On Mar 8, 7:16*pm, klu...@panix.com (Scott Dorsey) wrote:
> Danny T *<dannytad...@gmail.com> wrote:
>
> >I'm sure that there was someone screaming when the first rhodes came
> >out and the sound was coming from bars and not strings. I bet he was
> >there hollering, learn to play a real piano - there is no use for one
> >of those :-)
>
> It was me, and I had a point.
>
> The Rhodes sure is a lot easier to take on tour than a Steinway, though.
> --scott
>
> --
> "C'est un Nagra. *C'est suisse, et tres, tres precis."

and now I complain about my roland rd-300!

Mike Rivers <(E-Mail Removed)> wrote:

> Don Pearce wrote:
>
> > The effect is entirely different. Even as low as the third fret, the
> > sound of the guitar changes radically.
>
> Right - so if you don't want it to sound like a guitar, then it's OK to use
> a capo. This might be a valid case for one who is using the sound of
> the instrument as part of the song rather htan as accompaniment.

Like I said, on my best guitar it makes no difference other than being
able to use chords, which have a sound appropriate for particular songs,
and which I am unable to execute cleanly without a capo.

> In my world of folk music, a capo is so you can use familiar fingerings
> and voicings in keys you can sing in. And, yes, it DOES make it easier, but
> you restrict yourself from using some notes that might be effective.

That can happen just from a key change, too, sans capo. For example,
Shaidri and I play a wonderful song called "The Lighthouse". It's in G
Major on the Laurie Lewis and Tom Rozum recording form which I learned
it, and sometimes I can sing it in G. Other times my high range won't
quite reach one part of it gracefully in G, so we drop it to F. I play
it without a capo. When it moves through a portion that in G goes to an
F, that bottom really hits nicely. When in F, the Eb doesn't get that.
If I could afford it, I'd have another guitar handy, with heavy gauge
strings, tuned down a whole step, and I'd use G position to play it in
F. Then I'd have that impact back.

--
ha
shut up and play your guitar
http://hankalrich.com/
http://www.cdbaby.com/cd/hsadharma

In article <1jf1r5c.1gmpqj61j7zzu8N%(E-Mail Removed)>,
(E-Mail Removed) (hank alrich) wrote:

> Mike Rivers <(E-Mail Removed)> wrote:
>
> > Don Pearce wrote:
> >
> > > The effect is entirely different. Even as low as the third fret, the
> > > sound of the guitar changes radically.
> >
> > Right - so if you don't want it to sound like a guitar, then it's OK to use
> > a capo. This might be a valid case for one who is using the sound of
> > the instrument as part of the song rather htan as accompaniment.
>
> Like I said, on my best guitar it makes no difference other than being
> able to use chords, which have a sound appropriate for particular songs,
> and which I am unable to execute cleanly without a capo.
>
> > In my world of folk music, a capo is so you can use familiar fingerings
> > and voicings in keys you can sing in. And, yes, it DOES make it easier, but
> > you restrict yourself from using some notes that might be effective.
>
> That can happen just from a key change, too, sans capo. For example,
> Shaidri and I play a wonderful song called "The Lighthouse". It's in G
> Major on the Laurie Lewis and Tom Rozum recording form which I learned
> it, and sometimes I can sing it in G. Other times my high range won't
> quite reach one part of it gracefully in G, so we drop it to F. I play
> it without a capo. When it moves through a portion that in G goes to an
> F, that bottom really hits nicely. When in F, the Eb doesn't get that.
> If I could afford it, I'd have another guitar handy, with heavy gauge
> strings, tuned down a whole step, and I'd use G position to play it in
> F. Then I'd have that impact back.

Good points, Hank. I don't use a capo for transposition at all, only
for changes in timbre.

Mike Rivers wrote:
> Don Pearce wrote:
>
>> The effect is entirely different. Even as low as the third fret, the
>> sound of the guitar changes radically.
>
> Right - so if you don't want it to sound like a guitar, then it's OK to use
> a capo. This might be a valid case for one who is using the sound of
> the instrument as part of the song rather htan as accompaniment.
>
> In my world of folk music, a capo is so you can use familiar fingerings
> and voicings in keys you can sing in. And, yes, it DOES make it easier, but
> you restrict yourself from using some notes that might be effective.
>


I use a capo because it sounds different. it's an
arrangement choice. I did without one for decades, but
it's kinda fun. Especially so for doubled
parts.

