First rule of capo club is..

[david57strat]

Thank you. I am clumsy and bad at tap dancing. Also I can't afford a 250$ reverb pedal, even if I like it. (Looking at you RV-200).

If and when I can set some money aside, I wanna buy an inexpensive telecaster for backup.

My friend who is good at setting up her guitars has been helping me for a while. But she only knows basic stuff. We wanna visit a professional and get our guitars set up. Maybe he will let us see it when he does it.

A professional set-up can transform an okay-playing instrument into one that you can hardly wait to pick up and play. It's worth the investment. Just be sure to tell the luthier how you intend to play it. What kind of music you play, how you play (picks/no picks, slide, alternate tunings, or whatever, whether you have a light touch or are heavy-handed) and they should be able to set it up to do what you need.

Good luck!

 

[metropolis_4]

We can create chords that are impossible to play on the guitar without a capo, however there is no reason to play those same exact notes in the same exact places when those notes are availble as slightly diffrent voicings of the same chord. Unless you're in a tribute band, guitarists come up with diffrent chord voicings all the time. And in a tribute band the only time to use a capo is if the original recording had a capo. In a tribute band you'd better be able to sing the song in the original key of a recording that's been heard a thousand times. We are not recordings, we're humans playing an instrument. You can get close enough with a diffrent fingering that is close in register to the original.

What song is that chord from? It seems to be more of an exercise in trying to create an impossible chord without a capo than a good musical example. It is a F minor add 9 with the notes F Ab, Ab, F, G, F. The 2 Ab's are the same exact note, and 2nd and 3rd Fs are the same notes, so you only have 4 diffrent pitches F, Ab, F, G. It's not a often used or particularly good sounding chord. It can be played:
3
1
1
3
X
1 (with the thumb)
There is a C added at the 2nd string because it sounds better to my ear that way. However the C can be omitted and it can be played:
3
X
1
3
X
1

The chord is just an Fm9 without a 5th (there’s an Eb in there), but a voicing I particularly enjoy that you can’t play without using a capo. Try playing it arpeggiated fingerstyle.

You could also change it to something like this if you wanted the 5th in there, but I don’t like this quite as much:

1
13
12
13
11
1

But again, you wouldn’t be able to play that unless you used a capo. Obviously there are many many ways to voice an Fm9 chord and most of them don’t require a capo if you want to choose to limit your options that way. But capos can give you freedom to use more options. Why limit yourself?

If you can’t even acknowledge that there are some things that are physically impossible to play without a capo then I give up, you seem to be almost intentionally missing the point to cling to your ideas.

 

[maguchi]

The chord is just an Fm9 without a 5th (there’s an Eb in there), but a voicing I particularly enjoy that you can’t play without using a capo. Try playing it arpeggiated fingerstyle.

You could also change it to something like this if you wanted the 5th in there, but I don’t like this quite as much:

1
13
12
13
11
1

But again, you wouldn’t be able to play that unless you used a capo. Obviously there are many many ways to voice an Fm9 chord and most of them don’t require a capo if you want to choose to limit your options that way. But capos can give you freedom to use more options. Why limit yourself?

If you can’t even acknowledge that there are some things that are physically impossible to play without a capo then I give up, you seem to be almost intentionally missing the point to cling to your ideas.

A capo can sound great. I just choose not to play with a capo and play different voicings without a capo. A capo can be useful for solo acoustic guitar or a single acoustic guitar with voice. To each their own.

 

[Sascha Franck]

See my post above about the E sus 4 or E add 4.

First of: This is no Esus4 but an E4 or Eadd4. That's a fundamental difference as both the the major 3rd and the 4th are existing parallely. In addition, they're used for the inner voices next to each other, which is why this is working the way it is at all. None of your suggestions are covering any of that. Add to this that your suggested voicings sound fundamentally different.
And as said before umpteenth times by now: Yes, using a capo *is* pretty much explicitely about getting a certain voicing right. Hence it's not about playing just *any* Eadd4 but a very particular voicing that is working in a very particular way in a very particular context. None of your suggestions are doing that job.
If it was just about finding Eadd4 voicings, I can easily find some. But some particular ones don't work without a capo.

