#211
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There are a lot of excellent reasons for using capoes contained in this thread. Try checking them out and you can learn from them. Otherwise, you will never understand capoes, and also easily prove your own statement, Quote:
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*The Heard: 85 Gibson J-200 sitka/rosewood Jumbo 99 Taylor 355 sitka/sapele 12 string Jmbo 06 Alvarez AJ60S englmn/mpl lam med Jmbo 14 Taylor 818e sitka/rosewood Grand Orchestra 05 Taylor 512ce L10 all mahogany Grand Concert 09 Taylor all walnut Jmbo 16 Taylor 412e-R sitka/rw GC 16 Taylor 458e-R s/rw 12 string GO 21 Epiphone IBG J-200 sitka/maple Jmbo 22 Guild F-1512 s/rw 12 string Jmbo Last edited by donlyn; 05-20-2019 at 07:09 PM. |
#212
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Sometimes I want to play the G-run, but the song's not in G!
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#213
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You don't understand that Barry white and richard Simmons has different voice keys? Then I can't help...
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#214
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In celtic folk DADGAD and CGCGCD are very common and can be considered the standard tuning of the genre. That has a lot to do with the sound and feel of the music and nothing with being lazy. Playing in open tunings is something you learn and do on top of EADGBE. If I, as a DADGAD player, was lazy, I would simply have stuck with standard tuning, trying to fit the music I play to the tuning. Then the capo issue. The capo is a creative tool, that enables a guitarist to change the color of the sound of his guitar. That's why flamenco guitarists are using capos quite often, and nobody thinks that flamenco guitarists are lazy. My conclusion is that what should concern us is the music we play and how we get the best result, when we deliver the music we are playing to our audience. Our audience isn't interested in the tools we use, but in the music they hear. And then there is always this guy, who is making a fuzz about limiting himself...
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#215
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I must apologize, particularly to donlyn and stringbound, as I didn't make it clear that my comments were largely intended sarcastically (I thought the lol was sufficient). I'm a strong advocate for a capo. While I haven't kept track, I wouldn't be surprised to find I use it for more than 50% of my acoustic work.
As to the rest of my comment, my point was that many people who wouldn't be caught dead using a capo have no problem using alternate tunings, drop-D, etc. But that's substantively the same thing, IMO, in that you're departing from the standard to achieve a certain sound or ease of playability. And there's nothing wrong with that. Stephen Stills and Keith Richards use it to incredible effect. And I would add that just tuning to EADGBe could be called cheating in this context, since a real expert should be able to bend on the fly to hit the right notes.
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I own 6 guitars and a banjo, I drive a Hummer, and I brew my own beer. Cool is not something I have to work at. |
#216
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Hi Mike, sorry for overlooking the lol.
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Taylor 914ce Taylor 914ce Charcoal |
#217
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I'm sorry, but your statement makes no sense. They have different ranges, not different keys.
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#218
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Ive come to this thread late and im not going to read it all
I can play all the chords in all the positions. I use a capo because i like the sound i get from it I use a capo because its easier to hit a Am than a Bm when your signing or the progression in Neil Youngs "Old Man" and sing it Bm7 Fm7 using a capo makes life easier, now if i didn't sing also than i would only use it because i like the tone Last; I use it because i can. |
#219
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Monstrous is a better word - I hope it came across that I meant that to be tongue in cheek ;-)
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Brent 2009 Martin OM-28 Marquis 2016 Gibson J45 Standard |
#220
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This zombie thread just won't die.
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#221
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#222
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-It's also good when there are two or more guitars playing together to capo the guitars apart. (One guitar playing E shapes with no capo and another playing C shapes with the capo at the fourth fret and perhaps D shapes capoed at the second fret for example) -Your voice does not have a specific key, but it does have a specific range, which means that it might be impossible to sing a specific song in a specific key. -If you use a capo, it's not necessary to use it on every song. You (and I) have seen Johnny Cash and Neil Young "playing open position chords with no capo" for sure, but we've also seen Johnny Cash and Neil Young playing open position chords with a capo. It depends on whether it's needed. -Dan Crary was once asked why he played a song with the capo high on the neck instead of playing open chords with no capo. He answered, "Because it sounds so good up there." Sometimes it just sounds really good up there. Listen to Earl Scruggs playing You Are My Flower with his capo at the 7th fret. It sounds really good up there. https://www.youtube.com/watch?v=PA6jWj0bTi8
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Jim _____________________ -1962 Martin D-21 -1950 Gibson LG1 -1958 Goya M-26 -Various banjos, mandolins, dulcimers, ukuleles, Autoharps, mouth harps. . . |
#223
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#224
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Sorry, I couldn't listen to the entire thing, he is SO out of tune (bad intonation?) that it made my skin crawl.
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#225
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I think most of that is the old recording technology. All of those old recordings sound out of tune.
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