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  #31  
Old 07-22-2020, 12:16 PM
NormanKliman NormanKliman is offline
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Like others, I play up there only occasionally. With a good guitar, reasonably good strings and no tuning issues, I’d say the tone of the bass strings is different, not necessarily ugly. I mean, you can’t play any idea up there and expect it to sound good, but some stuff works. There’s a “hollow” sound that I kind of like, for some ideas, anyway.

Just for fun, try playing the Norwegian Wood riff starting at sixth string twelfth fret, fifth string open and fourth string fourteenth fret. So it’s in A and the open fifth string drones.
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  #32  
Old 07-22-2020, 12:19 PM
MartinGibsonFan MartinGibsonFan is offline
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............................

Last edited by MartinGibsonFan; 07-22-2020 at 12:42 PM.
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  #33  
Old 07-22-2020, 11:17 PM
Nama Ensou Nama Ensou is offline
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Quote:
Originally Posted by MartinGibsonFan View Post
We are talking Acoustic Guitar

Not Electric Guitar
Thanks, but I already knew which forum I was on and also how to make decisions about where to play various parts. Some people think there's no music above the 5th fret, others know that it exists all across the fretboard and that to know your instrument you've got to learn how to use it and when it is or isn't better to move a part up or down the fretboard.
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  #34  
Old 07-23-2020, 01:43 AM
pegleghowell pegleghowell is offline
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I actually do venture up to the dusty end of the fretboard quite often,mostly when playing slide.Many Patton etc. tunes require it and I`m a useless lap-style player.It can be catastrophic.
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  #35  
Old 07-23-2020, 11:54 AM
joeld joeld is offline
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The root shape pattern in standard tuning spans 12 frets, and a chord will extend a few frets above its root. So if you want to follow a progression/melody through all its shapes, e.g. CAGED, you'll be using 15 frets.
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  #36  
Old 07-23-2020, 12:42 PM
MartinGibsonFan MartinGibsonFan is offline
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I have no problem folks playing above the 12th fret.

I'm pretty sure the OP stance was the majority of folks playing up there in the stratosphere.

Obviously, some play up there, but I think the point of the original post is how many play up there in the stratosphere. Not sure where the original reason for that post was meant to be directed to.

Some folks play up in the stratosphere, others like to keep it closer to Earth.



J
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  #37  
Old 07-23-2020, 05:39 PM
alnico5 alnico5 is offline
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I have a "rock" acoustic style and play above the 12th fret all the time.
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  #38  
Old 07-23-2020, 05:55 PM
alnico5 alnico5 is offline
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Quote:
Originally Posted by MartinGibsonFan View Post
Like they say, no money to be made above the third fret.
J
I figured out once how many frets up one would need to play one inversion of every major and minor chord and 7ths. For E flat minor barre I want the 6th, 7th, and 8th frets, and 6th and 8th for Eb flat. No need to have frets any higher!

But seriously, it's fun up there and I make a few bucks. Disclaimer: I consider myself a guitar player who sings, not a singer who plays guitar.
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I don't have a bunch of guitars because they all sound just like me.

1984 Carvin LB-40 bass
1986 Carvin DC-125 two humbucker
1996 Taylor 412
La Patrie Concert
2012 American Standard Telecaster
1981 Carvin DC 100
Harley Benton LP JR DC
Bushman Delta Frost & Suzuki harmonicas
Artley flute
Six-plus decade old vocal apparatus
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  #39  
Old 07-30-2020, 11:39 AM
Gordon Currie Gordon Currie is offline
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Quote:
Originally Posted by Mr. Jelly View Post
What do you play above the twelfth fret on acoustic guitar. Do you really need to play up there? How many tunes do you play where you utilize the 13th and 14th frets? I understand some specialized playing using the upper frets but I don't take it that that many people play specialized music. Explain to me my error in thinking.
Being the primary lead guitarist, I use the area above the twelfth fret often.

Out of 33 current tunes on our song list, 21 require notes above the twelfth fret.

But I don't stay there throughout an entire song. I like to use open voicings and string skipping and tend to use a large range. Hanging out in one area - high or low - gets boring to my ears.

Mr Jelly - I'm surprised at this post. You generally seem to advocate openness to techniques, approaches and styles (as in your recent post about flatpicking). This appears to be trying to convert your opinion into a consensus.
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  #40  
Old 07-30-2020, 03:47 PM
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Mr. Jelly Mr. Jelly is offline
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Quote:
Originally Posted by Gordon Currie View Post
Mr Jelly - I'm surprised at this post. You generally seem to advocate openness to techniques, approaches and styles (as in your recent post about flatpicking). This appears to be trying to convert your opinion into a consensus.
Actually this thread has taught me something. Consider me a traditionalist as far as my preference of my playing acoustic guitar. Though I have teamed up with a rapper at a gig a couple of times. Personally I think acoustic guitars sound ridiculous above the 12th fret. I see people stating that they can't deal with a 12 fret neck. Sure I've played a lick or two above the 12th fret but nothing so important to a tune that I couldn't deal with a 12 fret guitar. But acoustic guitars are played with what I call an electric guitar style of playing as a regular basis now days. This didn't really take hold until after Taylor guitars showed that acoustic guitars could have good action. So I was wrong and now I see allot of people play above the 12th fret on a regular basis. More power to them, good for them. All is fare when making music.
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  #41  
Old 07-30-2020, 04:58 PM
MartinGibsonFan MartinGibsonFan is offline
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Default I don't see it

When playing above the 12th fret and Flat Picking, here's a YouTube video that expresses my viewpoints.

https://www.youtube.com/watch?v=FdJwaw6tsuU

J
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  #42  
Old 07-30-2020, 05:09 PM
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TBman TBman is offline
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Just off the top of my head, a couple of Stephen Wake Celtic arrangements, "The Willow Tree" and "Mairi Bhan Og." Both tunes are in CGDGAD tuning. "The Willow Tree" has some 12th fret notes and harmonics while the other has a 15, a 14 and a few 12 fret notes.

The Willow Tree:


Mairi Bhan Og:
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