Golden Smoghead Posted March 9, 2011 Share Posted March 9, 2011 A long time ago I was watching a video of Guy Clark playing and saw him use a capo for just five strings. I just copied him, thought it was cool and didn't think much about it. But then in a music store a few weeks ago I was doing this and the instructors there all gathered around to think about it. I was a little surprised, so I am wondering if you guys do anything you thought everyone knows about, but you've gotten questions on. The technique I assumed everyone knows about: It only works with those alligator-clip type of capos, you basically would capo five of the strings at the second fret (for D-shape chords) or fourth fret (for C-shape chords) so that the bass string rings the root. More or less, with the capo at 2, it's in drop-D except you can still fret the bottom string for standard chord-shapes that use the bass (like G or C/G or F). Definitely fun at 2, but I actually use it more at 4 because I like the barre-type chords you can slide between with the root ringing. (actually A and B, shaped like F and G) I am not sure if this is a great topic thread or not, but what got me thinking about it was the Nashville High Tuning stuff we talked about on this forum a couple years ago. I just wonder what other tricks you guys have up your sleeves, because I really had fun with the Nashville Tuning experiment. The only other kind-of-unusual thing I do is tune into DADGBD, which I know is close to DADGAD so common in bluegrass etc, but I like the chords you can make with the B in the normal tuning. (and still be able to riff around with a chord at the bottom) Quote Link to post Share on other sites
In a little rowboat Posted March 9, 2011 Share Posted March 9, 2011 That is what we call d modal tuning, I believe...or, as Neil young says, "tune your e strings t d, and act as if nothing ever happened..." Love using the tuning, I use dbdgbd some too... Quote Link to post Share on other sites
PopTodd Posted March 9, 2011 Share Posted March 9, 2011 I've seen folks use that capo technique, too, but I've never attempted it, myself. Just like I don't really fuck around with open tunings. I'm enough of a guitar retard (please pardon the term) without any deviations from the norm, that the thought of fucking with that kind of thing makes me cry. I guess the "unusual" thing that I've gotten complimented on that I didn't know that I was doing was writing songs with unusual structures.There have been times that I have done it on purpose (a song on the new album was purposefully written as a linear composition). But, apparently, I've written things that change time signatures in the middle of a phrase; written pop songs that don't have a chorus; and just written generally weird things. I just chalk it up to being unschooled and almost completely devoid of any knowledge re: "proper" song structure. I just know what sounds good to me. This is the song of mine that has gotten the most airplay. (I guess that's a kind of compliment.) According to the keyboard player, it's also a pretty fucked-up little composition. I couldn't tell you:"Ashes on the Water" Is that a technique?Probably not (I think a technique is something that you have to do intentionally), but it still fits the topic, I think. Quote Link to post Share on other sites
lamradio Posted March 9, 2011 Share Posted March 9, 2011 If song writing qualifies, I've been complimented on the songwriting techniques on a couple of tunes on my bands latest record. One of the tunes "If You Had Your Dream Plane" changes time signatures. The versus are in 4/4, the breakdown/chorus's are in 6/8. Also "Autumn Flies" was written completely..... how do I explain this.. symmetrical? If you are visualizing the song structure like climbing over hill, the guitar solo (center section) is at the top of the hill. The song is setup like this: Intro 1Intro 2VerseChorusGuitar SoloChorusVerseIntro 2Intro 1 Quote Link to post Share on other sites
PopTodd Posted March 9, 2011 Share Posted March 9, 2011 Nice, Lam.I like your songs. They good. (And, have you noticed that in "Strawberry Fields Forever", only the title PHRASE is in 3/4. The rest of the song is 4/4. And it's seamless. Fucking Beatles.) Quote Link to post Share on other sites
lamradio Posted March 9, 2011 Share Posted March 9, 2011 Nice, Lam.I like your songs. They good. (And, have you noticed that in "Strawberry Fields Forever", only the title PHRASE is in 3/4. The rest of the song is 4/4. And it's seamless. Fucking Beatles.) Thanks PT, I dig your tunes too. Yeah fucking Beatles.. They accomplished just about every cool song writing trick in the book. Quote Link to post Share on other sites
Moss Posted March 9, 2011 Share Posted March 9, 2011 I have done a few things over the years that people have asked about although far from groundbreaking. 1. When doing a quick strumming type of thing (think Dirty Pool by SRV), turning the pick so that you are using the shorter rounded edge works like a charm. Really makes the pick glide over the strings. 2. I like playing around with harmonics quite a bit. Either fretting a note and hammering 12 frets above it (like EVH) or fretting a chord and creating harmonics by putting the right hand index on the string and picking the note with the right hand thumb. Most people know about these things but do it in front of a new guitar player and they get baffled. 3. Banjo rolls - Just repeating a finger picked patter on 3 strings while moving chords around. Gives the illusion of speed (which helps as I am no speed demon). Quote Link to post Share on other sites
PopTodd Posted March 9, 2011 Share Posted March 9, 2011 Oh...I am by no means a great singer, and I have never (and will never) consider myself to be such. However, I apparently have a skill that others find difficult to master: the ability to slip into and out of falsetto on the fly. Yes, sometimes it's a yodel (a la Chris Issak), but, as I am not a totally confident vocalist -- that kinda technique sounds a bit showy to me and I would never want to intentionally call attention to my vocal technique. Still, there are songs that require it, the way that they were written.I just thought it was something that anybody who could sing falsetto at all could do, but apparently not. This is probably my most-obvious use of said technique:"Cary's Here" You can hear it during the pre-chorus/chorus/whatever you want to call it. Quote Link to post Share on other sites
