#16
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Quote:
What you're talking about is a little different - although you still need good ears for that. It's never a good idea to tune to open strings, unless your guitar is perfectly set up. Fretting makes a difference. Personally I always go with equal temperament (i.e.a tuner) checking random fretted notes, because I play many different chord shapes with different intervals between the strings. You probably do the same - - but that makes nonsense of any "just" intonation overall. You can only play in pure tuning if you only play one kind of chord shape, so you always have the same intervals across the strings. (I.e., it's quite easy in slide guitar open tuning.) You can't even tune to one pure key on guitar, unless you really restrict the chord shapes you use - or are very good at pushing/pulling some chords in and out.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#17
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This turns out to be a weekly half hour program, looking at different aspects of music each week. This afternoon's program was about the blues. An interesting take, at one point superimposing Robert Johnson on John Dowling. If you can access these programs give them a try.
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#18
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I suppose I'm being rather naive and rather pedestrian but I view keys in terms of whether or not I can sing the song in the key it is written
But as most classical music has no lyrics (apologies to opera) I suppose I need to go back to the general guitar sections of the forum... Best to all, PJ
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A Gibson A couple Martins |
#19
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I think the keys thing is, in part, what you hear from it, if anything.
There are posts here about strings, bridge pins, picks, etc. and their effect on the guitar's sound. I usually can't detect the differences that others claim. I've come to the conclusion that, in most cases, others are simply hearing these I don't/can't. In the case of keys and their various moods, I can tell the difference, while some can't. My late brother was much more advanced on piano than me. We had this discussion a few times, with agreement to disagree. His theory was that Chopin, for example, was simply being cruel to other pianists. |