In general, I have no idea why some of you folks seem to be so negative regarding capos. And as said, I've been kinda from the same camp but corrected my approach. Fortunately.

 

[Sascha Franck]

A capo can be useful for solo acoustic guitar or a single acoustic guitar with voice.

A capo can be useful in a lot more situations. Namely in all those situations when you can't play a chord without using a capo.

 

[maguchi]

First of: This is no Esus4 but an E4 or Eadd4. That's a fundamental difference as both the the major 3rd and the 4th are existing parallely. In addition, they're used for the inner voices next to each other, which is why this is working the way it is at all. None of your suggestions are covering any of that. Add to this that your suggested voicings sound fundamentally different.
And as said before umpteenth times by now: Yes, using a capo *is* pretty much explicitely about getting a certain voicing right. Hence it's not about playing just *any* Eadd4 but a very particular voicing that is working in a very particular way in a very particular context. None of your suggestions are doing that job.
If it was just about finding Eadd4 voicings, I can easily find some. But some particular ones don't work without a capo.

In general, I have no idea why some of you folks seem to be so negative regarding capos. And as said, I've been kinda from the same camp but corrected my approach. Fortunately.

5
5
X
6
7
X or 7 or 0 if you choose

Speaking only for myself, I choose to figure out voicings without a capo. Assigning negativity is an assumption at least for my situation. You do you. I should do what I prefer.

A capo can be useful in a lot more situations. Namely in all those situations when you can't play a chord without using a capo.

Yes, useful to those who choose to use a capo. However I want to find voicings without a capo. Whichever you like is fine.

 

[Red Solo Cup]

FFS

 

[Sascha Franck]

5
5
X
6
7
X or 7 if you choose

As said, that doesn't even remotely sound like the voicing I presented. But you seem to deliberately ignore that there's different voicings and just slap things together in pretty much *any* way. Let alone this particulary voicing features a b9 interval between the top note and some inner voice, which is rarely a decent idea.

Speaking only for myself, I choose to figure out voicings without a capo.

I'm playing without a capo 99.999% of my time. But that is completely irrelevant to this discussion. Which is about some things being impossible to play without using a capo.

 

[maguchi]

As said, that doesn't even remotely sound like the voicing I presented. But you seem to deliberately ignore that there's different voicings and just slap things together in pretty much *any* way. Let alone this particulary voicing features a b9 interval between the top note and some inner voice, which is rarely a decent idea.

Really? Not even remotely? I disagree.

I do remember that there is a rule about using flat 9ths but don't recall the specifics. In the middle of a chord it's probly
less audible and less crucial. That flat 9 in the middle of the chord at the 2nd and 5th note sounds beautiful to my ear. However we can use this one if you like it better.

Or if you like one with a major 7th on top instead, the 1st finger is arched to not fret the 2nd string. Also the 2nd string is (or can be) muted with the pinky.
4
X
2
2
2
X or 0

I am sincerely not ignoring that your voicings and mine are different. I just prefer shapes I can move around in other keys and other places on the fretboard. In my opinion and experience varying from an exact reproduction of a song can add some beautiful colors.

I'm playing without a capo 99.999% of my time. But that is completely irrelevant to this discussion. Which is about some things being impossible to play without using a capo.

Well playing with a capo 99% is not that common and I commend you on a original sound and approach. I can see why we conflict since I play without a capo.*

Cheers
Magoo

*Edit: I misread it the 1st time to read that you're playing mostly with a capo. Now I see you ar playing mostly without a capo.

 

[Sascha Franck]

Really? Not even remotely? I disagree.

I'll post a sound example tomorrow. They are not remotely comparable in a context.

However we can use this one if you like it better.

