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I'll only speak for myself:
Freddie played different sized chords throughout his career. Right now I'm focusing on the earlier style because I don't think the "one note" thing is as easy as people think...and from watching videos, it seems FG was still fretting more notes when he was playing fewer...it changes the sound (at least at slower/medium tempos)
So my thinking is get swinging like this, then start to remove notes. No rush, I'm in this for the long haul.
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06-25-2024 08:04 AM
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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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Well, listening to the greats from this era, there's a lot of roots on the first beat, with yes, occasional deviations.
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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I do the same thing.
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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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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I think that's totally normal though, that's the general process I think.
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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It gets complicated when you get into inversions, in fact too complicated to remember them all as individual chord forms, so then you have to remember them in relation to one another, as chord progression patterns - chord phrases or licks (like single line licks only with chords).
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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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I guess this just also assumes that in this scenario, we are playing an inversion with the root on the 6th string for this to even be an issue.
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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For me personally,
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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I was just talking about the Bass note, which does not necessarily imply root, because I think about it the same way Allen does. It's always a good idea to stay out of each others frequency spectrum.
I think that is the wrong question to ask. It should all be about if what you add is beneficial to the music. I personally don't see any reason to play a note that doesn't add anything interesting, but potentially (even if the chances are low) creates muddiness.
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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.
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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