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Guitar chord forum - chordie → Posts by Stonebridge
Can anyone confirm that the first part of the intro to "Whatever you want" by Status Quo is in 12/8(before it breaks into the 4/4)?
I would say the opposite...
The slow intro is in a fairly straight 4. Once the song gets going it is in the standard 12/8 (or "4/4 with triplets" depending on your point of view).
The difference between what you are used to (bass) and what the guitar offers is that in general, the bass plays a single note and the guitar plays a chord.
I'm not quite sure what your question is, but if you are asking about what notes a guitar plays, then it plays the notes in the chord of C major that are available on the 6 strings. A bass player will play a single note, usually, but certainly not always, the root of the chord, and maybe other notes that are also part of the chord.
The guitar will probably not play, in the case of C major, the lowest string if strumming chords, because the root of the chord is on the "A" string, as you call it.
Maybe you could rephrase your question if we have misunderstood you. There are loads on here who can help.
Or possibly
0
3
0
2
1
x
is a bit better cos it gets another E into the chord!
Actually I prefer the sound of the 1st answer.
It will depend on the context I guess and what else is going on in the song.
How about
0
3
0
0
1
x
?
I think you have it right except for the 5th measure, but I changed it up a little also.
thanks for the help.
alden
No problem, alden. I actually enjoy the challenge. 
The 5th measure is approximate. It's impossible to make notation reflect exactly what you play.
If the first note of the 5th measure is meant to be shorter than I've notated, change it to a 16th note. Then to keep th correct number of beats in the measure, change the second note to a dotted 8th note. That is probably nearer to what you are playing.
Good luck.
I will try to use my digital camera, see how it comes out.
here is the best recording I can do.
http://good-times.webshots.com/video/30 … good-timesafter listening to it a few times I think I dont think I should use the dotted quarter, just use a normal quarter note.
I think so too.
The best I can transcribe it, you are playing
Hope this helps.
It's the nearest I can get. The notation is always going to be a close approximation.
Think of it in terms of playing it in 6/8, rather than 3/4. Write it out that way and it might clear up your confusion.
The triplets are played in one beat. If you're used to the "One and two and..." counting for eighths, and "one eh and ah" for sixteenths, try "one lol ly" for your triplets.
Mm. Not so sure that will help. It's true that 6/8 has 6 quarternotes per measure (same as 3/4) but 6/8 has two beats to a measure - two groups of three - whereas 3/4 has 3 beats to a measure - three groups of two.
If lone-woodwose is thinking of 3 beats to a measure (he says he is), each beat subdivided into 3, he would be better using 9/8 and converting the triplets to straight 8th-notes.
The best solution I can see to this is to listen to the rhythm he is trying to notate. Then we can all suggest an answer with more certainty. Any way to do this on here?
In the first measure as you have it now, the triplet group takes up one (quarternote) beat. The dotted quarternote at the start takes up one and a half (quarternote) beats. (A dot lengthens a beat by 50%) So total beats in the 1st bar is 2 and a half. The measure must have 3 beats to be correct. The 3/4 time signature means 3 (quarternote) beats to a measure.
The same applies to measure 3.
Measure 5:
It doesn't have enough notes/beats to make a complete measure of 3 beats.
Without hearing the rhythm you want there, it is difficult to know what the correct notation is.
I can only say that either there is a note missing or that one or other of the notes should be longer.
A group of three 8th note triplets takes up one beat in your example. One beat is a quarternote and there are three beats to a measure.
A triplet is 3 notes played in the time of two. In other words, faster than 3 straight notes. This is why it doesn't sound right. The measure needs 6 8th-notes to be complete. (3 quarternotes)
The triplet, as it takes up the time of only 2 notes, means the measure only has 5 8th-notes, effectively.
So, in the example you give, there is no need for the triplets in the 1st and 3rd measures. The notes should be straight 8th notes ("quavers" for UK members 
)
I can't quite make out what is there in the 5th measure.
Could you say, if that first note is a 16th with a dot?
The measure would work if the first note was a quarternote with a dot, followed by an 8th, followed by the triplet.