Not making much of a difference. In the voicing I used, the root is on top. That's the first fundamental difference. Then there's the b9 or b2 interval including the top note. That's what's usually causing too much dissonance and hence often referred to as "forbidden" (even if there's some exceptions), whereas b2 intervals in the lower or middle voicings often work fine.
As piano voicings, for Cmaj7, B-C-E-G and G-B-C-E are working fine whereas E-G-B-C sounds pretty poor (at least in most context).

I am sincerely not ignoring that your voicings and mine are different.

And yet you claim that your voicings work as well. Which they don't. They certainly represent an Eadd4 chord and might even be useful in some context, but they're not even remotely comparable to the voicing I demonstrated.

I just prefer shapes I can move around in other keys and other places on the fretboard.

Absolutely the same for me (as said, I usually don't use capos) but irrelevant for this discussion. This is about "there's some capo'ed voicings that can't be played without a capo". Which is the undeniable truth. I'm not even saying you couldn't get away without one in most situations. I'm doing so myself, as in trying to play songs usually requiring a capo without using one. And still, that's not part of the discussion.

Well playing with a capo 99% is not that common and I commend you on a original sound and approach.

Pardon? Did you misread what I wrote? I am NOT using a capo 99.999% of the time.
And fwiw, regardless of whether you misread things or not, this comes across somewhat arrogant. You think people using capos often can not be as original as people playing without them? You think Tommy Emmanuel, Joni Mitchell, James Taylor or Damien Rice aren't original?

 

[maguchi]

And yet you claim that your voicings work as well. Which they don't. They certainly represent an Eadd4 chord and might even be useful in some context, but they're not even remotely comparable to the voicing I demonstrated.

The voicings I use get the job done and sound great to my ear. Not even remotely comparable is quite an exaggeration.

This is about "there's some capo'ed voicings that can't be played without a capo". Which is the undeniable truth. I'm not even saying you couldn't get away without one in most situations.

Perhaps, however since I don't play with a capo, it's irrelevant to me and not very high on my list of priorities.

Pardon? Did you misread what I wrote? I am NOT using a capo 99.999% of the time.
And fwiw, regardless of whether you misread things or not, this comes across somewhat arrogant. You think people using capos often can not be as original as people playing without them? You think Tommy Emmanuel, James Taylor or Damien Rice aren't original?

Yeah I misread what you wrote. I edited my post.

Why would it be arrogant if I commend someone on originality of sound and an original approach? This time perhaps you misread my post. Isn't commending someone a good thing or a compliment?

I have heard Tommy Emanuel and love his playing. I have heard a couple of James Taylor songs, however his songs aren't broadcast that often now, so I'm not familiar enough with his songs to comment one way or the other. I don't know who Damien Rice is, so I can't comment on him neither.

 

[Sascha Franck]

Why would it be arrogant if I commend someone on originality of sound and an original approach?

Maybe I got that wrong due to me not knowing the phrase "to commend on". My apologies.

 

[newpedals]

"You may want to consider a different teacher who will tell you like it is (not constantly tell you you're doing everything perfectly), but will do it kindly and respectfully."

@david57strat
He was not my teacher. He told me that he has been teaching people to play for three decades.

Thank you for being kind to me on here.

 

[newpedals]

The recorded version has a pronounced delay. Some people say that they had put delay even on the drums which were
recorded. I could be wrong.

This is his version without any effects. Of course, he is sting so he will always sound and play good.

Others who don't use effects try to sound at least 1% like him ("bland"?) in general.

I switch between clean and mild overdrive when I play any song. Try to "sound 1% like him" in the ballpark if I am covering this song :)

 

[newpedals]

This is a version with capo.

Usually I play it without one though. Obviously I don't (read: can't) play it like him.

 

[la szum]

It is nice to learn everyone's perspective.

People may have different opinions, and they are based on their experiences. Nobody is wrong.

I play some songs (covers) using capo because I had used a capo either when I learned it or interpreted the chords to suit my voice using a capo.

