Using a capo with standard tuning :
I only recently settled on frequently using a capo on the 4th fret in standard tuning - the keys of B and E seem to suit my voice, and capo on the 4th fret gives good ol G shape as a base for songs in the key of B, and C shape as a base for songs in the key of E.
Me too. E key seems to be the best for my voice. I also like a capo at the 2nd fret on all the strings xcept the bass E. That gives basically drop D shaping and songs are still in the key of E.
Me too. E key seems to be the best for my voice. I also like a capo at the 2nd fret on all the strings xcept the bass E. That gives basically drop D shaping and songs are still in the key of E.
cliff
Well, for that one open chord... You haven't actually retuned the strings, though. If you try to play, say, a G5 power chord, you'd still have to fret 3-5-5 like standard tuning rather than 5-5-5 in actual drop D (or 3-3-3 in "Drop E").
and i get annoyed each time i see a capo as i have to translate those chords if i want to play them on keyboard
why is a capo needed? just for pitch purposes? I'm sure it can be played without capo....
I used to play with a capo. Now I don't anymore. The reason? While a capo is useful to transpose the key of a song (a simple solution) I think it limits the creative process, and ultimately the skills of guitarist.
I know my views won't be very popular, but heck I've seen the benefits in my own playing.
I also tend to "give the pick (plectrum) a break" as much as I can. Once, I gave it a 3 year break, to force myself into finger picking. It worked very very well... Without a pick you can do a lot more things, not only plucking several stings at the same time, but manage your tone much more. Having said that, I do use a pick if I'm looking for the strumming pick sound. But, only for that reason. Hmmm... I think the guitarist of The Doors didn't use a pick, and Dire Straits too. It's also good to use a classical guitar to force yourself to account for every string; no power chords for a while and every finger on both hands matter.
Back to the CAPO. Without it those small hand and forearm muscles will get stronger and you'll be able to do things you couldn't before. Also, you can learn how to transpose using "open chords". While they are not exactly what you'd get with a capo they sound pretty neat and will open the sound to a more floating feeling. Without a capo you'll need to learn how to attack and release the strings if you need a punchy sound. This too will make you a better guitarist.
I don't remember who said this, but I remember a studio producer talk about the difference between a good session guitarist and the "rock stars" that believe they can play guitar: the first control the tone really well. This is especially true for a bass player. Most people don't know how to release and control the length, duration of a note.
You can take a really crappy and cheap guitar and a player who can control the tone will make that instrument sing.
I've taught guitar to many friends and I force them to finger pick and play with a without a capo. They hate me for it! They say: "why can't a use a pick, everyone else uses one?". Well... down the road they thank me, because they can do things that others can't. Plus, it's easy to learn how to use a pick after you have finger picking down in your skill set.
Also try playing in the dark or close your eyes. Or try play less notes and playing silent notes. Silence is a forgot note in this day of "more is better". Listen to David Gilmore's (Pink Floyd) solo's: he adds silence and long stretches to his playing. Do what it takes so you can become one with the guitar.
A capo may help you in the short run, but it can turn you into a lazy player who'll never take time to fully explore your instrument.
Ok. Sheesh, I'm all over the place with my response.
I agree with much of what you said, RDBOIS. I started more serious finger-picking after 28 years of using a pick, and that opened up a whole new world of textures, technique and sonic control.
That said, when I toured with a country/rock band, I had to use a capo on quite a few songs. There is definitely a pleasing sonic difference between playing open chords on an acoustic guitar using a capo as opposed to forcing yourself to play odd finger positions when not using one. I found that there are sonic benefits to using both.
However, long before I ever used a capo, I had learned a decent number of chordal voicings along the entire neck—because I played mostly electric guitars. Having done that homework in advance, the capo simply added some openness when I played songs in different keys.
So yes, as you say, master your instrument. But putting limits on how you play is never advisable, otherwise we wouldn't have Eddie and Steve or the guys who used bottle slides in the formative days of the blues. As with any craft, the gifted ones will make themselves known to us.
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Last edited by Kundalinguist; 05-02-2016 at 09:08 AM.
Reason: evolution. :)
Wow. Totally disagree that use of a capo limits the creativity and skills of the guitarist or that it has anything to do with players who get lazy. Those aren't players who wouldn't have been lazy had they never used one.
As a tool it's different things to different people. But it's all about inversions and voicings. I've played with many amazing acoustic players who could tear the roof off a joint who used capos when they wanted to and they sure weren't embarrassed for having one or worried it would cripple their playing.
To put a finer point on it, in all my years of working with acoustic guitarists, either playing live or recording, I've never met anyone between very good and killer who didn't have a capo in their case.
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Totally disagree that use of a capo limits the creativity and skills of the guitarist or that it has anything to do with players who get lazy.
I think this occurs due to the mindset one approaches the conversation. Some approach it as if we are guiding a new player who wants to use a capo because they don't know much more - and the basic message for that person in that position is fine. However, the rest of us don't approach it that way at all; I'd been playing for a decade or more before I began using a capo at all - as I said up ^there, it has nothing to do with fingerings, inversions, barre chording or any of that and everything to do with a particular creation or sound I wish to achieve.
Due to the first scenario I mentioned (new players etc.) capo's get a bad rap they never, ever should have gotten. I don't use one that much but I'm surely not going to use a substandard approach instead when the capo is the right tool for the job. Not using one in that scenario doesn't make me a better player, it creates a substandard result in the name of manhood or whatever the ego term is. All that being said, I think we are severely overthinking such a simple tool's use.
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Truth. When my friend started playing a little after I did (way back in the 80s), his mom forbade him to string his guitar left handed because something something Hendrix. She was wrong on that, but it did make it so that he can just pick up any "normal" guitar laying around and play. It also meant that from teaching him, I kind of got used to thinking about how to play things upside down, so when I pick up a left-handed guitar (or mandolin, violin, cello) I have at least half a clue of where to start.
Let's not forget Stanley Jordan, the guy who couldn't afford a grand piano, so he started playing his guitar like one.
[I'm lying about the piano thing, but he's a great tapper. What's it got to do with a capo? I'm not sure. Help!]
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Last edited by Kundalinguist; 05-02-2016 at 01:10 PM.