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Jimmy Page uses some odd tunings in Bron Y Ur Stomp

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<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>yawgmoth wrote on Wed, 11 April 2007 23&#58;27</b></td></tr><tr><td class="quote">
Well yeah, but the problem is that the tuner still indicates correct tuning, as long as an E sounds like an E to it it doesn't seem to care what octave it is in.  I guess liek you said it just comes with experience.
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The Korg tuner I linked to tells you.

You get an A2, for example, indicating that the 2nd string is in tune.   D3, G4 etc...

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>rgraff wrote on Wed, 11 April 2007 01&#58;45</b></td></tr><tr><td class="quote">
I have no idea what that means it sounds like stereo instructions lol all I wanna know is if tuning to 440 is standard and then what is flat tuning and what 435 is etc and explain calibrate  and flat tuning etc please
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I guess I'm confused about what you're asking?  If you're asking "What does it mean to be flat or sharp?" then to be "flat" means that the tone produced by a string is lower than the one you are trying to produce, and to be sharp is when the tone is higher than the desired tone.

Tuning A to 440 will put you at A above middle C.  That's an ISO standard (ISO 16, specifically).   Go find a piano keyboard, find the C in the middle, work your way up to the next A, and that's 440hz.   That is where you should put your A string.   

If you tune that string to some number below 440, it will be flat.  435 is flat.  445 will be sharp.

If you fret E string at the 5th fret, that will also be A, and therefore 440hz.

But I wouldn't try to pin a specific frequency on a specific tone, other than A.   I'd go buy an auto tuner, and use that.

440hz is A above middle C.  If you tune your second string to that, you should be able to tune the rest of the guitar from it by ear.

Unfortunately, frequency with regard to pitch does not go linearly, it goes logarithmically.  So the difference between a full tone step at lower octaves will be different than the same full tone step at higher octaves, so trying to use frequency as a measure to tune is not as simple as basic division and multiplication.

Really, a simple $15 Korg tuner is all you need. 

<a href="http://www.korg.com/gear/info.asp?a_prod_no=GA40&category_id=5" target="_blank"> http://www.korg.com/gear/info.asp?a_pro … mp;categor y_id=5</a>

A will be 440hz.  Depending on what tuner you have, some will also produce the tone for you.  I have two Korgs that do this.  After a while, you'll be able to tell by ear.

And just cause I like them, here's a "cheater's 7" thats pretty easy, too.

Simply barre eBGD and then drop a finger on the next e.

So a cheated A7 would be.

-3-

-2-

-2-

-2-

-x-

-x-

That's really mobile, too.  You can move it chromatically up and down the fretboard for 7s everywhere.

I don't know that I would buy a guitar I hadn't played.  I was at a local acoustic dealer's shop this weekend and played half a dozen different guitars, Taylors, Gibsons, and Martins.   I thought the Gibsons sounded dead, and the Taylors sounded like there was an angel singing inside each one.   I couldn't afford any of 'em.  <img src="images/smiley_icons/icon_sad.gif" border=0 alt="Sad">

Anyway, I believe that the only true measure of any guitar is how it sounds.  And you can't tell that unless you have it in your hands.

Carvers are probably pretty nice instruments if we can use the quality of their amps as a measure, but go play one and find out for sure. 

Then report back.

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>livebaitman wrote on Tue, 03 April 2007 20&#58;10</b></td></tr><tr><td class="quote">
to: jerome.oneil

You're absolutely right,  Thanks.  What chord is this?  Is it still a 7 chord?

-0-

-3-

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-2-

-0-
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Yes it's exactly the same E7 chord (dominant 7, to be precice), with a small change in the voicing.  You've just added another D and removed a B.

"Classic" E7

-0-  e

-0-  B

-1-  G#

-0-  D

-2-  B

-0-  E

Your chord, also E7.

-0-  e

-3-  D     <--- Only difference.

-1-  G#

-0-  D

-2-  B

-0-  E

You can also play it with your added D and play the E major straight up.

-0-  e

-3-  D     

-1-  G#

-2-  E  <--- Major.

-2-  B

-0-  E

7 Chords are cool, particularly if you play a lot of blues.   One of my new favorite shapes is a C shape with the pinky dropped on the G string.  It's mobile, and gives you a 7 chord everywhere on the fingerboard.

-0-

-1-

-3-

-2-

-3-

-0-

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>SkyHarborCowboy wrote on Sun, 01 April 2007 22&#58;41</b></td></tr><tr><td class="quote">
Thanks you guys!  I am a complete neophyte when it comes to this.  I am just learning.  I just havent found the explanations for the beat yet.  For example, I havent even found anything that explains 1/4, 2/4 or even 4/4 is or how it effects how you strum the guitar.

Joe
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Chord and tablature don't give you any rhythmic information at all.  If that's what you want, you'll need to either learn to read standard notation, which contains things like key, time signature, and rhythm, or just listen to the song you want to play and see what you can do.

Personally, I like to play songs I haven't heard before, then work them out to see how close I am to the original.

It's not really complicated, if you understand how scales are derived.

There are seven modes, each tied to one of the seven notes in a scale.  You are probably familiar with two of them, Ionian and Aeolean modes, otherwise known as the major and minor scales, respecively.

Here's how it works.  We'll use the key of C, as it's the simplist to work with.  This is also much easier to visualize if you have a keyboard in front of you.

So, lets start with Ionian mode, or the major scale.

Here it is in C

C D E F G A B C

Seven tones.

A major scale is made up of the following intervals.

Root, whole, whole,  half, whole, whole, whole, half.

Now, if you were to play that C major scale again, except start on D and play it all the way through to D, you would be playing in Dorian mode.  The interval pattern for that mode would then be.

Root whole half whole whole whole half whole

If you were to play the C major scale, but star on the E, you would be playing in Phrygian mode.  The interval pattern for that mode would be.

Root half whole whole whole half whole whole

And on up the scale.

Starting on the IV of a major (F in C major) scale puts you in Lydian mode.

Starting on the V (G in C major) of a major scale puts you in Myxolidian mode, which sounds great over dominant 7 chords.

Starting on the VI note of any major scale (A in the case of C major) ends up being that major scale's "natural minor" scale.  In the case of C major, the natural minor is A. 

Starting on the VII of a major scale puts you in Locrian mode, but only whacked out jazz guys go there.  <img src="images/smiley_icons/icon_smile.gif" border=0 alt="Smile">

Scales are the underpinning of everything.  Modes are another example of that.

Hope that helped!

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>bigdjindustriez wrote on Fri, 30 March 2007 21&#58;08</b></td></tr><tr><td class="quote">
tube amps are hard to come by these days.  Fender makes the best ones.  You can get an original fender amp off ebay for around 2,000 dollars.  But it's well worth it.  I hear Marshalls are good, but have never used one.
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The two tube amps in my studio didn't cost half that,  combined.

How about you tab it out?  It's a little easier to read than a written description.

Em7 is one of the easiest chords there is.   You can do it with one finger!

-0-

-0-

-0-

-0-

-2-

-0-

E7 is almost as complicated. It takes two fingers!

-0-

-0-

-1-

-0-

-2-

-0-

The 7 Shape will remain a 7 chord all the way down the neck if you barre it.