--
Les Cargill

On Mar 8, 8:22*pm, Les Cargill <lcargil...@comcast.net> wrote:
> Mike Rivers wrote:
> > Don Pearce wrote:
>
> >> The effect is entirely different. Even as low as the third fret, the
> >> sound of the guitar changes radically.
>
> > Right - so if you don't want it to sound like a guitar, then it's OK touse
> > a capo. This might be a valid case for one who is using the sound of
> > the instrument as part of the song rather htan as accompaniment.
>
> > In my world of folk music, a capo is so you can use familiar fingerings
> > and voicings in keys you can sing in. And, yes, it DOES make it easier,but
> > you restrict yourself from using some notes that might be effective.
>
> I use a capo because it sounds different. it's an
> arrangement choice. I did without one for decades, but
> it's kinda fun. Especially so for doubled
> parts.
>
> --
> Les Cargill

I use one for a lot of reasons, not the least of which is that I'm not
as good a player as I wish I was :-)

In article
<1812ec04-97b7-46f8-a19b-(E-Mail Removed)>,
Danny T <(E-Mail Removed)> wrote:

> On Mar 8, 8:22*pm, Les Cargill <lcargil...@comcast.net> wrote:
> > Mike Rivers wrote:
> > > Don Pearce wrote:
> >
> > >> The effect is entirely different. Even as low as the third fret, the
> > >> sound of the guitar changes radically.
> >
> > > Right - so if you don't want it to sound like a guitar, then it's OK to
> > > use
> > > a capo. This might be a valid case for one who is using the sound of
> > > the instrument as part of the song rather htan as accompaniment.
> >
> > > In my world of folk music, a capo is so you can use familiar fingerings
> > > and voicings in keys you can sing in. And, yes, it DOES make it easier,
> > > but
> > > you restrict yourself from using some notes that might be effective.
> >
> > I use a capo because it sounds different. it's an
> > arrangement choice. I did without one for decades, but
> > it's kinda fun. Especially so for doubled
> > parts.
> >
> > --
> > Les Cargill
>
> I use one for a lot of reasons, not the least of which is that I'm not
> as good a player as I wish I was :-)

Who is? ;-)

On Mar 8, 8:31*pm, Jenn <jennconductsREMOVET...@mac.com> wrote:
> In article
> <1812ec04-97b7-46f8-a19b-b8472aead...@q16g2000yqq.googlegroups.com>,
> *Danny T <dannytad...@gmail.com> wrote:
>
>
>
>
>
> > On Mar 8, 8:22 pm, Les Cargill <lcargil...@comcast.net> wrote:
> > > Mike Rivers wrote:
> > > > Don Pearce wrote:
>
> > > >> The effect is entirely different. Even as low as the third fret, the
> > > >> sound of the guitar changes radically.
>
> > > > Right - so if you don't want it to sound like a guitar, then it's OK to
> > > > use
> > > > a capo. This might be a valid case for one who is using the sound of
> > > > the instrument as part of the song rather htan as accompaniment.
>
> > > > In my world of folk music, a capo is so you can use familiar fingerings
> > > > and voicings in keys you can sing in. And, yes, it DOES make it easier,
> > > > but
> > > > you restrict yourself from using some notes that might be effective..
>
> > > I use a capo because it sounds different. it's an
> > > arrangement choice. I did without one for decades, but
> > > it's kinda fun. Especially so for doubled
> > > parts.
>
> > > --
> > > Les Cargill
>
> > I use one for a lot of reasons, not the least of which is that I'm not
> > as good a player as I wish I was :-)
>
> Who is? *;-)

At least I make up for it with my supper sexy bald spot ;~)

Jenn <(E-Mail Removed)> wrote:

> In article <1jf1r5c.1gmpqj61j7zzu8N%(E-Mail Removed)>,
> (E-Mail Removed) (hank alrich) wrote:
>
> > Mike Rivers <(E-Mail Removed)> wrote:
> >
> > > Don Pearce wrote:
> > >
> > > > The effect is entirely different. Even as low as the third fret, the
> > > > sound of the guitar changes radically.
> > >
> > > Right - so if you don't want it to sound like a guitar, then it's OK
> > > to use a capo. This might be a valid case for one who is using the
> > > sound of the instrument as part of the song rather htan as
> > > accompaniment.
> >
> > Like I said, on my best guitar it makes no difference other than being
> > able to use chords, which have a sound appropriate for particular songs,
> > and which I am unable to execute cleanly without a capo.
> >
> > > In my world of folk music, a capo is so you can use familiar
> > > fingerings and voicings in keys you can sing in. And, yes, it DOES
> > > make it easier, but you restrict yourself from using some notes that
> > > might be effective.
> >
> > That can happen just from a key change, too, sans capo. For example,
> > Shaidri and I play a wonderful song called "The Lighthouse". It's in G
> > Major on the Laurie Lewis and Tom Rozum recording form which I learned
> > it, and sometimes I can sing it in G. Other times my high range won't
> > quite reach one part of it gracefully in G, so we drop it to F. I play
> > it without a capo. When it moves through a portion that in G goes to an
> > F, that bottom really hits nicely. When in F, the Eb doesn't get that.
> > If I could afford it, I'd have another guitar handy, with heavy gauge
> > strings, tuned down a whole step, and I'd use G position to play it in
> > F. Then I'd have that impact back.
>
> Good points, Hank. I don't use a capo for transposition at all, only
> for changes in timbre.

