-
Elixzer, I think people have tried to be very generous with help, and it really seems you have expressed doubt in people's responses and intentions.
Again, do not trust your eyes. I'm telling you that G F B E, played 3 x 3 4 5 x, is a suitable G13 voicing. If you're playing a G13 with the root on the sixth string, this is probably the most common way to play it...it doesn't matter what a person's fingers look like they're doing...this is why people are getting frustrated...some things don't have to be questioned and debated...
I completely agree that it is fine to ask questions, just understand thatthe collective knowledge here likely outweighs that of any youtube video....Emily was amazing, but she was not responsible for the camera angles, etc. that might make the video somewhat misleading. We can tell you how to play a G13 chord...you have to trust that the information is correct.
-
05-24-2012 02:54 PM
-
I sense but am not sure tyhat there is a cross purposes kind of communcation afoot here. I do not dispute that Emily is doing 3 x 3 4 5 x
Originally Posted by mr. beaumont
I said that I struggle with the chord and my M finger slips over the the next fret just like hers seems to, and rightly was asking questions about this.
So maybe you thought I doubted it was the chord she said it was...? who knows. All I know is I struggle with that godamn chord already. And if I want to get a handle on that riddim i will need something easier to finger
-
The real cool thing about fingerings is if you are playing FINGERSTYLE, it gives you greater freedom, fingering wise.
That G13, you can just barre it and use fingers 2 and 3 to cover the 3 and 13 of the chord. (for me, it's much easier to just read how the chord is voiced across the fingerboard: 1735 for a G7. or 1-7-3-13 for a G13. If you barre it and are playing finger style, you don't have to worry about picking notes on the 5th string, since your fingers can control what strings you need directly without worrying about "dampening" strings, as you would need to do when playing with a pick.
-
I feel this little piece of advice is absolutely critical, because the sentiment behind it really deals with a concept people easily gloss over it: ATTENTION TO DETAIL. Originally Posted by m78w
Break things down to the smallest level, that's how I've been taught. many times, I'm guilty of trying to do too much at once. If I can't' do a chord change, I would try to practice it--that one little chord changes like a thousand times, directly. If that didn't still work, I would try to minutely analyze individual finger movements--which finger(s) remain stationary? Which finger(s) move? Where do they move to?
It may sound anal, but this level of attention to detail, I have found to be critical at unearthing and fixing bad habits related to technique. If you are cognizant of mistakes and faulty technique, you can actually internalize such bad technique and make it seem "normal".
Anyway. Peace out.
-
yes that is what I love about Fingerstyle, that sense of freedom of hand, and I love watching guitarists do it to. All my favourite musics use it like Flamenco, brazilian, Delta Blues, and I also like Classical, and of course some Jazz players also. There is quite a few M78W mentions in his thread about how he came to go Fingerstyle I am really wanting to checkout. So how do you come to it, have you always been into this? Originally Posted by NSJ
ahaaa, I had wondered if you could bar it, and tried, but remember that in the video she is alternating the base from 5 to 6 string etc so am not sure how I could both barre and do thathat G13, you can just barre it and use fingers 2 and 3 to cover the 3 and 13 of the chord. (for me, it's much easier to just read how the chord is voiced across the fingerboard: 1735 for a G7. or 1-7-3-13 for a G13. If you barre it and are playing finger style, you don't have to worry about picking notes on the 5th string, since your fingers can control what strings you need directly without worrying about "dampening" strings, as you would need to do when playing with a pick.
I am not understanding the latter part of what you say here?
-
If she's altering the 6th and 5th string in the bass, it mostly likely means she's altering between the G and the D (the root and 5th of the chord), I'm guessing. In which case, if you want to play that D (5th string, 5th fret), you would have to grab that note instead of the G when the time comes. Originally Posted by elixzer
ahaaa, I had wondered if you could bar it, and tried, but remember that in the video she is alternating the base from 5 to 6 string etc so am not sure how I could both barre and do that
I am not understanding the latter part of what you say here?
-
That is great advice. One thing I am learning from others is that the practice is distinct from playing in that you are trying to cognize as you say, and this goes deep into the bodymind. Originally Posted by NSJ
I feel this little piece of advice is absolutely critical, because the sentiment behind it really deals with a concept people easily gloss over it: ATTENTION TO DETAIL.
Break things down to the smallest level, that's how I've been taught. many times, I'm guilty of trying to do too much at once. If I can't' do a chord change, I would try to practice it--that one little chord changes like a thousand times, directly. If that didn't still work, I would try to minutely analyze individual finger movements--which finger(s) remain stationary? Which finger(s) move? Where do they move to?
It may sound anal, but this level of attention to detail, I have found to be critical at unearthing and fixing bad habits related to technique. If you are cognizant of mistakes and faulty technique, you can actually internalize such bad technique and make it seem "normal".
Anyway. Peace out.
So that is a big reason I started this thread. part of me was not sure if that Bossa Nova rhythm was the real thing, cause the guy isn't Brazilian and its really just a one off video lesson. So I didn't want to cognize a pattern that would become habit--type of thing if it is not a genuine Brazilian rythym.
I was also concerned that as I was beginning the metronome exercises if its better to thin down worry about getting chords with right hand. IE, make it as easy as possible to focus on right hand.
I want to find the best possible ways to practice is the bottom line, so that I am not wasting time and am getting good technique deep. That is my main concern.
Last edited by elixzer; 05-24-2012 at 05:04 PM.
-
I do actually LOVE the soud of that G7(13) chord, and am also curious that my stretch and position would eventually find it. I have read about Classical teachers who assure that students will be eventually able to finger complex chords, even with small hands. Originally Posted by NSJ
Lately i have been trying quite a few complex chords as I try tabs for various versions of Insensatez, but none have given me as much trouble as that one lol
-
is it hot where you are? don't click yet. go and slowly pour yourself a coool drink, and THEN click
-
Oh God, I didn't realize Emily was dead!! I had just this minute decided to checkout the youtube channel of the video, imagining it was hers , and and read some comments. How she had been a heroin user, and died in her 30s. BIG shock!
-
Emily was a great guitarist, very respected.
Reply With Quote
Melody between melody
Today, 03:25 AM in Chord-Melody