eb (yes, E flat … YUK) using the I, IV, V and vi chords. The Axis of Awesome progression.
||: Eb | Bb | Cm | Ab :||
||: I | V | vi | IV :||
Firstly, lets acknowledge that to any beginner guitarist, that chord progression is an imposing spectre of horrors Good grief. But hey, somebody might be able to play it and they ask you to accompany them as a second guitarist. So, here goes.
Let’s begin with the tonic chord of Eb major and assume that it is being played with an A-shape barre chord at fret 6. Yes, that places it exactly between D and E on the 5th string! 
That means we can play it with a capo replacing the barre at fret 6 and forming an A-shape open position type chord grip. Thus, when we begin to use the Capo Conversion Chart, we take the key of A as our starting point.
All four chords are highlighted in yellow.
With capo at fret 6, the chord progression has become:
||: A-shape | E-shape | F#m-shape | D-shape :||
||: I | V | vi | IV :||
On the Capo Conversion Chart we have this starting position. Remember, we are in the key of E flat and we remain in the key of E flat. We are merely viewing things as though in the key of A and we have the capo already in place on fret 6 to correspond with that perspective.
We have replaced the need to play lots of terrifying barre chords with the need to play just one, an E-shape minor two frets above the capo (showing as F#m in the chart).
There is an open chord grip alternative to this that I showed briefly in the live session. Here is a neck diagram for that chord. I am a big fan of its sound and it can be a perfect choice in the right context.
We can use those shapes. Or we can adjust the capo position with the Capo Conversion Chart to help.
We now find ourselves in a situation not yet encountered. We already have a capo on the guitar and it is at fret 6. That means we can explore the options of moving both clockwise and anti-clockwise around the chart. That is the reason the chart shows the + / - symbol against each number. When you have a capo in situ, there are options to move it down the neck.
Here are two options with two moves. One move up the neck and one move down.
If we make one move clockwise it will take the capo up an additional two frets. The capo moves to fret 8. A little awkward perhaps.
6 + 2 = 8
The chord progression now becomes:
||: G-shape | D-shape | Em-shape | C-shape :||
||: I | V | vi | IV :||
We can reverse direction from the capo’s starting fret and instead go one move anti-clockwise. That takes it down three frets, arriving at fret 3.
6 - 3 = 3
The chord progression now becomes:
||: C-shape | G-shape | Am-shape | F-shape :||
||: I | V | vi | IV :||
The F-shape could be played as a mini-barre or an Fmaj7 so long as it sounds good.
It is possible to make one more move anti-clockwise - with capo moving all the way down to fret 1. I have chosen not to show it as it would involve playing an A-shape minor barre chord for the vi chord.
I hope that is all clear and gives even more food for thought in using the ideas presented, even if the song being played is not in the keys of C, A, G, E or D.
Richard
,
… do you remember this topic that you even created after a wrong advice from me to some people 
)
