Guitar / vocalist and the capo

[e021708]

I am sure there is a technical method to choose where to put the capo when you want to sing a song in a different key. I know how to transpose the song and where to put the capo to change the key. However, what always do it just try singing the songs with the capo in differnt places on the neck or I just transpose the chords and play the song in the first position until I think it sound right.

 

I just wonder what would be the techinical way. I assume you just find the range of the song and the put the capo in the key where your voice is singing in the sweet spot for the key parts of the song.

 

Can someone clear this up for me?

[Jersey Jack]

Yup, that's it. I'm not sure that there's much more to it than this. It get's tricky when there are certain riffs that only work in a particular key--e.g., riffs that use open strings. It's easy enough to transpose these tunes up using the capo, but sometimes it's very hard to transpose down.

 

You could approach the matter abstractly--looking at the notes in a given song, comparing it with one's range, and setting it appropriately--but this would be less effective and probably not any faster. There are some high G notes I can hit, some I can never hit. I always need to test the upper and lower limits of my range against the context of the particular song.

[Dthraco]

 

I assume you just find the range of the song and the put the capo in the key where your voice is singing in the sweet spot for the key parts of the song.

 

 

You got it. Find the range of the vocals, and then transpose to your range or the key you want to sing them in.

[SevenString]

What's a capo?

 

 

 

[surfguitar28]

I agree with everyone thus far.. The guy I play shows with has a different voice range than mine so occasionallly we have to find a compromise on capo placement for a particular song but for the most part I just put it where I can put the most into my singing and roll with it.

[e021708]

 

I agree with everyone thus far.. The guy I play shows with has a different voice range than mine so occasionallly we have to find a compromise on capo placement for a particular song but for the most part I just put it where I can put the most into my singing and roll with it.

 

 

I think even those with wide range still have a "sweet spot" of their vocal range and the capo can help put the important parts of a song where it work best.

[surfguitar28]

 

I think even those with wide range still have a "sweet spot" of their vocal range and the capo can help put the important parts of a song where it work best.

 

 

agreed

[Adrienne Osborn]

I think even those with wide range still have a "sweet spot" of their vocal range and the capo can help put the important parts of a song where it work best.

 

Exactly. And sometimes depending on the song that sweet spot might even be a different place for the same voice. For example I tend to sing jazz lower in my range, and R&B higher - partly because I aim for a sort of "sultry sexy" sound in the jazz, and partly because the jazz band is simply quieter and thus my lower range can actually be heard in that band. In R&B and rock I simply can't count on using the lowest half octave of my voice because it doesn't come through over the band. If it does, it's kind of muddy.

 

One other thing I'd suggest is pick your key one day, then re-check it on a different day. I've had songs where a key that worked one day wasn't quite right the next day.

 

And I probably don't even need to say this, but heck, why not: Don't pick your key first thing in the morning.

[surfguitar28]

Exactly. And sometimes depending on the song that sweet spot might even be a different place for the same voice. For example I tend to sing jazz lower in my range, and R&B higher - partly because I aim for a sort of "sultry sexy" sound in the jazz, and partly because the jazz band is simply quieter and thus my lower range can actually be heard in that band. In R&B and rock I simply can't count on using the lowest half octave of my voice because it doesn't come through over the band. If it does, it's kind of muddy. One other thing I'd suggest is pick your key one day, then re-check it on a different day. I've had songs where a key that worked one day wasn't quite right the next day. And I probably don't even need to say this, but heck, why not: Don't pick your key first thing in the morning.

 

Ive also noticed that as my singing has progressed, that I end up putting the capo just a bit higher as my high range tends to get stronger as I play more. Of course, as you mentioned, many different factors can cause variation from day to day. Thats why capos are great:)

[Chip Stewart]

I always try to sing a song in the original key. Sometimes that song was recorded with a capo (country artists use capos all the time), and so I use a capo.

