#16
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If it's a passing chord or the blues or rock, I'll catch all three with one finger, first or third, depending upon what comes next...
If I HAVE to hear that high open E note for melodic purposes, then I will use either index or middle finger to fret the 3rd and 4th string notes and the either the index or ring finger to catch the C# on the B string... hammering on to the C# is an iconic sound, too. I have smallish hands/fingers, and when I make a barre chord with that "open A" shape, I use my pinky, most times, for those 3 notes across... I don't believe I have EVER used the middle version that you wrote down... although I am aware of it, just feels really awkward for me, even if the next chord is an open Amaj7...
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"He's one of those who knows that life is just a leap of faith. Spread your arms and hold your breath, always trust your cape..." "The Cape" (Guy Clark/Jim Janowsky/Susanna Clark) |
#17
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2-3-4 most of the time, sometimes index barre.
Never the other two - except when teaching because some students find them easier. 1-1-1 is very useful for certain riffs, and I generally either mute the top E, or use pinky on 5th fret. But the main reason is to free up 2nd and 3rd fingers for various embellishment.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#18
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2 1 3 or barre with 1
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#19
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Door number 2.
I have problems with this chord if not used regular. When I had a GS Mini it was so cramped as to be almost impossible. |
#20
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As others have pointed out the choice of chord fingering is usually a matter of context. For a long time my default fingering of
X 0 2 2 2 0 has been two fingered. 2nd finger on the D string and 3rd finger on the B string. My fingers are broad enough for both fingers to fret the G string as well. Mostly I play finger style and often only play the parts of chords that hold the notes I need. It's rare for me to play full conventional chords. |
#21
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I never do the first one, and the others depend on whats going on. To be honest, most of the time I do a mini barre and the heck with the open e unless I need it.
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Barry Sad Moments {Marianne Vedral cover}: My SoundCloud page Some steel strings, some nylon. Last edited by TBman; 10-09-2015 at 07:51 PM. |
#22
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Quote:
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Doerr Trinity 12 Fret 00 (Lutz/Maple) Edwinson Zephyr 13 Fret 00 (Adi/Coco) Froggy Bottom H-12 (Adi/EIR) Kostal 12 Fret OMC (German Spruce/Koa) Rainsong APSE 12 Fret (Carbon Fiber) Taylor 812ce-N 12 fret (Sitka/EIR Nylon) |
#23
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Usually I use the first configuration or an index finger barre. However after 50 years of playing I finally learned the middle one because I found it works better for playing my all time favorite song - James Taylor's Fire & Rain, and getting it to sound more like the recording. It does feel kinda strange but I believe it does work better for many of James's songs as well as many others I would imagine. I'm with LJ on this one also.
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#24
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I primarily use 234, probably because my first main teacher recommended it, but if I'm strumming, a single finger bar (e string muted) does frequently make an appearance.
The thread is kind of fascinating to me because in all the time I've been playing I can only think of just a handful of times when I noticed someone playing 234, but so far this thread would indicate it's not really that rare. |
#25
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2-3-1 for me. Makes it easier to go to an E and a D. Got that anchor finger. I find I get fret buzz on the D string with the 1-2-3 or the 2-3-4.
I actually find the A a difficult chord for me. Using the 2-3-1, I wrap my thumb up to mute low E but that sometimes causes me to mute high E as well. Hard to get it all to ring out clearly. |
#26
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Quote:
I never heard of (or thought of) the 213 method until Larry mentioned it a while back, and he's quite right it's good for changing to and from both E and D, as well as easier for those with thicker fingers. I still prefer 234 for changing to E, but 213 is better for getting to D. Still, when I'm going between A and D, because I'm so used to 234, I'll often slide my pinky and play D with fingers 142! Habits are hard to break...
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#27
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Quote:
As a teacher, and more-so as a player, I'm rarely amazed by the variety of fingerings anymore which work for people I run into. And as a teacher I rarely tell anyone their fingering is wrong. If it's working it's not wrong (you cannot be arrested for using a different fingering than mine). I do teach players to add several other ways to finger existing chords, and to play inversions of them. In context, I'm a full-time finger styler who occasionally strums, and even when I strum, I still bend and use a ton of hammer/on pull/offs. So for me the particular fingering I usually use for the A under discussion (x02220) is based on hammering, rapid chord changes, and integrating runs, scale work, and arpeggio work. Since there is an open A string available in both Standard tuning, and Dropped D, and since as a finger styler I can selectively choose strings, I also use a lot of three string inversions for the A chord up and down the neck. I've certainly not limited myself to the one under discussion. It's probably only a 1-in-3 chance I'll use it very often. |
#28
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Depends where I'm coming from and where I'm going to next. There's also the "long A" ... X02225 ... barre the 2nd fret and grab the A on the Estring with the pinky, and if I need the E I just barre the 5th fret of the B and E strings with the pinky finger. Lots of ways to skin the cat.
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#29
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Either;
Two fingers, index and middle, mashing them all down, Or, Ring finger bent back in a mini barre.
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~Dave ~Music self-played is happiness self-made |
#30
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Quote:
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