#31
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The issue is the mechanics of tying a note of a pitch to a certain place(s) on the fretboard for a given tuning, rather than pitch sense per se. I can usually hum the first note of some piece on the guitar or piano, start playing the piece and find my hum was right on pitch. By contrast I have not consciously tied pitches to note names. Some pros and cons to many things.
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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 |
#32
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DADGAD opened up a completely new world of playing guitar for me. I have written about 11 instrumentals in DADGAD, and the creativity hasn't dried up yet. It's just an amazingly seductive sound, and I LOVE how deep and haunting DADGAD is.
My style is primarily finger style, but my pick is always squeezed in my ring finger waiting to come out for strumming. |
#33
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Quote:
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#34
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#35
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I really enjoy open D, open C, and open G. I believe all 3 of these tunings make compositions a bit easier. With the right guitar, open C can have a big and very satisfying bass response. The droning notes sound great. There are also a lot of cool Fahey tunes in those tunings, which is why I started using them.
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Circa OM-30/34 (Adi/Mad) | 000-12 (Ger/Maple) | OM-28 (Adi/Brz) | OM-18/21 (Adi/Hog) | OM-42 (Adi/Braz) Fairbanks SJ (Adi/Hog) | Schoenberg/Klepper 000-12c (Adi/Hog) | LeGeyt CLM (Swiss/Amzn) | LeGeyt CLM (Carp/Koa) Brondel A-2 (Carp/Mad) |
#36
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Or else..................
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(insert famous quote here) |
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dadgad, fingerstyle |
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