Hello.  My name is Shannon, and I use a capo.”

*GROUP RESPONDS: “Hello Shannon!

I admit it – I’ve thought that before about “Capo Users”.  I’ve gotten hand-cramps for the sake of my glorious anti-capo-dom.  I’ve forced complex songs into simpler keys, far outside my sweet-spot vocally, to massage my ego and not use a capo.  I’ve played chord-shapes that don’t ideally befit the riff/hook for the sake of being that guy who’s “better than the capo users”.  Yes, on rare occasions I used a capo, but only on open tuned guitars – the fact that I had 4 guitars on stage, 3 of which were in alternate tunings, gave me enough “cool points” to counteract the evil capo – sorta like buying “Carbon Credits”.

In ’03, however, I saw Shane & Shane live.  That dude MASTERED the guitar, and he was a capo maniac: capos upon capos – cut capos inserted at odd angles into other cut capos.  I think at one point he had to be using a capo on his vocal chords, too – Mr. Bernard’s range is pretty …well… “pretty” – in the “female” sense of the word.  Is it normal for a guy to sing soprano?  In all seriousness, I love Shane & Shane, and that show was where I realize that a capo is a tool (and not in the sense that some people may consider me one at times – oh no!  Did I just go Mark-Driscoll on you?!!).  Just like any tool, it has it’s purpose, and can also be misused.

So here’s my theory of Capo: please don’t use it as a crutch to hide the fact that you only know 3 chords – that’s sad.  Granted, if you DO only know 3 chords, and you’re asked to lead worship somewhere, I’d rather you used a capo and play well than not use one and be an obnoxious distraction.  However, let your goal be to learn the real chords, and use them when it sounds good.  However, some songs only sound ‘right’ with certain chord shapes on the guitar, and a capo is how you get those shapes.  “Marvelous Light” is the greatest example: the song is most singable, and in my opinion, grooves best in ‘B’, however if you play a ‘B’ chord shape (any of them) on an acoustic guitar to drive the song you really loose the bright, ‘jangly-ness’ of the song.  Playing a B, E, G#m, F#, & etc. on an acoustic has ‘thump’ on the low-end (which is why I don’t capo “Sweetly Broken”, though it’s the same chord progression – the ‘bottom end’ of the chord progression helps keep the song ‘weighty’), but capo to the 4th fret, and play a G-shape, C9, Em7, & etc – their is a brightness, and a continuity in the changes (particularly on the high end) that carries the song.

Therefore, I repent – or rather, I repented some time ago.  Use a capo, but not as a crutch – use it as a tool.  Use it to open up your guitar to tones that help you blend into an overall band setting, give brightness or weight to a progression, depending on the song’s ‘mood’, or even – as Shane & Shane do with cut capos – to significantly alter your guitar’s tuning in a flash (not just up a step, but from Standard, to open G, or drop D).  Used this way a capo can really open up the breadth of what your guitar is capable of.

So, “Hello.  My name is Shannon, and I use a capo.”