#16
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https://jonimitchell.com/music/viewa...ning%20Pattern This page explains the tuning groups: https://jonimitchell.com/music/tuningpatterns.cfm Quote:
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#17
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Thanks again some usefull tips, I guess I need to spend more time improving my familiarity with scales and chord shapes in an altered tuning before jumping straight in and playing tunes with some harmony, I think I forgot that was how I originally began to learn standard.
One more thing I do wonder about though is do most of those who use multiple tunings tend to use one tuning per key? Does anyone prefer DADGAD for example to play in C ? |
#18
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I just taught a workshop on DADGAD in the key of C, using this tune as an example. Talk to Pierre Bensusan about keys in DADGAD and he'll quickly run you thru every imaginable key.
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Music: Spotify, Bandcamp Videos: You Tube Channel Books: Hymns for Fingerstyle Guitar (std tuning), Christmas Carols for Fingerstyle Guitar (std tuning), A DADGAD Christmas, Alternate Tunings book Online Course: Alternate Tunings for Fingerstyle Guitar |
#19
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Hi all
Notes are the equivalent in music to letters in spoken/written language. Chords are like words. As a kid, I had been talking for years before I learned to spell anything. And the first words I learned to spell (when 6 years old) were See Spot…but I certainly had an elaborate vocabulary by then. Later it became See Spot run. And it built from there, and I'm not sure when the rote memorization and spelling caught up with my vocabulary. Years of English class and spelling memorizations down the line. But no matter how complicated of words I speak, I'm not thinking about how the words are spelled unless I need to type a post with the word in it (or someone asked "How do you spell that?"). The point is, I can spell it because I learned my letters and how to spell words with them. But I didn't need the letters to speak and understand language. If you ask me how to spell words, often I've never seen them written, nor spelled them before. But I can figure out how to spell them because I understand grammar and can sound things out. LIKEWISE… I DO NOT think about the notes I'm playing when I play music. I learned to play music long before I was spelling music. I was singing songs and as a kid. We listened to the radio, and saw things on TV which we sang about. And just as I don't think letters when saying words, I don't think note-names when playing music…unless you stop me and ask what the notes are. If you stop me and ask the notes, I can very quickly tell you the notes - and often I've never seen them written, nor did I learn them from a score. I know them because I learned how music is constructed. It's actually easier to figure out note-names when listening than sounding out word spellings. There are only 11 semi-tones in the 'alphabet' and we can figure them out once we know the root (which falls into place in my brain quickly as I listen…whether I'm conscious about it or not). Enough prattling. Just wanted to elaborate on some of the thoughts in the thread. When playing in alternate tunings, the notes didn't change, they just moved (often next door or a couple doors down) and are easy to track down. |
#20
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#21
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One of my tunes - although it starts in a mix of D major and D minor - has a bridge in F major, and DADGAD works nicely in that key too.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#22
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I've been playing, almost exclusively, in open tunings since 1972 or so. I know close to nothing about the notes on the fretboard in standard or open tunings, except how to get certain sounds with certain fingerings/shapes, etc. It's really a matter of your letting go of the prior concepts you learned, and just take every new tuning for what it is. Learn some pieces in those tunings, and THEN you can analyze the similarities & patterns as they relate to standard tuning. There's no doubt that standard tuning really offers the widest palette in terms of types & styles of music possible. However there are pieces written in open tuning that can absolutely grab you by the throat in terms of their allure, and they can NOT be played in standard tuning with nearly the depth of musicality. Accept them as separate, but equal. Regards, Howard Emerson
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#23
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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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1993 Bourgeois JOM 1967 Martin D12-20 2007 Vines Artisan 2014 Doerr Legacy 2013 Bamburg FSC- 2002 Flammang 000 12 fret 2000 McCollum Grand Auditorium ______________________________ Soundcloud Spotify |
#25
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#26
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Completely agree, playing in a different tuning - it's like speaking another language. You got (almost) the same sounds, some words might be similar. And there you are, translating your thoughts in real time, putting your words in correct order to express yourself. The same way, in real time, you know, for example, that all your notes on the first 2 strings are shifted whole step down, so when playing a solo in a different tuning, you take this fact into account. For chords it's more like memorizing the shapes depending on the root notes, coz you won't be able to figure out the whole shape in real time quickly enough.
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