The measure looks strange. More info needed on that one, please.
Chris
I went with the DS 24 SR
The pic on the website is the 12string version but the construction details/woods are the same for the 6 string.
http://www.stonebridgeguitars.com/24SR.html
Spruce Top/ Rosewood back and sides
These guitars have only just started coming on to the market in the UK and USA.
They also have a YouTube channel "stonebridgeguitars" with some good demos.
Hey Stonebridge! Any ties to the stonebridge guitars? I believe they are made in your part of the world. I had a chance to play a few a couple of months back and was very pleased with them. -Pix
No connection, Pix. They are made by Frantisek Furch in Prague in the Czech Republic.
http://www.stonebridgeguitars.com/home.html
I'm quite a long way west of there in the UK.
I do have a Stonebridge 6-string guitar and I'm very fond of it. (I couldn't think of a username for this website - had just bought the guitar - it was the 1st word that came into my head)
I chose it, eventually, over a Martin costing about the same and over a Taylor costing 3 times as much.
Like all these things, it's just what grabs you in the guitar store when you try them out.
My wife bought it for me as a present. It was my lucky day
Thanks for the post above. Fascinating to hear your views on this.
I did go off at a bit of a tangent...
My point is that I don't believe that laminates can be very good to start with. They may improve slightly with age but not as much as a (good) solid top and they are also starting from a lower quality.
Of course you could make a solid top badly or make it from poor quality wood. Then you could conceivably get a better sound from laminate and better maybe conditioning. But surely it's all conjecture. The overriding principle would favour a solid top every time - all other things being equal.
The other problem with laminates is that, over time the two different woods age differently. The result could be an increasingly uneasy alliance.
Is there such a thing as a good quality laminated top?
The whole point of using laminate, as I understand it, is to save money by using a small amount of good quality tonewood and sticking it to a lump of poor quality, cheap wood.
The solid wooden top, if made from good tonewood (eg spruce/cedar) will produce a richer sound with more harmonics. If made from a cheap plywood, will sound awful. If you mix good with bad you can guess the result.
The quality of the top wood is critical as that is the part of the guitar body which is responsible for producing the bulk of the sound. The back and sides are normally considered less important.
There's a good article here
http://en.wikipedia.org/wiki/Tonewood
Nylon strings have a completely different sound compared to steel strings. It's like playing a different instrument. Steel strings have a much brighter top end. Nylon is more mellow.
Steel strings in general, especially the bass strings, produce more natural harmonics.
Some songs I sing sound better with nylon, others with steel. It's about variety and timbre.
It's as different as a harp and a piano.
No confusion. That's how I interpreted what you said.
Regarding the Gmaj7/E chord in the original posting. I would interpret it as a straight Gmaj7th with the low E string open. The problem is, harmony is not an exact science! 
Without seeing the chord progression for the song in question, there is no way of knowing why the E is there in the bass. (It is the 6th of the scale and not part of the major chord triad). Interestingly. the chord could also be interpreted as Emin7add9 (E,G,B,D,F#) if you think of the E as the actual root. It depends on whether the bass "/E" is meant to be part of the harmony (giving an Emin feel) or is indicating a movement in the bass line over a Gmaj feel. When you start adding notes to a chord, as in this example, there can be a number of ways of expressing it in terms of standard chord notation. Tell you what. It makes my brain hurt.
I agree Roger. Normally, the letter after the slash is the bass note of the chord. It's there in these cases because the note is not the usual bottom or "root" or the chord. Like the F# in the G major.
If you are in a band or have a bass guitarist, that (F#) is the note he will (should!) play.
Whether or not you play it depends a lot on what you are trying to do and what the main chord is. It's a bit complicated. F# is not part of a G chord but is part of a Gmaj7 chord.
I tend to see this a lot as simply a way to indicate what the bass is doing. The classic example is when you go from, say, C to Am. It is common for the bass to move down by steps - C - B - A.
So here the "chord" you often see written when the bass is on the B (between the C and Am) is C/B. The sequence is C, C/B, Am. Really, all that's happening is a change from C to Am. Personally I would play C, C, Am in this case, but it would depend a lot on the song and what was needed there and what sounded right.
