1

(32 replies, posted in Acoustic)

<table border="0" align="center" width="90%" cellpadding="3" cellspacing="1"><tr><td class="SmallText"><b>dada wrote on Mon, 04 September 2006 17&#58;01</b></td></tr><tr><td class="quote">
Hey folks..sorry about popping off earlier, but these type of posts just irk me.


    I'm on this site at least once a day ,usually more, and it's these "floater" post I'm talking about. These people who stumble across the web site, see some random post and feel the need to enlighten everyone. So they bestow their knowledge on us like some Red Cross food drop.
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Sorry, but I missed this post before I submitted my own.  I didn't realize that this site is for "regular members" only and that "floaters" could never have any information worth sharing.  Good luck to you all and adios.

2

(32 replies, posted in Acoustic)

I think I said exactly what JeffroFiddlemaster said... without the hostility.  I got my first guitar when the Beatles hit the scene and learned to play by ear.  After 40 years I have the theory and technical aspects of my playing style pretty well mastered.  But the improvised solos and fills my bandmate plays (and he's played as long as I have) often sound more melodic to me than my own. His "feel" is better than mine on average, but he envies my technical skill.  So we both have our strengths and weaknesses, and that makes our playing styles complement each other.  I can play Clapton's Cream solos note for note, but if I had to create them from scratch my phrasing and melody could never compete with his ability.

3

(11 replies, posted in Electric)

<a href="http://en.wikipedia.org/wiki/Pentatonic" target="_blank">http://en.wikipedia.org/wiki/Pentatonic</a>

4

(32 replies, posted in Acoustic)

While it is imperative that you come to know your guitar's neck intimately and which scales fit over which chords, the legendary guitar players play what they <b>feel</b>, and not what notes they know will fit over the chords.  That's why they're legends and we're not.  You need to listen to a progression and then hear in your head what notes you want to play to communicate a feeling.  This is impossible to do if you're still struggling with chord changes and/or scales, because you're still consumed by the mecahnics of guitar playing and unable to split your focus to let the music carry you.  Once your playing becomes second nature you'll be able to translate your knowlege into something that your audience will feel with you.

5

(19 replies, posted in Acoustic)

The most melodic and full-sounding Gmaj7 I've found is fingered like a a barred Bm chord on the second fret with the tip of the index finger advanced one fret to play the G root note on the sixth string and arched to mute the A string.  Bottom to top is 3-X-4-4-3-2.  This inversion slides up and down the neck for any maj7 chord.  An alternative open-ringing Gmaj7 is 3-x-0-0-0-2.

6

(12 replies, posted in Acoustic)

Your left hand (if you're right-handed) has to develop "muscle memory" so it can grab chords without your brain telling you to plant your fingers on the correct frets in a time-consuming sequence.  This skill comes only with hours upon hours of practice and repetition--there is no shortcut.  Most beginners who pick up guitar playing and then drop it don't commit to the patience and self discipline required to reach the level of competence they had hoped to achieve.

7

(11 replies, posted in Electric)

ascending: 1, flatted 3rd, 4th, 5th, dominant 7th. In Am that would be A, C, D, E, G. Play it in "the box" with index finger positioned on the 5th fret.  Descending would be A, G, E, D, C, and resolve on the octave A. A maj ascending is A, B, C#, E, F#, resolving on the octave A.  Play in the box at the 2nd fret.  2 octaves descending in Amaj (high E to low E strings) would be:

5-2

5-2

4-2

4-2

4-2

5(or open A string)