#16
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I don’t know why I didn’t think of this lesson from Toby Walker earlier. Really fun to play and he does a great job explaining. Lots of moving around the fretboard with alternating thumb.
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Guitars: Waterloo WL-K Iris AB 1990 Guild GF30 Bld Maple Archback Alvarez AP66 Baby Taylor G&L ASAT Tribute T-style |
#17
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Quote:
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RM ----------------------------------------------------- Taylor 856, Taylor GC7, Martin 00-28, Breedlove Oregon Concertina, Breedlove Jeff Bridges Signature, Guild JF55-12, Guild D212, Larrivee OM3, Eastman E20 OM, Farida OT22w, Cordoba Fusion 12 Orchestra, Blueridge BR-361, Pono 0-15 mango, Journey OF-660, Tanglewood TWJP parlor (Nashville tuned), Paul Reed Smith SE Custom. |
#18
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For playing Chet Atkins or Merle Travis stuff, learning to "thumb over" to do various chord voicings is pretty much essential in a way a lot of jazz or rock guitarists wouldn't immediately understand (I know because I started off playing rock, blues and jazz). A lot of standard chords in jazz don't lend themselves to thumbpicking well even if it captures the chord. It may not give you a good bass notes to alternate between... Also remember you then hit a chord and play the melody as well.
With thumbpicking you often try and hit the root and fifth notes of various chords and you sometimes mix it with some open strings even when you are up the neck... Sometimes you need to thumb over to get the root note and fifth... Sometimes you even have to thumb over two strings to get certain voicings... You can make your life easier having certain guitar neck shapes. For example a 2" classical guitar with small hands would be pretty much impossible to use for thumbpicking unless you have enormous hands. This is a good example of a thumbpicking song that uses the thumb for the bassline. |