#16
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P.S.... Thanks for the thought. I needed to revisit Fire and Rain and relearn it as JT played it. I'm learning some new tricks from it myself.
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Assuming is not knowing. Knowing is NOT the same as understanding. There is a difference between compassion and wisdom, however compassion cannot supplant wisdom, and wisdom can not occur without understanding. facts don't care about your feelings and FEELINGS ALONE MAKE FOR TERRIBLE, often irreversible DECISIONS Last edited by vindibona1; 11-19-2017 at 03:45 PM. |
#17
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I usually form chord shapes in the air on the way to the frets - block finger movement rather than reliance on guide fingers.
First position open chords E-A-D would usually be 231-234- 132 (or 121).
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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 |
#18
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Went to workshop once where a guy chunked chords by shape, without regard to function. Used D7 to teach B7. Never occurred to me do that. I think we're slaves to theory and preconceived notions sometimes.
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#19
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That's the point. Paired association learning. You use what you know and apply it to the next thing. While this thread has mostly focused on the A chord and how it's fingered and moved, the G-C-F lateral movement has the same concept as the D7 to B7 example you cited (I'm going to have to adopt that one- thanks). IMO it's powerful stuff for the new player.
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Assuming is not knowing. Knowing is NOT the same as understanding. There is a difference between compassion and wisdom, however compassion cannot supplant wisdom, and wisdom can not occur without understanding. facts don't care about your feelings and FEELINGS ALONE MAKE FOR TERRIBLE, often irreversible DECISIONS |
#20
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playing single note runs (double stop runs also perhaps). Deal with that in part by forming the chord shapes quickly and by timing the leaving of prior chords to reach the next chord at the correct instant. Naturally many styles of music do not call for legato anyway and are to purposely, to one degree or another, staccato.
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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 Last edited by rick-slo; 11-20-2017 at 03:39 PM. |
#21
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Re: JAMES TAYLOR
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"Militantly left-handed." Lefty Acoustics Martin 00-15M Taylor 320e Baritone Cheap Righty Classical (played upside down ala Elizabeth Cotten) |
#22
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Assuming is not knowing. Knowing is NOT the same as understanding. There is a difference between compassion and wisdom, however compassion cannot supplant wisdom, and wisdom can not occur without understanding. facts don't care about your feelings and FEELINGS ALONE MAKE FOR TERRIBLE, often irreversible DECISIONS |
#23
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I always started my students off with this idea. I called it ”pivot finger" or "common finger". I came up with this whole finger relationship chart for the chords to help them get playing chords fast so we could get into songs. I haven't taught in years, but I believe I started with: A > D > E & then to D > G > A. I always tried to go to a I IV V pattern in a new, but related, key by adding 1 new chord.
FWIW that's how I learned to play an A major. 2 1 3. The beauty of it is that an A7 is as simple as lifting your index finger. Always taught it that way & then moved to the single finger barre version once the student built up some strength & endurance.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#24
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Trombone players have had to deal with this issue for centuries. However if you think about it, "common fingers" can be held down while other fingers move into position. Going from A to D, the A (s2/f2) can stay down if you're used a 2-1-3 fingering on the A chord. G to G7 can continue to ring as you move the high G down to the F for the 7th if you've played the G chord 3-2-4. Barred Dm to Dm7, etc same thing. While there are frequently changes where you must release all fingers momentarily, often it is a matter of making good fingering choices, part of my original point in this thread.
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Assuming is not knowing. Knowing is NOT the same as understanding. There is a difference between compassion and wisdom, however compassion cannot supplant wisdom, and wisdom can not occur without understanding. facts don't care about your feelings and FEELINGS ALONE MAKE FOR TERRIBLE, often irreversible DECISIONS |
#25
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A7: fingering 123 simply lift 2 or 234 simply life 3. However so much depends on context. Generally I prefer an even break from a chord rather than a string slide up or down.
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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 |
#26
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Don't forget that you have a right hand too which contributes greatly to the mix of sound. And it it important to note that to be a really good rhythm player you have to know what to accent, what to mute and when. One's palette of sounds is only limited by one's skill and fluidity. Of course we all like even breaks from chords, probably often. But the indicator of one's skill is to be able to make the changes without sounding like there are huge breaks. When phrasing any type of music often the key is to keep the forward motion of the feel, keeping the sound into or even over bar lines. Even though we're talking basic guitar technique here, it is important for newer players to establish the best habits which ultimately contribute to maximum musicality.
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Assuming is not knowing. Knowing is NOT the same as understanding. There is a difference between compassion and wisdom, however compassion cannot supplant wisdom, and wisdom can not occur without understanding. facts don't care about your feelings and FEELINGS ALONE MAKE FOR TERRIBLE, often irreversible DECISIONS |
#27
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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 |
#28
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I think it depends on the style and what the music calls for. Both have their place.
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-Steve 1927 Martin 00-21 1986 Fender Strat 1987 Ibanez RG560 1988 Fender Fretless J Bass 1991 Washburn HB-35s 1995 Taylor 812ce 1996 Taylor 510c (custom) 1996 Taylor 422-R (Limited Edition) 1997 Taylor 810-WMB (Limited Edition) 1998 Taylor 912c (Custom) 2019 Fender Tele |
#29
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go to fingerings.
__________________
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 |