#1
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B minor fingering-all 6 strings or just 4 or 5?
How did you learn the B minor fingering?
Did you start with major chord barre shape across all 6 strings and just shift your middle ring and pinky fingers down, keeping the index finger across all six strings (like I did?). Or did you instead shift ALL fingers down, leaving the low E untouched? And did you learn to also arch your index finger to give you the option to leave the high E open, as Jason Isbell seems to do in the version below of "If We Were Vampires?" (Bmin fingering at 0:31 and other parts as well). By the way, on the second progression of the opening chords, you can detect that Isbell doesn't QUITE get that B note to ring out. Even the pros get the buzz occasionally -- VERY occasionally!
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2011 Gibson J-45 Standard 2014 Martin D35 1971 Harmony H1204 Sovereign Jet Black 1970ish Harmony Buck Owens American 2012 Martin D1AXE |
#2
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I believe I first learned the easy fingering on the top 4 strings... an Am, slid up 2 frets with an index on the F#.
Then I learned the 5-string barre chord (A shape) in the 2nd fret. On occasion I'll use 6-string barre chord (E shape), but not very often. The 5-string chord works great. I've used the "arch" you're talking about on occasion, depending on the fret I'm in. |
#3
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I learned the barre chord method, but then I learned how to play 4 finger chords and that's made all the difference.
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#4
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I learned the barre chord way, and now - many years later - I’m trying to do as the pros do it: only fret the notes you need.
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Joe 1948 Martin D18 1999 Martin HD28 2015 Northwood R-80 MJ |
#5
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I do several shapes. Basic one is Am slid up, root B on the 5th string and only play the middle four strings (I do mostly pick or thumb and three fingers, so four string chords is my normal). If you play the B on the 5th string with your index finger a barre to pick up the high F# is extremely easy. Obviously the Em barre chord shape on the 7th fret. I very often substitute m7 for minor chords.
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Brian Evans Around 15 archtops, electrics, resonators, a lap steel, a uke, a mandolin, some I made, some I bought, some kinda showed up and wouldn't leave. Tatamagouche Nova Scotia. |
#6
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why fret only the notes you need? If other notes belong with a chord or sound good with it fretting those won't hurt anything and would actually be better as when those strings vibrate due to either you accidentally hitting them or the vibrations from the other strings they will be doing so with notes that sound good in relation to the other notes you are playing . I always try to fret as many notes as possible that sound good with ones I am playing as possible.
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#7
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I do the regular barre. Since Bm and F#m are common chords in the key of A (or F#m) then sometimes it makes sense to barre all six strings if a F#m follows a Bm in the progression or vice versa.
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#8
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Full barre chords for a minor triad limits you to two or three chord forms.
Playing only the notes you need gives you 12 different places to play a triad. I can and do play full barre chords sometimes. Sometimes four beats of four different inversions of the same chord is more interesting that four beats of the same form. Even more interesting with four note chords.
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"My opinion is worth every penny you paid for it." "If you try to play like someone else, Who will play like you". Quote from Johnny Gimble The only musician I have to impress today is the musician I was yesterday. No tubes, No capos, No Problems. |
#9
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I played electric for decades before acoustic. I was dedicated to the Grande Barre on electric from early on, and use it on acoustic all the time.
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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 |
#10
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Use what best works for situation. So be equally capable of using full barres, partial barres, and non barres.
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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 |