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bandsmcnamar - Posted - 05/05/2020: 05:54:34
The cool thing with fiddle and mandolin too, is that if you have about 3 or 4 shapes for double stops, they work everywhere on the fingerboard. The learning then becomes which shape to use when, so the notes of your double stop are both in the underlying chord.
UsuallyPickin - Posted - 05/06/2020: 06:27:26
Coming from guitar fifths tuning was a revelation. Coming to fiddle from mandolin was a headstart on doublestops. Intonation was a different kettle of fish ..... of course R/
farmerjones - Posted - 05/06/2020: 10:26:35
It wasn't until i learnt piano about 5 years ago, there's 3 inversions to every chord. I found i was playing rootless chords on the fiddle and didn't realize it.
Flat_the_3rd_n7th - Posted - 05/06/2020: 19:12:44
I've come to the conclusion that the quickest way to mastering a string instrument is all about learning the PATTERNS, ie, what form my fretting hand looks like while playing a scale, or a lick or phrase. Notation is for trumpets and such. This is not so much ear training as muscle memory and eye training with feedback from the ear as to whether you got it right or not.
Piano is tough in that there's no patterns to foller. No capo, and every time somebody wants to change the key, the finger pattern changes, too. Guitar wouldn't be so bad since it's in fourths (backward 5ths), but they throw that odd 3rd in there to keep you honest. You can still pattern on a guitar pretty good, though, just a little more complicated.
Fiddle patterns are a simple checkerboard and would be easy except the fret hand has to deal with that intonation thing, and the bow hand deal is treacherous. Too much coffee or chain sawing and your tone sounds like a starter on a Massey Ferguson.
farmerjones - Posted - 05/06/2020: 20:22:27
The goofiest thing about piano is your right hand thumb is the lowest note, where your pinky is the lowest note on your left hand.
Lonesome Fiddler - Posted - 05/06/2020: 22:45:56
As Gilda Radnor used to say on Saturday Night Live, "It's always something!" Fiddle, at least in standard and even in cross, is wonderfully straightforward in theory and devilishly difficult in execution. When you're not doing it right, it can sound downright ugly. The piano allows an enormous amount of freedom & complexity but it takes an exhausting amount of brain power to enable your fingers to go all those separate ways. Yeah, it's fairly easy to learn enough guitar chords to accompany yourself in a song, and for some that's all they care about, but still...it's tough to get good.
As for the banjo, it's even easier than the guitar to crunch out chords, but what if that singer can only sing in E flat?
Flat_the_3rd_n7th - Posted - 05/07/2020: 07:30:33
quote:
Originally posted by Lonesome Fiddler
As for the banjo, it's even easier than the guitar to crunch out chords, but what if that singer can only sing in E flat?
Pardon me if this was rhetorical:
Depends on the song--if there was no bVII chord, I would capo/hook the 5th string to Bb, downtune the low D string one step to C, and capo at 3rd fret. Play with key of C forms. If no time to retune, capo and 1st fret and play as if in key of D. Or just go nekkid and play all closed chord forms.
Singer has been paid off too much by the keyboard mafia.
'Crossing the Ocean' 12 hrs
'Crossing The Ocean' 12 hrs
