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Guitar chord forum - chordie → Posts by jerome.oneil
Well, that depends on who you ask. 
For some of us, modern "country" artists aren't. They're more countrified pop artists. "Real country" is harder to come by, and holds true to it's traditional roots. For others that aren't quite the purist I am, yes, they'd be country/western.
GABCDEFG
12345678
1 45ABCDEFGA
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1 4 5Clear as mud?
Sorta
G A B C D E F# G
A B C# D E F# G# A
lol seems like every topic you post on ends up being a two mile long debate board jerome.... not complaining though
It's because I'm picky about accuracy in some matters. Baseball vs Cricket, for example, could get bloody.
Not sure what pattern Jazz would use, but the circle of fifths my dad taught says this song would be
1 2 1
the hand of death is drawing closer
3
soon i must go to that far shorethe pattern is for the key of G
1=g
2=c
3=d
4=a
5=e and so on and so forth
I like any notation that is key agnostic. I IV V applies to whatever diatonic key you're in. You just pick the key, and then play the appropriate notes from that scale. Seems the Co5ths notation you describe does the same trick.
The scale for the root of the progression is the key.
The G major scale, for example is
G A B C D E F# G.
The I (root, or 1st note) is G. C is the IV, and D is the V.
Since the progression is rooted in G, you use the I, IV, and V of the G major scale.
I met Wynton Marsellis once as he was coming out of the Julliard School on his way to Lincoln Center to give a speach of some kind. I was about 17 at the time, and a complete Wynton freak, so it was somewhat special. He was very cool, and didn't seem to mind having teenage fanboy groupies.
I was a at a church pick-nic this weekend and they played lots of christian hip-hop and urban music. I liked it! For me the problem with most christian music is that it's bad hairband music, and would suck no matter what the topic is about.
Stick your elbow in your ear.
Make folks cry when you play AND SING
Andres Segovia would like a word with you.
Not my point: You wrote a cool little bluegrass tune. And I mean that. I dig bluegrass a lot. I've been to Telluride, and Wintergrass, and several smaller festivals. I try to get to at least one a year. I've got live Bill Monroe in the CD player in my car right now. The song you wrote is true to the gospel tradition from which bluegrass sprang. You should pat yourself on the back for a job well done.
None of that is the point. My point was a minor complaint about the chords being correct as played. That is all.
In fact, were I to score that piece, I'd do it in jazz notation, and eliminate the need for a proper key (and therefor capo) outright, allowing the performer to pick her key.
I
The hand of death
IV I
is drawing closer
Soon I must go
V
To that far shore
I
But please don't weep
IV I
For me my brother
I'm going where
V I
I'll cry no more
etc...
see i can be a smart A$$ too
One would hope! It's a ton better than being a dumb A$$..
Johnny Cash is much more fun to play if you turn the distortion and volume way up, and up the tempo just a smidge. I don't think there is a song the man sings that can't be punked up just a bit.
did you know the tyrants of athens and ancient greece were brought to power by the support of the people and that the people got rid of them whenever they failed in their duties?
I did know that. Ironically, it used to be that the Kings were elected by the people, back when they were just tribal chieftains. I think the rise of the Catholic church after the fall of Rome had much to do with the "divine right" notion so popular amongst todays monarchs. There was a bit of a power sharing agreement between the monarchs, and the heads of the church. That served them well, but the people not so much.
Classical guitars have a broader neck to accommodate classic finger style picking. I love mine. It's my main practice guitar. It's neck is wide and so when I pick up a normal steel stringed acoustic, the neck feels like everything is in my reach.
Hofner-Anno. Hofner has been making reasonably priced acoustics for a while, but I can't find squat about the Anno line. Mine sounds great, though.
Pretty much any rock song using I IV V chord progressions.
G C D
A D E
F Bb C
etc
You'll play a barred E shape, and a barred A shape a lot. This will also help you transpose quite a bit, as it's the same shape and pattern from E to E all the way down the neck.
jerome.oneil wrote:Rooster3 wrote:Either way yo play the chord its the meaning in the words thats supposed to catch ur attention on this site, correct?
Good Job!Well, no. Not for me. With the group I play in, the only songs to which I know the words are the ones I wrote. Everything else is "lalalalalalalala"
For me, it's the music that matters. Lyrics are completely interchangeable.
well lat ti da for you jerome......that's your opinion and your as welcome to it as i am to mine.... sure the chords and riffs in a song are supposed to set the tone of the work of music or song in many cases, but in the words of someone i heard one time......"If you can't say what you mean, then you can't mean what you say"...lyrics are the direct representation of how one feels and it is shown in how they are sung and how a song is worded..............sometimes what you say is more important than how the chords flow.....if a song relies on sound alone to speak for the artist then what is the point of trying to say anything at all????
