Members Idunno Posted November 17, 2014 Members Share Posted November 17, 2014 Okay, I'm bored but this isn't a boring thought to hold onto. Let's sample the D major chord. You know, it's that chord on the first three strings, or the more complex barred C-shape at the 2nd fret, if you prefer. Let's forget the barred option and consider the other three fingered version, or two fingered version if you use a half-barre on the second fret. Using the three fingered method of holding the chord, have you ever taken the time to explore it? Lift your finger off the F note, 1st string, 2nd fret. Play the chord on a single down strum. While it's ringing, replace your finger on the F note. That's a hammer-on. Now, do the same thing only lift the finger off the A note, 3rd string, 2nd fret and again play the chord with a single down strum. While it's ringing replace the finger on the A note. Again, we have a hammer-on sound. Alter these two hammers every 2nd down stroke on a repeating up-and-down strumming pattern. Practice it. Assuming you get that down, instead of hammering the F note, hammer the B note two frets up from the A note, after hammering the A note, and hold the B note for two more down strokes. Then, go back to hammering the F note. Use the same up-down strumming pattern throughout. You're still holding the D chord shape, hammering with the fingers you normally use to hold it and bringing your little finger to hammer the B note (or ring finger if you're capable of it). You're bringing color and dynamics into the D chord shape. What exists in the above coloring of the D chord is both dynamics in the hammering of the notes that lie within it ( F and A notes) and coloring note outside it (B note). Is it useful as an exercise? Yes. Call it informational. It's just one small dynamic you can bring into playing the D chord shape, of several available to it, and opens up the musical color spectrum. It's like a smear of the color green on an artist's palette. To the extreme left of the green he'll place a bright yellow. To the right he'll place a bright blue. Midway between the primary colors of blue and yellow lies the green of equal parts of blue and yellow. For our purposes, the D chord is the green color. Part of it can shift to the right or left and still represent itself. The idea is to explore the chord shapes to see what kind of useful musical information they have to give you. It's one thing to learn to fluidly transition from one chord to another. That's important. After that, instead of hard transitions from chord to chord, use notes to introduce, or herald, those changes. Singers do this by leading the chord changes vocally or to herald pending key changes. Anyway, chords are full of music that doesn't get much notice from the average strummer. Fingerpickers will explore them a bit further. I try to wring them out for everything they have. The more I know about them the easier it is to musically assemble stuff from their bits. I think the player should dissect chords and attempt to make as much music from each of them as can be discovered. Link to comment Share on other sites More sharing options...
Members DeepEnd Posted November 17, 2014 Members Share Posted November 17, 2014 I don't play the barred C version but I do play the barred A version sometimes. As for the other stuff, I'm not sure if this is what you're referring to but the praise band does a song called "Sanctuary" that starts off with an A chord but the first note is an F# so I barre across the first four strings and play an A6. When I can, I like to incorporate some melody into the chords. Of course, it helps to know some theory and I've just told you pretty much everything I know. BTW, there is no F in a D chord, it's an F#. Link to comment Share on other sites More sharing options...
Members poppytater Posted November 17, 2014 Members Share Posted November 17, 2014 Condensed version of original post Noodle.................it couldn't hurt. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 17, 2014 Members Share Posted November 17, 2014 I like to jazz it up (so to speak) with a seventh note ... Link to comment Share on other sites More sharing options...
Members garthman Posted November 17, 2014 Members Share Posted November 17, 2014 Okay, I'm bored but this isn't a boring thought to hold onto.. . . . Let's sample the D major chord. . . . . . . . . . . . . .Using the three fingered method of holding the chord, have you ever taken the time to explore it? . . . . . . I think the player should dissect chords and attempt to make as much music from each of them as can be discovered. Yes, mate, I do that sort of thing all the time. Not only on the D major chord but just about all other open chords too (barre chords are trickier because usually you are using all your LH fingers to get the chord itself - but there are some opportunities). I would say I regularly use the 6th and 7th and sus2 and sus4 of most open chords as passing notes between chord changes and as fills within a chord. The occasional maj7 sneaks in there sometimes too. I suppose it comes from doing lots of Dylan and Cohen songs? Link to comment Share on other sites More sharing options...
Members jamesp Posted November 17, 2014 Members Share Posted November 17, 2014 The third of Dmaj is F#. F is the minor third. I know you know all this. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 17, 2014 Members Share Posted November 17, 2014 I thought it was Gb .. they did away with that pokie guy smilie Link to comment Share on other sites More sharing options...
Members gardo Posted November 17, 2014 Members Share Posted November 17, 2014 I thought it was Gb .. Aw c'mon you know there ain't no flats in the key of D or in the key of G or in the key of A neither Link to comment Share on other sites More sharing options...
Members EdBega Posted November 17, 2014 Members Share Posted November 17, 2014 Well if this F# in question is slightly sharp then it becomes a Gb I would think ... It's one of those things we may never know which is correct I guess. (Pokie guy smilie) Link to comment Share on other sites More sharing options...
Members jamesp Posted November 17, 2014 Members Share Posted November 17, 2014 Well if this F# in question is slightly sharp then it becomes a Gb I would think ... It's one of those things we may never know which is correct I guess. (Pokie guy smilie) F# can't become slightly sharp. It's sharp already! It's like becoming a little pregnant. Additionally, F# is a proposition. If it isn't in tune (sharp or flat,) it isn't an F# anymore. Link to comment Share on other sites More sharing options...
