#61
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The flexibility (a capo provides) of changing the voicing of chords - especially with two or more players speaks for itself. i.e., Listen to an A chord played along with G shape (capo 2). Think Everly Brothers |
#62
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I use mine to crack walnuts. Does that make me a lesser nut?
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#63
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That made me laugh. Thanks
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#64
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Sigh. |
#65
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Phrase must have been coined by a Classical (Jazz) Player.
MGF |
#66
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If it sounds good, it is good.
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Jim _____________________ -1962 Martin D-21 -1950 Gibson LG1 -1958 Goya M-26 -Various banjos, mandolins, dulcimers, ukuleles, Autoharps, mouth harps. . . |
#67
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Another Thumbs Up.
Not sure why these type of threads are started. There's enough contention in this world to argue about capos. MGF |
#68
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Play this without a capo.
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Jim _____________________ -1962 Martin D-21 -1950 Gibson LG1 -1958 Goya M-26 -Various banjos, mandolins, dulcimers, ukuleles, Autoharps, mouth harps. . . |
#69
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I'd play that with a Kazoo
MGF |
#70
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#71
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The eternal question: Does using a capo mean you are a lesser player?
Only if you 'internal-ize' it. Using a capo means only one thing. You are using a capo. If you don't want to use a capo, transpose to another key. Which brings to mind, Instead of using a capo or transposing to another key, I played it in standard tuning but used the key of 'A' position. I did this in the late 60's when the only acoustic guitar I owned was an EKO Ranger XII (12 in Roman numerals). That way I could get the best sound (to me) by getting a lot of mileage out of the open courses on the 12 string guitar. Also due to re-tuning issues I did not commonly use a capo on a 12 string until I got a G7th Newport 12 String capo with the compensated string pad. And that was only a year or so ago. Anyway the 12 string really shines playing through all those arpeggios and turnarounds. So instead of playing it capo 7 in the 'D' position like I do on a 6 string, I just played it for years using open strings and cowboy chords. Still sounds real good to me that way. By the way, I guess I really did transpose the song, because I used to tune my 12 strings down two tones to 'D', which meant the actual key was 'G'. And I tune my current 12s to 'D#'. Old habits die hard. Don .
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*The Heard: 85 Gibson J-200 sitka/rosewood Jumbo 99 Taylor 355 sitka/sapele 12 string Jmbo 06 Alvarez AJ60S englmn/mpl lam med Jmbo 14 Taylor 818e sitka/rosewood Grand Orchestra 05 Taylor 512ce L10 all mahogany Grand Concert 09 Taylor all walnut Jmbo 16 Taylor 412e-R sitka/rw GC 16 Taylor 458e-R s/rw 12 string GO 21 Epiphone IBG J-200 sitka/maple Jmbo 22 Guild F-1512 s/rw 12 string Jmbo Last edited by donlyn; 09-15-2020 at 07:57 PM. |
#72
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No, it does not!
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#73
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It doesn't matter what anyone else says about it, it only depends on why you use a capo. If you use it as a voicing tool that's one thing, but using one because you can't take the time/effort to change your chords from E, A, D to F#, B, E definitely says something about a player.
Played with a guy a couple weeks back who kept trying to act as band director and he literally had for why he had to use a capo to play a song a step higher than what he was used to. Believe it or not, he was speechless when I showed him the chords without using the capo, and he even fiddled with the song for a couple minutes before deciding it was okay to change his chord fingerings instead of capoing. On the other end of the capo spectrum, there's players who use them very artistically and are not lazy at all.
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#74
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It all come down to what type of music you wish to play. |
#75
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Years ago one of the first things my jazz guitar teacher told me was to "get rid of the capo mentality." So, yes it seems to be a thing in some circles. I got out of using a capo in part, I suppose, because of this comment . . . but also because once I stopped using a capo, I started to really like playing in flat keys. I suppose it helped that the standards I was learning typically were written in flat keys and I kind of figured that the composer had a better ear for harmony that I had or ever will.
As other have said though . . . it kind of depends on the context. Bluegrass tends to use open strings whereas jazz guitar does not. So it makes sense to use a capo in the former context and maybe not in the latter. That said, play it the way you like it.
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