I have been effect-shamed by a guitar teacher after a gig ended (at a bar) because I have tried numerous times to incorporate pedals into my rig but have given up. I only have a tuner and 2 overdrive pedals.

He said he could understand the pressure of singing and playing guitar, so I should look for another guitarist who will play effect-laden parts. He had said that I sound bland.

I am aware of my limitations/ skill level. Inspite of being teary eyed, I just nodded when he said that. I know that he meant well, but I am not the superwoman superskilled guitarist he expects me to be. And it's ok.

Let's be like a family on here, and respect everyone's opinions. As I said, No one is wrong. Thank you for being helpful as always :)

You seem quite kind and reasonable.

I'd do what you do and follow your instincts and inclinations. You can play with a Capo,
or not. You can even put it in a different place than others do. Great arrangers and producers
are constantly shifting the key a song was originally recorded in and moving it to a new key
for a different feel or vibe.

There's really no rules... especially from those with narrow-minded preconceptions about
how we should play, and what tools we should or should not use.

 

[TSJMajesty]

@newpedals Re that unsolicited advice that teacher gave you at your gig... I've learned in most situations like that, people mean well. Even when I don't like the way someone gave me criticism, I try to ignore that part, and hear what they're trying to tell me.

I've been out to clubs with musician buddies of mine, in which we all agreed about some aspect of the band's sound, maybe something like the guitarist not cutting through the mix. We all assumed the guitarist wasn't aware of it, but we said nothing, even though we thought some feedback would surely help them sound better. Why? Because none of us wanted to be "that guy."

I'm actually the opposite: I want feedback, good or bad. Especially bad, because those are things that I'm most likely not aware of, and usually, no one is willing to say anything. If it happens to be something I am aware of, and I disagree with, then I simply ignore it. And say "Thank you."


Back when I started out, whenever I took a solo, I would open my mouth really wide. I can only imagine how stupid I looked. Finally our drummer told me. And told me I'd been doing it for some time. I was like, "WHY DIDN'T YOU TELL ME?"

They didn't want to hurt my feelings! Ok, but allowing me to continue looking like a fool was the better choice?

So even if someone doesn't know you, and offers you some advice, even if they deliver it in a less-than-tactful manner, first off, it took guts to even say anything. And second, they were most likely just trying to help.

And at the end of the day, what musician out there doesn't honestly want other musicians to sound as good as they can? I believe it's also part of the reason we're all here too.

 

[Sascha Franck]

Quickly slapped this together. Pretty simple stuff, yet both arpeggiated guitars should be impossible to play without a capo. It's in fact using the discussed Eadd4, so @maguchi, feel free to find a proper capo-less replacement.

 

[maguchi]

Quickly slapped this together. Pretty simple stuff, yet both arpeggiated guitars should be impossible to play without a capo. It's in fact using the discussed Eadd4, so @maguchi, feel free to find a proper capo-less replacement.

It sounds very nice. I would play it a little diffrent. This voicing of the E add4 chord sounds good to my ear.

If it was my own composition, I would've wrote it this way originally and without a capo. If it was someone else's composition, and I was performing it as a cover I would rearrange it with this voicing of a EAdd4 chord. Perhaps sounds a little diffrent, however it works and sounds fine. Musician's are given the freedom to rearrange the same chord to a diffrent voicing. Except maybe in classical music.

We've been over this already, and we keep coming back to the same conclusion. You prefer the capo version of a chord, I prefer a version without a capo. Our reasons why are our own and not open to debate.

Cheers,
Magoo

 

[HomespunEffects]

... Musician's are given the freedom to rearrange the same chord to a diffrent voicing. Except maybe in classical music.

Yeah, man! That's what I'd argue with the worship leader at the church we used to go to. Honestly, he only gave me chord charts that I had to transpose anyway so I didn't see the issue. I was playing the right chords for the song. I just didn't use his capo and for some reason it was a major offense.