I'll use it for transposition, too, when that's what I need. For
example, some types of blues-related stuff that I might play in F
doesn't work with a closed F. It sounds right in F with a capo on the
first fret, and an E shaped chord. <g>

--
ha
shut up and play your guitar
http://hankalrich.com/
http://www.cdbaby.com/cd/hsadharma

On Mon, 8 Mar 2010 13:45:06 -0800, (E-Mail Removed) (hank alrich)
wrote:

>Don Pearce <(E-Mail Removed)> wrote:
>
>> On Sun, 07 Mar 2010 21:04:08 -0500, Mike Rivers <(E-Mail Removed)>
>> wrote:
>>
>> >Danny T wrote:
>> >> I have tried every type of capo there is and over time they all wear
>> >> the varnish off the neck. Anyone have any brilliant idea that might
>> >> keep this from happening or at least slow it down?
>> >
>> >Learn to play in all the keys you need. There are a lot of good low
>> >notes down
>> >there going to waste when you put a capo on.
>>
>> The effect is entirely different. Even as low as the third fret, the
>> sound of the guitar changes radically.
>>
>> d
>
>Firstly, Mike was jiving, and secondly, that all depends on the guitar.
>One of the marvelous things about my McCollum is that the notes all
>speak equally. Putting on a capo changes the pitch, but not the tone.
>The glory of a capo is not being able to play in other keys, it's being
>able to use open chord forms in any key. Only really big hands can do
>that without a capo.

Of course, if the purpose of the capo was merely to change key, no
real guitarist would ever need one. And the open chord form is exactly
what I am talking about when I speak of the sound being different.
Open chords always ring differently to stopped chords, if only because
the string goes on ringing after you have shifted to the next pattern.
That doesn't happen when you have used a finger as a barre.

d

hank alrich wrote:

>> In my world of folk music, a capo is so you can use familiar fingerings
>> and voicings in keys you can sing in. And, yes, it DOES make it easier, but
>> you restrict yourself from using some notes that might be effective.
>
> That can happen just from a key change, too, sans capo. For example,
> Shaidri and I play a wonderful song called "The Lighthouse". It's in G
> Major on the Laurie Lewis and Tom Rozum recording form which I learned
> it, and sometimes I can sing it in G. Other times my high range won't
> quite reach one part of it gracefully in G, so we drop it to F. I play
> it without a capo. When it moves through a portion that in G goes to an
> F, that bottom really hits nicely. When in F, the Eb doesn't get that.

Well, that's a decision you need to make from a musicial standpoint. It
sounds
different, but is that OK? Is that cool? Or does it just not sound
right? I've noticed
that for at least the past 40 years, the guitar players (there are
almost always two)
in Galax string bands play with a capo. Most of the tunes are in D or A,
and they
play in G or C fingering. 40 years ago, there were a lot of crappy
guitars down there,
with action too high to play comfortably in open position, so they used
capos. Today
most of them have decent guitars, but they've just learned to like that
sound. So much
as I prefer to play a D tune in D position and an A tune in A position
(there are no
uptown chords in these tunes) when playing with this sort of a band, I
put on a capo.

Bluegrass is similar. Bill Monroe liked to sing in Bb and his guitar
players always played
in G with the capo on the 3rd fret (and usually with a finger on the 2nd
string to get rid
of the third on top). It's part of the sound.

> If I could afford it, I'd have another guitar handy, with heavy gauge
> strings, tuned down a whole step, and I'd use G position to play it in
> F. Then I'd have that impact back.

A lot of banjo and fiddle players have more than one instrument with a
different tuning.
Most guitar players, when they want it, will drop the low E string to D,
but more of them
who like to play in an open or "modal" tuning have a second instrument.
The famous
ones have a guitar tech who makes sure that the spare guitar is in the
right tuning.

But Reverend Gary Davis, who patterned his playing after jazz bands and
was pretty
much a whole band by himself, needed those low notes to cover the bass
player's part.
He never used a capo.



--
"Today's production equipment is IT based and cannot be operated without
a passing knowledge of computing, although it seems that it can be
operated without a passing knowledge of audio." - John Watkinson