#16
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I pretty much only play by myself, but I usually call it G+D when I write it down, with the D written smaller—more the height of the + sign. (So my eye doesn’t pick it up as a chord)
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2010 Allison D (German spruce/Honduran mahogany) 2014 Sage Rock "0" (sitka spruce/Honduran mahogany) 2016 Martin CEO-7 (Adi spruce/sipo) 1976 Ovation 1613-4 nylon--spruce top 1963 Guild Mark II nylon--spruce top |
#17
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It seems like nearly every Christian artist uses that shape so I end up playing it often in our Praise Band. But I typically only do it when I need the higher D sound or if I'm going to the modified Em7 and then to C2. It's just easier to keep fingers 3 & 4 locked in place and only move 1 & 2.
Funny, but most of those guys writing Christian songs just call them G & C and never mention the difference. David
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David My Woodworking YouTube channel - David Falkner Woodworking -------------------------------------------- Martin, Gallagher, Guild, Takamine, Falkner |
#18
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Oh well, Best, PJ
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A Gibson A couple Martins |
#19
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Most writers just list the chord progressions without the specifics of how one plays them. It's not just true of Christian writers/singers/chart transcribers, but most pop singers, folk artists etc. The only ones who get their panties in a twist about every note, and where it's played, and how it's played tend to be from the classical world (and most of them don't sing while they play, nor do they focus on chords). When I'm on playing off a chart, the only differences I need/want to know about are chords with alternate bass notes (often called slash-chords), or specific runs...and most of those I pull from the reference recordings. Most charts are transcribed by keyboard players from recordings, and they are often not aware the original guitar player was using a capo…so you cannot be sure the charts reflect what the writer/player actually intend. When I'm the backing-lead player, I really just need to be aware of the chords so lead runs fit the chords. If I'm the rhythm player, I want to fit in a hole between the range of the keys and the bass. And I certainly want to hear the original recording for key licks or strum patterns etc. If I'm leading worship b y myself (just playing guitar or keys), then I want to know the chords, the rhythm, and certainly I want to know how the main artist people hear the song most frequently from plays/performs it. YouTube is our friend for those. But the audience/congregation could care less if I play 3-finger-G, 4-finger-G, or a barred G at the third fret (barred as an E) or 10th fret (barred as an A) . There are songs which depend on specific intro licks or progressions (or lead parts), and on those I'm going to play the album version unless otherwise instructed. Hope this adds to the discussion… |
#20
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My wholly non-music theory name for that one is the "Classic Rock G" .
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#21
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I would just call it bright G. GaddD just sounds so wrong to me. |
#22
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We have always referred to that chord form as a long G and denote it in a chord chart like this -- G*
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#23
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If in doubt, how about calling it GBDGDG
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#24
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I would prefer G "Double D"...
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#25
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That's good, though more often I'm would be just thinking 320033.
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#26
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3 x 0 0 0 3 3 x 0 0 3 3 x 2 0 0 0 3 x 2 0 0 3 3 Added voicing for the fifth as the root: x 5 x 4 x 3 x 5 5 4 x 3 x 5 x 4 3 3 ...and so on, depending on the tonal flow of the backing. Context suggests voicings once you've gotten past strumming I/IV/V. Once you progress to picking rather than strumming, you get to "take your pick" of more interesting voicings and flow.
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Harmony Sovereign H-1203 "You're making the wrong mistakes." ...T. Monk Theory is the post mortem of Music. |
#27
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I only arrived at "rock G", because I began seeing it so often in internet chord charts for rock songs - never having encountered it at all in my first few decades playing various styles of music (including both rock and counrty actually). Then I found some guy on youtube who also called it "rock G" - that was enough for me! I suppose I haven't played enough of the same country songs that you have!
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#28
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Yeah. Jee-beejy-jeedijee. (Don't try saying that after a few beers....)
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#29
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#30
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I don't like adding that third (B) on the 5th string. I always mute that muddy thing with whatever finger I use on the low G.
So I'd just call the version with doubled D a G5. And, if you really use the pinky on that D, I'd strongly advice you to use the ring finger instead |