#121
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#122
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I scanned the thread but didn't read thoroughly, forgive me if I simply repeat another person's point.
I used to think capos as utterly useless, I detune my guitar as much as it will allow (out of preference) and only play solo, so raising pitch seemed counter-intuitive. But recently I read about the technique of tuning your guitar down then 'capoing' up to standard to shorten the actual scale length of the guitar. Now THIS is something I can latch onto! My imagination for guitar arrangements is sometimes more lofty than what my incredibly stumpy fingers can execute. Shortening the scale could allow those shapes to be possible, and it's an idea for capo that I find very enticing.
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Why would you be reading a signature when there's so much V-Brace stuff to talk about? Last edited by Jambi; 01-31-2018 at 01:48 PM. Reason: words are hard and stuff |
#123
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I think if you use a capo only to change key, it's kinda like having a swiss army knife and only using the toothpick.
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#124
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This topic always generates an interesting discussion. My wife, who is a fantastic pianist and organist, was born with perfect pitch. She gets a really confused look on her face when she tries to use a capo on a guitar.
scott memmer |
#125
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Reggie Taylor 2016 818E |
#126
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So one use I'm not sure I've mentioned that appeals to me.
Play an Open G.. you've got strings 3 & 4 open. Switch to an Open D, string 4 is still open. It rings in between the transition, no need to mute it as it's in both chords and sounds good being left open. Do the same thing with a G barre chord @ 3 and then to an D barre chord @ 5 and all the strings mute in the transition when the barre comes up. It will just sound different. (Ignoring that the barre chord description I gave is voiced higher.) Weird example since that doesn't require a Capo, but there are cases you could play with the Capo instead of using barre chords and then you can get an open chord effect instead of the mute between changes effect. I've never done it but you could use a Capo at 1 when switching between F & C Major and have the open chord effect going on just like with a G to D transition. There are probably some other examples? Personally I think those open chord transitions where the chords are allowed to blend into each other during the transition are one of the magical things about acoustic guitars... they sound great, and don't necessarily sound great on electric guitars. |
#127
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Man, is this an interesting and informative thread for a newbie. Is there an App or anything to help with capo work? Example: put capo on 2nd fret and now E chord is x chord? Or d chord is now x chord?
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#128
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That's what this forum does best. Glad we could help.
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#129
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I think Silly Moustache's comment about being able to use first position shapes but in a different key is a really common and good reason for using a capo. I sometimes use one when I am the second guitar playing with someone who uses largely first-position chords. I can then capo up the neck a bit and play the same chords, but in a different, higher position, creating a complementary sound. For ex., if someone's whaling away on a first-position G chord, I can capo up and use a D shape. It's often an easy way to create two parts instead of just duplicating one.
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#130
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Incredibly informing posts in here guys. Although I already knew the reasons capos are used, I never really understood the vocal range thing and this has definitely helped me.
I remember reading a random comment about Oasis from someone (not on this site, can't remember where but it was probably a youtube comment) where someone said that Noel shouldn't write so many songs in G because it's out of Liam's range. This never made sense to me and now I know why it doesn't make sense.
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Martin DX1AE LH Taylor 114ce LH Alvarez AP70L |
#131
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Old thread, to be sure. But it seems the OP answered his own question in the original post:
"... some of those songs do sound better with a capo" 'nuff said! |
#132
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Here is a hint: when doing this. the chord that you are making is the same as the note of the 6th string where you place the Barre. Hint #2, when making A-form barres, the note on the fifth string where you place the barre is the chord that you are playing. Apps don't substitute for learning the fretboard. OMMV TW |
#133
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I am not 100% sure but I think James Burton looks down on capo use. But he plays electric 99% of time. I've never seen him play acoustic. Point is, he isn't a singer-songwriter type, he plays electric and mostly a lead player. Different animal.
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Bill |
#134
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Ok, that's not the reason. But you don't see Neil playing in C# or Ab either.
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Eastman E1SS-CLA-LTD Eastman E1OOSS-LTD Cordoba Fusion Orchestra CE Cordoba SM-CE Mini Classical Acoustic Ibanez Blazer 21 MIJ Stratocaster 2 Yamaha PSR-SX900 keyboards I play professionally Roland FP-90 digital piano I play for pleasure with piano VSTs. |
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Read the whole thread - a different legitimate reason to capo
If you are playing fiddle tunes and mandolin music, a great many of those tunes tend to be in A and D. By using a capo the guitarist is getting the opportunity to use G/C/D and C/F/G chord shapes with the plethora of open strings and chord formation. I like to play Soldier's Joy and St Anne's Reel in the no capo key of D, but must people like to capo at 2 and play key of C chord shapes. In the opposite vein, I like to capo 2 and play Whiskey Before Breakfast and Forked Deer out of C shapes, while many I know prefer to use no capo and the key of D.
To each his own. Also, there was a vague mention of this earlier, Glen Campbell is being interviewed on youtube about his studio work and he pulls out a capo and demonstrates the noticeable difference between capoed riffs and open riffs on what I think was a Beach Boys song. I believe it was a Johnny Carson show, but it could have been Hee Haw or the Goodtime Hour, you will have to search for that one. If I remember right, both Campbell and Doc Watson refered to their capo's as "cheaters". CK
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