Hey genius, since my complaint is specifically about the chords not being correct, you might try to consider that whining about lyrics isn't really germane to the discussion. So when you say something like "the meaning in the words thats supposed to catch ur attention on this site, correct?" You should prepare yourself for the answer to be "No, it isn't." If you're so hung up on lyrics, go write poetry. The name of the site is CHORDIE. You might try to deduce where that came from.
La-di-da's ass.
She used to be our queen. We rid ourselves of those notions, and fired her.
"Divine Right of Monarchs" vs "All Men Are Created Equal."
That is the philosophical argument.
Either way yo play the chord its the meaning in the words thats supposed to catch ur attention on this site, correct?
Good Job!
Well, no. Not for me. With the group I play in, the only songs to which I know the words are the ones I wrote. Everything else is "lalalalalalalala"
For me, it's the music that matters. Lyrics are completely interchangeable.
That's one of the reasons why catchers wear so much gear. Pitchers *do* one hop the ball on occasion, and the results are sometimes unpredictable.
Well, that, and Bary Bonds swinging a 48 ounce bat real close to your head....
My apologies. You're a "she" not a "he", correct?
Nary a 100mph fastball to be seen in that there game.
Randy Johnson would freak out your cricket dudes. Scare 'em right off the pitch! (It's called a pitch, right?)
Sorry to be a stickler but the guitar teacher in me is coming out. If one capos a G form chord at the 3rd fret one is playing an A# , not an A. Sorry Jerome?..
Gah! Good catch.
I used to be an anti capo guy.Since I play most of my gigs solo acoustic, the capo is really a "hand tireying out saver". It also enables one to obtain a fuller sound, unless you're capo is above the 5th fret, then it gets real tinty.
There's a guy out there by the name of Trace Bundy. He uses multiple capos with notches cut out in different locations in the arc of the capo. He's really worth checking out.
I'm not anti-capo. I just like to see songs written using the chords that are being played, rather than the chord shapes being played. So in this instance, he's still not playing G, he's playing A#.
That's OK. I'm just up on my theory soap-box as of late. Most folks will get what you mean. I just like to see the chords written as is, because I rarely play with a cappo, and prefer to barre instead.
For bluegrass it makes sense, because %99 of bluegrass songs are using that G C D progression played at the nut.
And all transposition problems aside, that's a wonderful song.
There are a ton of bluegrass mandolin dudes. It's a staple of the genre.
The thing is hard, though. You have to have a huge stretch for such a tiny little neck.
Mandolin is Italian for "out of tune."
jerome.oneil wrote:I loves me some bluegrass.
I hates me some cappoed chords with the wrong chord markings.
If you're cappoed at the 3rd, you're not playing a G.
You're not playing IN G but you are forming a G chord with your fingers. Its actually in like 4 flats so change it if that makes you happy but I can't hit a Gb yet. The main reason i capo it is because i can't sing that low, but you can play it anywhere you want to....
That's my point, you're not playing a G chord. You're playing an A chord, a step above G. It's a G shape, but it's not a G chord. G is a closed chord shape (as are C A E and D). You can play it anywhere on the neck by barring it, which is what your cappo effectively does.
Chords are not the shapes you make with your hands. Chords are the sets of tones produced by your hands. There are many ways to make the same chord. You have discovered one of the ways to make A: Closed G shape at the third fret.
I loves me some bluegrass.
I hates me some cappoed chords with the wrong chord markings.
If you're cappoed at the 3rd, you're not playing a G.
What is fading out of modern playing is talented guitar players, not barre chords. All those folks you listed are certainly good singer/songwriters, but you would be hard pressed to call them great guitar players. You can play three chord ditties all day long at the neck, but all you'll ever play is three chord ditties. There's nothing wrong with that, but it limits you as an artist.
People that play guitar for a living, rather than sing songs play the barre, because it is the only way to open the neck up completely. Bill Frissel, Shawn Lane, Frank Gambale, Alan Holdsworth... Those guys are great players, and they all barre effectively.
Playing the barre is not hard. It just requires discipline and practice, and that's where most folks fall down.
Guitar chord forum - chordie → Posts by jerome.oneil
