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Originally Posted by mr. beaumont
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06-25-2024 08:20 AM
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Originally Posted by Ukena
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I still have to play a bass note to mentally see the chord. As an example My goal is to see say D7 on a sheet and grab xx45xx without thinking about and cutting the A or D bass note.
Your group sounds nice. Looks like a fun gig
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Originally Posted by Ukena
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Originally Posted by pawlowski6132
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Originally Posted by AllanAllen
Also, learning intervals is KEY!!
If you do, you'll "see" that relative to the D on the 5th string, the xx45xx is the 3rd and dom7.
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Originally Posted by pawlowski6132
The danger in stepping on a bass player's toes exists a lot more with amplified guitar, in my opinion. While swing rhythm guitar and bass are percussive in nature, the timbres and decay are different.
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Originally Posted by pawlowski6132
What I'm starting to work on is varying finger pressure so that, say in a 5x45xx D7, the 4th string note sounds clearly while the 6th and 3rd are fretted, but with less pressure. This is surprisingly difficult.
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Originally Posted by mr. beaumont
I find myself employing, with the LEFT hand the 'La Pompe' technique from Manouche style and aiming to play the top 3/4 strings for pure rhythm/comping and additional strings intentionally or with more emphasis with my RIGHT hand accordingly.
But, for that crisp, staccato sound, the LEFT hand is 10x more important than how many intervals of a chord you're playing NOBODY will ever hear that.
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Originally Posted by pawlowski6132
Extra punctuation and caps locked words make it seem like you are upset.
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Originally Posted by AllanAllen
Too lazy to edit using bold, italicis and underline for emphasis.
Not upset at all.
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Cool, now that that's out of the way.
I just want to have the kind of fret-board mastery where I can grab chord fragments instead of the whole thing. I want to mentally call D7 and instantly know my options, these rootless shells are a mental hangup for me, especially the ones with a D string root.. I mean, not D7 that's like the first D string root you learn, but going for Ab7 xxx878 will trip me up. I know where the Ab is, but then I have to abstract it to grab the rootless chord.
It's hard to me to describe my mental process, but there's a system of root then chord I'm trying to break free of. Or something like that.
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Originally Posted by AllanAllen
You'll always have to mentally/visually know where a root is to understand the intervals because it's all relative.
xxx878 can be Ab7 if you're visualizing the root here xx6878
or
xxx878 can be Ebm6
or
xxx878 can be Cdim
or
xx878 can be F#6(b5)
It all depends on what you're assigning as the root.
Anywho, I created this for myself some time ago and it was pretty easy to understand where the intervals were relative to a root.
I usually just pick a root on the 6th or 5th string and I can see/play the intervals with or without the root included.
xxx(R), 5, b7, 3Last edited by pawlowski6132; 06-25-2024 at 03:42 PM.
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Originally Posted by pawlowski6132
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Re the bass thing, if you play an acoustic guitar it’s much less of an issue. If you play electric, back off the volume a bit and hit the strings a little harder, roll the bass off the amp (often a good idea in any case). The issue comes (i think) from sustained low end notes.
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Avoiding the bass strings more or less happens naturally, when you play sitting down and keep the guitar at an angle.
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Originally Posted by Webby
I think the chances of the guitar player playing a chord with the root on the 6th string at the exact same time that the bass player is playing the root of the chord and it causing an issue to anyone in the band or the audience is so small that this is really a non-issue that we're even talking about.
And even if both instruments play the same note, so what?Last edited by pawlowski6132; 06-26-2024 at 01:05 PM.
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Originally Posted by pawlowski6132
It makes the bass player happy when I stay out of their sonic space, and it makes the band sound less muddy. Try comping with just the EAD strings, that sound is what I'm trying to avoid by focusing on the 432 strings. The high e cuts like a knife through the soloists sonic space so I also avoid that one.
It all depends on the sound and style you want to go for. I think more space is more good. Even when I was in punk bands, I didn't like playing the same power chords as the other guitarist.
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Originally Posted by AllanAllen
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Originally Posted by pawlowski6132
Originally Posted by pawlowski6132
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Originally Posted by Webby
Originally Posted by Webby
Or, maybe I'm just naïve. I'd LOVE to hear some examples of a rhythm comping guitar getting in the bass players way or interfering in their frequency spectrum or playing notes that don't add anything interesting.
I've never heard them.Last edited by pawlowski6132; 06-26-2024 at 03:13 PM.
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At 3:50 or so he solos out the guitarist and I notice he rakes the dead strings sometimes, but not all the time. Is that standard?
Since someone pointed out I was raking every upstroke I've been trying to cut it entirely. I'm wondering if I'm cutting too much now.
Thoughts?
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«I guess we can just agree to disagree about the practical implications of this. I think it's all just talk.»
@pawlowski6132:
to leave plenty of room between the low instruments is a well established way to make things sound good.
Seems like good advise to not cross swords with the bass.
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Originally Posted by AllanAllen
He's getting mainly the 4+, which is more or less in line with the cymbal pattern.
At 3:58, where he plays every upstroke it accents the chromatics he's playing. To me it sounds like how a drummer would prepare them if they were horn stabs, so I think it fits with that "drums playing Chords"-approach.
As far as you are worrying: It's always good practice to make everything you do a conscious choice, so I guess it's worth practicing to be able to get rid of it (if you want to), but I don't feel like it would bother anyone too much. Especially in a context with a drummer.
I'm also guilty of playing a fair amount of upstrokes by the way.
Guitar Slurs for bebop
Today, 03:51 PM in Guitar Technique