#16
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Oh yes [emoji6]
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#17
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I appreciate your responses. Most interesting is the "unstable" description. I will say, it won't be a frequent voicing. Just funny I never thought of putting the 3rd in the bass. I do not use the drop D when I play, so the F# allows a use of the 6th string. I'll have to listen to some of the ragtime you are referring to.
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#18
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Depends on the song. Usually it’s a transition note. But if F# is the lowest note in the chord, it’s technically not a D maj chord but an inversion and not always appropriate.
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#19
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Quote:
So does the fingering allow the 6th string to be used… 5-5-4-m-3-m (m=Mute) (D/A chord) It's the C/G chord slid up two frets and you mute two strings with the pads of the 2nd and 1st fingers to avoid unpleasant notes (nobody has to play every string for every chord) It's actually a pretty easy technique to master (my beginner guitar students got it as only one element in a basic lesson). It's like letting the middle and ring fretting fingers be a little lazy and lean back just till they mute the notes. 3-3-2-0-1-0 (C/G can be a great chunky strumming chord) and the D/A is a good match for it. |
#20
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Walk up, walk down, sometimes no, sometimes yes. Playing the F # with a drop D gives a cool walk all the way up from, or down to D
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#21
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Quote:
I know I've used it in rock music in that way, especially following the E chord. The F# tends to be arrived at by coming up from E via F. It might then go all the way chromatically up to A. The F# bass is used on the D chord in this (0:31 and similar points in later verses): https://www.youtube.com/watch?v=91u_0PccY4c It's also there in the earlier D chord, but more briefly, as the bass goes down A-G-F#. I.e., this is different from the more common use, as a passing chord in key of G or Em.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#22
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I think the chord sounds incomplete without it. It would be like an open G chord without the low G note on the E string.
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#23
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I use it quite a bit. Adds depth to the chord. Even though it isn't the root, still sounds good when picked as the bass note (and alternated with the open 4th string D).
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RM ----------------------------------------------------- Taylor 856, Taylor GC7, Martin 00-28, Breedlove Oregon Concertina, Breedlove Jeff Bridges Signature, Guild JF55-12, Guild D212, Larrivee OM3, Eastman E20 OM, Farida OT22w, Cordoba Fusion 12 Orchestra, Blueridge BR-361, Pono 0-15 mango, Journey OF-660, Tanglewood TWJP parlor (Nashville tuned), Paul Reed Smith SE Custom. |
#24
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I play with fingers only, no pick. I very often play a : 2 x x 2 3 x as a D chord , usually coming from somewhere and going somewhere. Lots of places to go from there.
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#25
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All the time.
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#26
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Me too. Especially if the song has a chromatic walk down in the bass line. Was playing Coming Into Los Angeles, Arlo Guthrie recently. It does that on the first line of each verse. Am Am7/G D/F# F
The D/F# figures a lot on the 12 string when playing Magic Power, Triumph
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Just an old drum playing guitarist now. |
#27
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Good in a descending progression, as in "Babe I'm Gonna Leave You" (Ami - Ami/G - D/F# - F);
or ascending to G. More interesting than root position in such cases.
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#28
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I'm not much for strumming it, but use it like others in a descending bass line. A couple of tunes come to mind, the same progression--The Weight (when played in G) and My City of Ruins by Springsteen.
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