#46
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What I've had to do when learning tunes that involve chord shapes is to isolate each particular little series of triads in a specific tune and woodshed those changes for a week or so until I get them. In theory, if I'd started out by do the "cowboy chord strumming" thing for a year or so it would save me having to do that. But I'm satisfied with needing to stop and do little sequences as I come to them. When I was doing fingerstyle/classical guitar (circa 2009) I spent most of my time in altered tunings where the shapes I was using didn't really derive from conventional open-position chords anyway.
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Grabbed his jacket Put on his walking shoes Last seen, six feet under Singing the I've Wasted My Whole Life Blues ---Warren Malone "Whole Life Blues" |
#47
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Same thing. Most of the cowboy chords are triads with add'l open strings.
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#48
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Over the past year I've been taking lessons and we spend a good bit of time back-filling my chord knowledge as we go through various tunes I'm working on. But it's not the open-string chords but rather closed chords moving up and down the neck. Either "Freddie Green" three note shapes or the full four-note seventh chords. Don't know why I'm banging on since this is off-topic from OP's pursuit but that's what I've been up to, anyhow
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Grabbed his jacket Put on his walking shoes Last seen, six feet under Singing the I've Wasted My Whole Life Blues ---Warren Malone "Whole Life Blues" |
#49
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#50
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Yes and imagine how frustrating it must be to start on Guiliani's 120 and you can't switch left hand positions cleanly.
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#51
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Been there. |
#52
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He talks super slow so I just speed up the video to 1.74 The price is great too. Thanks! |
#53
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I think the process of putting neither first but figuring out how right and left work together early on puts one ahead of the game. For me, the spoon-fed chord strumming to awful backing track is so moronic my mind wanders and I can't wait to leave. It's no wonder people make mistakes and hesitate, because it's torture and an insult to intelligence. It's like teaching someone to walk by only allowing someone to use one limb and binding the others. Coordination is sacrificed. Breaking things down and isolating things doesn't do anybody any favors, in my opinion. It artificially introduces more hoops to jump through. It wasn't until I found a fingerstyle practice sheet randomly on the internet that guitar lessons had any hope of being interesting. It was way more interesting to hold down a chord and discover how a finger pattern interactd with it. Complexity and challenge are why learning is interesting. |
#54
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#55
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Tony
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“The guitar is a wonderful thing which is understood by few.” — Franz Schubert "Alexa, where's my stuff?" - Anxiously waiting... |
#56
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Wow, learning chords first, then right hand later. Who would have thought.
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |
#57
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I'm sure a lot of people got to pro level doing what you did to get where you are. I'd rather find methods that work for me. |
#58
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Thank you!
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Oh, and just fyi to the thread my father was a music teacher and my entire family were musicians of everything except guitar. I've also been a teacher of English and dance. There are many kinds of learning styles and not as many kinds of pedagogy to match them. I knew there HAD to be somebody out there that had a more holistic approach from the beginning and I figured I'd find it here. Thanks to you and all the others (forgive me if I missed responding to anyone) who have been helpful vs. critical responding to my original request. I'm glad for the forum and all the wonderful and helpful suggestions! |
#59
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Of course an individual may get bogged down in some particular technique or theory study and miss out on some of the synthesis which is music.
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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 |
#60
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That's fine. We all change things to suit ourselves a bit. Picking hand drills can be hampered by a fretting hand that can't get into the right position fast enough. That's why fretting hand development has to be the priority.
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Barry My SoundCloud page Avalon L-320C, Guild D-120, Martin D-16GT, McIlroy A20, Pellerin SJ CW Cordobas - C5, Fusion 12 Orchestra, C12, Stage Traditional Alvarez AP66SB, Seagull Folk Aria {Johann Logy}: |