 

There is one song I sing where I transpose the song up a half step. "Who'll Stop The Rain" by Credence Clearwater Revival is written in the key of G, but I put a capo on the first fret to bring it up to the key of G# in order to allow me to hit the low notes with some strength. I was a little worried that it might sound weird, but it's so close to the original key that no one has even noticed.

[Jersey Jack]

I always try to sing a song in the original key. Sometimes that song was recorded with a capo (country artists use capos all the time), and so I use a capo. There is one song I sing where I transpose the song up a half step. "Who'll Stop The Rain" by Credence Clearwater Revival is written in the key of G, but I put a capo on the first fret to bring it up to the key of G# in order to allow me to hit the low notes with some strength. I was a little worried that it might sound weird, but it's so close to the original key that no one has even noticed.

 

If that's what floats your boat.... I don't hesitate at all to change keys. I consider myself the artist, even when I do cover tunes, and I don't see much point in fussing about the original key. I do what works for me.

 

And about people noticing: The number of people who would notice a key change from the original song is miniscule. The vast majority of people don't have perfect pitch and simply wouldn't be able to tell. Another group may have perfect pitch but may not know the song that well or may not be paying attention to the key. A third group may notice the change but it won't bother them at all. The rest? Well, I'm not much worried about the one or two people in the arena who might notice and care.

 

Of course, I don't play arenas, so no one ever notices!

[AzraelsWings]

If that's what floats your boat.... I don't hesitate at all to change keys. I consider myself the artist, even when I do cover tunes, and I don't see much point in fussing about the original key. I do what works for me. And about people noticing: The number of people who would notice a key change from the original song is miniscule. The vast majority of people don't have perfect pitch and simply wouldn't be able to tell. Another group may have perfect pitch but may not know the song that well or may not be paying attention to the key. A third group may notice the change but it won't bother them at all. The rest? Well, I'm not much worried about the one or two people in the arena who might notice and care. Of course, I don't play arenas, so no one ever notices!

 

OT, but I like your approach, Jack. I suppose it would be different for any vocalist making their livelihood from bar cover bands—the sort of situation where authentic mimicry is what keeps you employed. But, my ambition has always been to write my own material and perform simply as myself—especially covers. I would rather perform a cover differently and have it noticed and loved or hated than try to xerox the original.

[Blackwatch]

I just went through this as I had to sing at a wedding. The song was "Here comes the Sun, and it's capo'ed up on the 7th fret and it was very easy singing in that range, I even wrote a new song up there. But I've noticed that you can sing high or low vocally on the capo. It's just a matter of experimenting.....

[Terry Allan Hall]

If that's what floats your boat.... I don't hesitate at all to change keys. I consider myself the artist, even when I do cover tunes, and I don't see much point in fussing about the original key. I do what works for me. And about people noticing: The number of people who would notice a key change from the original song is miniscule. The vast majority of people don't have perfect pitch and simply wouldn't be able to tell. Another group may have perfect pitch but may not know the song that well or may not be paying attention to the key. A third group may notice the change but it won't bother them at all. The rest? Well, I'm not much worried about the one or two people in the arena who might notice and care. Of course, I don't play arenas, so no one ever notices!

 

In 37+ years of gigging 3-5 X a week, I've never had someone come up to me and say "You sang that in the wrong key".

[Blackwatch]

I think that when it comes to covering a song you're interpreting that song and the singer would have to ask themselves....

 

Am I trying to duplicate the sound of the song exactly, to try to sound just like the original...?

 

Or am I as stated, am I an interpreter, giving my version of the song..?

 

I think there are a lot of cover bands that do try to be a carbon copy of the song and they probably sing it in the original key.

 

Most others are trying for a good representation of the song and would fit the key to their voice.....IMO

[Chip Stewart]

In 37+ years of gigging 3-5 X a week, I've never had someone come up to me and say "You sang that in the wrong key".

 

I would never tell a performer that they sang in the wrong key. I do notice when a performer sings a song in a different key than the original recording, however. Sometimes its better, sometimes its worse. I heard a performer do "Fire and Rain" by James Taylor in a different key (not sure which one), and it sounded aweful to me. I do agree though, that most people wouldn't notice.