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Post by Cribbs on Apr 13, 2007 10:52:13 GMT -5
I got it now. So, it's ideally for fingerpicking using a bass string? Most of what I do is in straight chords, so maybe that's why it sounded terrible.
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Post by timfarney on Apr 13, 2007 11:16:39 GMT -5
I got it now. So, it's ideally for fingerpicking using a bass string? Most of what I do is in straight chords, so maybe that's why it sounded terrible. Works great for straight chords too, but you have to adjust. Play a D chord, all six strings. Hear that low D rumble? Now, put your ring finger on the sixth string (D) at third fret and fret the B and high E string at the first fret with your index finger. Strike the sixth string and slide the whole thing up to the 5th fret, then strike the chord: 3 3 0 0 0 5 That's a G you just slid into bringing you to a fourth above your tonic, D. Now play any A chord you like, without striking the sixth string, and you've done a 1/4/5 in the key of D, in drop D tuning. There are a whole bunch of songs in there. There are also a whole bunch of neat hammer-ons and stuff you can do with that first position D chord, on the low D and elsewhere. Fool around, There's good stuff to be found. Tim
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Post by majorminor on Apr 13, 2007 11:24:07 GMT -5
Cribbs – some chords will sound good with that low open D and some won’t unless you change the fingering on the low bass string. For example D will sound fine strumming through all 6 strings:
000232
If you want a full E chord you wrap your thumb over and play it 222100
An A then would/ could be played using the same thumb over the top method as 202220
A good G shape looks like 550003
Basically you have to decide to leave that low D dropped bass note out of some chord voicings if it clashes or find a different way to finger it
It’s a good key to have a basic familiarity with even if you are just strumming as you will find tunes that it really adds something to with that deep bass root.
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Post by Deleted on Apr 13, 2007 11:24:14 GMT -5
Go listen to just about anything Neil Young has ever done, a lot of it is in Drop D, so it really does work for chords too. It's a ton of fun for fingerstyle and strumming both.
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Post by Tim Alexander (fmrly. Camalex) on Apr 13, 2007 11:42:56 GMT -5
Dash -- Neil Young?.......................and you were referred here by Bill Hammond?
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Post by billhammond on Apr 13, 2007 11:54:25 GMT -5
Go listen to just about anything Neil Young has ever done, a lot of it is in Drop D, so it really does work for chords too. What sad times are these when Forum Newbies can advise their brethren to deliberately go punish themselves.
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Post by Tim Alexander (fmrly. Camalex) on Apr 13, 2007 11:58:15 GMT -5
amen.
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Post by Cornflake on Apr 13, 2007 12:06:37 GMT -5
You can also develop a fondness for drone notes. Play in the key of D and play a D bass no matter what chords you're fingering on the other five strings. I like some things that way.
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Post by Deleted on Apr 13, 2007 12:34:37 GMT -5
I didn't condone it. Simply trying to point out the the joy that can be had with Drop D without having to be a guitar virtuoso, or I guess even really knowing how to play the guitar at all (which I think is basically Bill's read on Mr. Young). But sadly, yes, I have an inexplicable soft spot for Neil's songs despite all of the obvious flaws. (Sigh.)
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Post by timfarney on Apr 13, 2007 13:42:39 GMT -5
I didn't condone it. Simply trying to point out the the joy that can be had with Drop D without having to be a guitar virtuoso, or I guess even really knowing how to play the guitar at all (which I think is basically Bill's read on Mr. Young). But sadly, yes, I have an inexplicable soft spot for Neil's songs despite all of the obvious flaws. (Sigh.) It's ok dash (can I call you dash?). Many of us have an inexplicable soft spot for Bill despite all of his obvious flaws. Tim
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Post by Tim Alexander (fmrly. Camalex) on Apr 13, 2007 13:58:54 GMT -5
And gee Tim -- I thought Bill had a flawed spot in spite of Neil's obvious songs.
Dash -- whe Bill's around, it's best to simply step back from the Harvest Moon... and say nothing about Southern Men.
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Post by Deleted on Apr 13, 2007 14:05:28 GMT -5
I've never been a fan of alternative tunings simply because I understand how to construct chords and I know the fret board. For a while I thought that my interest were moving toward seven string instruments but I have, again, changed my position.
As opposed to alternative tunings, and seven string instruments, please consider the baritone guitar -- all the advantages articulated above and sooooo much more flexible.
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Post by billhammond on Apr 13, 2007 14:10:48 GMT -5
I've never been a fan of alternative tunings simply because I understand how to construct chords and I know the fret board. For a while I thought that my interest were moving toward seven string instruments but I have, again, changed my position. As opposed to alternative tunings, and seven string instruments, please consider the baritone guitar -- all the advantages articulated above and sooooo much more flexible. But sir, there are so many VOICINGS and pitches that you simply cannot get on a guitar in standard tuning. Why miss out on all that fun, which also has the advantage of giving most audiences fresh new experiences? When I strum a C major chord in CGDGCD tuning at a gig, it sounds glorious, and I can be quite confident that no one in the room has ever heard those six pitches in that arrangement from one guitar before. That is pretty powerful stuff, in and of itself.
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Post by Doug on Apr 13, 2007 14:14:27 GMT -5
I don't do alt tunings because I don't have enough time to keep up with the stuff I should be learnin' in standard. And I just too lazy. But I can play in drop D or double drop D. (left over from my lightfoot years)
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Post by Deleted on Apr 13, 2007 14:16:05 GMT -5
Au contraire sir. Should one care to understand chord construction and the notes on the fretboard one certainly can obtain the voicings of one's desires. B-E-A-D-F#-B. Thats standard tuning on a baritone guitar. A FOURTH lower that standard guitars in standard tuning.
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Post by Deleted on Apr 13, 2007 14:19:24 GMT -5
Wow, listen to Neil Young and don't play in alternative tunings. Me thinkst this may be turning into the anti-Hammond thread from hell!
Tim - call me dash, call me tons, just don 't call me late to dinner!
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Post by Doug on Apr 13, 2007 14:21:08 GMT -5
Bill's ok as long as you don't dis his LBCD
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Post by Deleted on Apr 13, 2007 14:21:54 GMT -5
Further, in CGDGCD, C major, second position (002002) sounds much like a twelve string guitar playing and C major in first position in that you have two c major chords sound one octave apart.
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Post by billhammond on Apr 13, 2007 14:22:50 GMT -5
Au contraire sir. Should one care to understand chord construction and the notes on the fretboard one certainly can obtain the voicings of one's desires. B-E-A-D-F#-B. Thats standard tuning on a baritone guitar. A FOURTH lower that standard guitars in standard tuning. I guarantee you that there are plenty of voicings that I can play in alt tunings that cannot be played in standard, even on a baritone.
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Post by Deleted on Apr 13, 2007 14:26:18 GMT -5
You are on. Name a couple of chords (explain how you have the notes arranged). I bet I can construct the same voiced chord in standard tuning.
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