Members jamesp Posted November 17, 2014 Members Share Posted November 17, 2014 But to the topic: If I could do a decent barre, a whole world of playing around with chord shapes would open up for me. Unfortunately for me, that'd take some kind of index finger transplant. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 17, 2014 Members Share Posted November 17, 2014 F# can't become slightly sharp. It's sharp already! It's like becoming a little pregnant. Additionally, F# is a proposition. If it isn't in tune (sharp or flat,) it isn't an F# anymore. A string will pull sharp when fretted so technically it is going to be a slightly sharp F# when fretted. Agree to disagree (pokie guy smilie) ... Link to comment Share on other sites More sharing options...
Members DeepEnd Posted November 17, 2014 Members Share Posted November 17, 2014 ^ Nope. The string pulls up to F#, not past F#. When it's done pulling it's on pitch. That's what correct intonation is for. Anyway, back on topic, there's a Contemporary Christian song called "The Wonderful Cross." The verses are all just an A chord but you can (and I do) play variations (add9, sus4, etc.) so that there's some semblance of melody. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 17, 2014 Members Share Posted November 17, 2014 ^ Nope. The string pulls up to F#, not past F#. When it's done pulling it's on pitch. That's what correct intonation is for. ^ Nope not according to JT ... [YOUTUBE]V2xnXArjPts[/YOUTUBE] Link to comment Share on other sites More sharing options...
Members DeepEnd Posted November 18, 2014 Members Share Posted November 18, 2014 ^ JT needs to stick to songwriting. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 18, 2014 Members Share Posted November 18, 2014 ^ JT needs to stick to songwriting. Yeah he always was a hack when it came to playing a guitar ... [YOUTUBE]JkIiaaXUjlE[/YOUTUBE] Link to comment Share on other sites More sharing options...
Members Idunno Posted November 18, 2014 Author Members Share Posted November 18, 2014 Are we speaking of JasmineTea or James Taylor? One's no better than the other. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 18, 2014 Members Share Posted November 18, 2014 Are we speaking of JasmineTea or James Taylor? One's no better than the other. Apparently not around here .. I think James plays his open D chord with four strings though ... Link to comment Share on other sites More sharing options...
Members Idunno Posted November 18, 2014 Author Members Share Posted November 18, 2014 He's a quirky kinda guy with all the finger wrap stuff and gizmos I've seen hanging off his picking hand. I suppose if your fingernails are crap you pretty much try anything. Mine are like iron but steel strings wear them down quickly. They just don't break. Funny thing about that, it might be me thinking too much but it seems like when I play a lot my fingernails manage to keep up. Link to comment Share on other sites More sharing options...
Members DeepEnd Posted November 18, 2014 Members Share Posted November 18, 2014 Yeah he always was a hack when it came to playing a guitar ... We both know that's not what I'm saying. What I'm saying is that being a guitarist and songwriter doesn't make him a luthier or a physicist. He understands how a guitar works but that doesn't necessarily mean he's 100% right all the time. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 18, 2014 Members Share Posted November 18, 2014 He's a quirky kinda guy with all the finger wrap stuff and gizmos I've seen hanging off his picking hand. I suppose if your fingernails are crap you pretty much try anything. Mine are like iron but steel strings wear them down quickly. They just don't break. Funny thing about that, it might be me thinking too much but it seems like when I play a lot my fingernails manage to keep up. So he 's a hack with weak nails ... You're just messin' with me ... right??!! Link to comment Share on other sites More sharing options...
Members Idunno Posted November 18, 2014 Author Members Share Posted November 18, 2014 Easy with those hoglegs, Hoss. He's a good picker who shared the spotlight with a lot of good pickers in his time. My preferences were Paul Simon and Leo Kottke for pure musicality. James plays a good guitar, no doubt, but he was/is kinda conservative in a doesn't-blow-me-away style of playing. I'm more of an uptempo commonsewer. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 18, 2014 Members Share Posted November 18, 2014 So we established he's not a luthier, a physicist, Paul Simon or Leo Kottke but on the other hand neither are you guys. I guess I'll just take his word on it for now ... Link to comment Share on other sites More sharing options...
Members Idunno Posted November 18, 2014 Author Members Share Posted November 18, 2014 How do you know I'm not all of those things/people to some lesser or greater extent? James Taylor's Fire and Rain was one of the 1st songs I learned. The very 1st was Stephen Stills Helplessy Hoping. It snowballed from there. We are all comfortable carrying the baggage of our early influences. For me, Taylor had a place in that but I've moved on taking with me only the memories of a pretty cool time. Same goes for all my influences as I attempt to shake them off for the sake of finding my own sound. Fat chance of that now but it keeps my interest piqued and gives me an excuse to noodle towards something new and fresh. Link to comment Share on other sites More sharing options...
Members EdBega Posted November 18, 2014 Members Share Posted November 18, 2014 How do you know I'm not all of those things/people to some lesser or greater extent? James Taylor's Fire and Rain was one of the 1st songs I learned. The very 1st was Stephen Stills Helplessy Hoping. It snowballed from there. We are all comfortable carrying the baggage of our early influences. For me, Taylor had a place in that but I've moved on taking with me only the memories of a pretty cool time. Same goes for all my influences as I attempt to shake them off for the sake of finding my own sound. Fat chance of that now but it keeps my interest piqued and gives me an excuse to noodle towards something new and fresh. Well I guess your qualified to have an opinion not sure what your point is though other than talking down JT ... Does the physicist in you think a string's pitch will remain unchanged when it's stretched? Link to comment Share on other sites More sharing options...
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