Don't miss tonight's edition:
"Full marks to the film researchers here who have dug out pearls of footage to illustrate the dawn of the electric guitar on modern music. We see T-Bone Walker and BB King in their early years, plus a great clip of Chuck Berry doing Maybellene while blondes whirl around on stage. Rarer still, there's never-before-seen Super 8 footage from around the Fender factory in the late 1950s, where unskilled Mexican labour assembled guitars that today are priceless. And aside from all the stuff that will appeal to guitar geeks, there's the extraordinary story of the cultural rise of the instrument, from being the "starvation box" played by blind buskers in Mississippi to the global symbol of sex and rebellion - with help from Elvis."
I can't wait.
Hi Russell,
I wached the programme tonight on the BBC iplayer,
you can watch all programmes that have been aired in the last 7 days,
the programme is called imagine,
http://www.bbc.co.uk/iplayer/episode/b00dyhyt,
hope this works for you in the US
Duncan.
I think that should have been
http://www.bbc.co.uk/iplayer/episode/b00dyhyt/b00dyhtx/
but I don't think it works outside the UK
Russell, all I can find is this page from the BBC website.
It is info about the 1st part. I can't find any mention of any other broadcasting, but these things usually get picked up by other stations a little later on.
Sorry I can't be more helpful but I will keep a look out.
I just caught a program on BBC TV last night (Sunday 5th Oct) which was part one of "The Story of the Guitar". It was fascinating and took the instrument from its origins back in the mists of time through to about 1950. Great stuff about acoustic guitars.
Did anyone see this?
The next part (2) is next Sunday (12th October) at the same time (BBC1 10.20 - 11.25pm) and is about the origins and development of the electric guitar.
"Alan Yentob presents on a three-part series examining how the guitar became the world's favourite musical instrument. As the guitar turns electric, music is changed for ever. The world's first electric guitar had nothing to do with jazz or blues, but Hawaiian-style music and was known as the 'frying pan'. Yentob continues his investigation from the blues of the Mississippi to the guitar wars of the 1950s, when the Fender Stratocaster and the Gibson Les Paul were battling for supremacy."
Don't miss it.
Chris
Am I wrong? Does "House of the Rising Sun" work for those chords?
You'll need more than 3 for that song!!
That's correct, Royce. A classical has all nylon but the lower 3 strings are bronze "coated".
The tension in nylon strings is much lower than steel because nylon, being lighter, doesn't need to be under high tension. If you actually had 3 steel strings on the classical you would be able to feel how tight they were compared to the other 3. It would be quite noticeable.
It's worth noting that it is unwise to put steel strings on a classical because of the higher tension they require. The body of a classical is (usually) not designed to take this.
Also, some 3/4 guitars are tuned higher than full size. I have played one (Breedlove C20T) actually, technically speaking, a travel guitar, that is tuned a 5th higher than normal.
Hope this helps.
Chris
Was wondering if some one could help, very new to Guitar playing and just manage to read tabs and play a few chords. I would like to learn the above song it one I know, But I have no clue about strumming most songs this one being no exception.
Any assistance would be greatly appreciated.
Ace
Hi Ace. Do you mean Stealers Wheel?
Which song? Do you mean "Stuck in the middle with you?"
Cheers
Chris
Only acoustic here!
Steel 6 string: Stonebridge DS24SR
Classical: Walden N730
If you've never heard of Stonebridge, they are made by Frantisek Furch in Prague. These instruments have only recently been launched in Europe and the USA. Well worth checking out if you are tired of Martin, Taylor and Gibson.
Cardiff, Wales, UK
Age 57 - originally a keyboard/piano player from age 10. Started learning folk guitar aged 20 and played local folk clubs in the 70s. Gave up and went back to keyboards and wrote and recorded electro music in the 80s.
Just retired a year ago and have rekindled my interest in acoustic guitar and folk/traditional music. I've just formed a folk band.
Guitar chord forum - chordie → Posts by Stonebridge