Atticus Posted March 9, 2011 Share Posted March 9, 2011 not the oral sex thread I was expecting Quote Link to post Share on other sites
tinnitus photography Posted March 9, 2011 Share Posted March 9, 2011 Glenn Jones uses a partial capo on some songs, sometimes leaving the top two strings unaffected. i saw Kurt Vile play acoustic last week and he definitely used open tuning, and to a very good degree. Quote Link to post Share on other sites
Moss Posted March 9, 2011 Share Posted March 9, 2011 i saw Kurt Vile play acoustic last week and he definitely used open tuning, and to a very good degree. Pics for the Vile show? I hate when musicians use open tunings, makes it so damn hard to figure out how to play them. Westerberg and Malkmus never seem to play in any kind of standard tuning. Quote Link to post Share on other sites
jff Posted March 9, 2011 Share Posted March 9, 2011 A drummer I admire told me after a show several years ago that he dug my "slick drum fills." I think I was in my Tony Williams phase then. Not that I sound or sounded anything like him. Compared to him my drum fills sound like a toddler smashing a rattle against a tonka truck. Quote Link to post Share on other sites
anthony Posted March 10, 2011 Share Posted March 10, 2011 I've seen folks use that capo technique, too, but I've never attempted it, myself. Just like I don't really fuck around with open tunings. I'm enough of a guitar retard (please pardon the term) without any deviations from the norm, that the thought of fucking with that kind of thing makes me cry. I love open tunings. Open D, Open G, DADGAD, D Modal. I think open tunings make you sound better than you actually are! Quote Link to post Share on other sites
Golden Smoghead Posted March 10, 2011 Author Share Posted March 10, 2011 I've seen folks use that capo technique, too, but I've never attempted it, myself. Just like I don't really fuck around with open tunings. I'm enough of a guitar retard (please pardon the term) without any deviations from the norm, that the thought of fucking with that kind of thing makes me cry. Oh come on. You don't know a song that has D / A / G? That's literally all it takes to try out the five-string capo at the second fret. The only, only thing different is strum the bottom string when you play the D. I promise, that is exactly the only thing you have to do different ... but it might get you hearing slightly different. This is why I started the thread, because some of the ideas in here don't sound too hard but get me thinking. (and i do think of this as basically the songwriting / gear forum on the site) Like I've never messed with harmonics other than tuning, but Moss has me thinking about the times I'm already noodling at a harmonic fret, why DON'T I try out the harmonic notes and see what that sounds like? That's exactly the kind of idea I wouldn't think of on my own, but seems obvious to Moss. (and yes I realize that's not exactly what Moss is talking about but I don't fingerpick / scared of trying to pluck while picking) Quote Link to post Share on other sites
Sparky speaks Posted March 10, 2011 Share Posted March 10, 2011 I use this tuning DDDDAD to play a bunch of Stepen Stills songs pretty much spot on, like Suite Judy Blue Eyes, 4 and 20, Carry On, and a few others. It took me many years to learn how to play SJBE, but finally after learning about this tuning, it all came together. Many of my guitar playing friends are blown away by this song when I play it for them. They all ask, how did you do that? It's really simple. At the Solid Sound Festival last year I noticed Sir Richard Bishop used this tuning. I spoke to him about it later and told him about SJBE. He told me he wasn't aware that was how it was played but I think he was just trying to make me feel good. Quote Link to post Share on other sites
tinnitus photography Posted March 10, 2011 Share Posted March 10, 2011 Pics for the Vile show? i didn't take that many, as the light (fluorescent store lighting) was pretty bad, but i'll work on some tonight. i am kicking myself that i didn't get a shot w/ Kurt and the life-sized cardboard Bieber cut-out. Quote Link to post Share on other sites
ginandcigarettes Posted March 11, 2011 Share Posted March 11, 2011 not the oral sex thread I was expecting Things can change Quote Link to post Share on other sites
ginandcigarettes Posted March 11, 2011 Share Posted March 11, 2011 I have a feeling that Jay (RIP) played with the capo on five strings in California Stars live, but photographic evidence is sketchy. I'm guessing because you can do some really great drone-y banjo stuff like he does using that technique. But this is not a technique of mine on which anyone has commented. I get a couple of compliments on my ability to James Burton chicken pick (which, by definition, suggests that I didn't come up with the technique), which involves picking and muting and picking with the ring finger. I think people notice this because it's so unusual in the LA indie-rock scene (of which I am mostly no longer a part), not that I am particularly good at it. Quote Link to post Share on other sites
Golden Smoghead Posted March 12, 2011 Author Share Posted March 12, 2011 Huh. I had no idea that is how that sound is produced, thanks for spelling it out. Quote Link to post Share on other sites
ginandcigarettes Posted March 17, 2011 Share Posted March 17, 2011 Huh. I had no idea that is how that sound is produced, thanks for spelling it out. Wait, did I say ring finger? I meant middle finger. Mute and pick with the middle finger. Quote Link to post Share on other sites
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