Once you can loop the two-bar passage smoothly, try developing our own p-i-m-a patterns. Can you see where these shapes come from? To visualize these intervals as part of a triad, refer to the brackets in this example. As you slide from position to position, keep the top strings ringing—these recurring fourths A-D supply a hypnotic drone. Whatever happens on the fourth string can be fingered an octave lower on the sixth sting or an octave higher on the first sting— at the same fret. Imagine the possibilities!
Just move the note from the fifth to the second string. Notice how the notes on the fifth string are doubled an octave higher on the second string. Take the time to create your own moves on the fifth, fourth and third strings, and then shift one or two voices to a different octave. Be patient. Sooner or later, the sonic and visual logic will reveal itself. As you play this D minor riff—keep it slow and steady—notice how the tuning lets you create lush harmony using only one finger.
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Or Learn more Continue. Celtic Guitar Talk. Share Share with:. Link: Copy link. Well it is, isn't it? Ok, this is just my personal preference, nothing more. The tunes just sit so naturally in the tuning and I have often had the experience that the tunes just seem to arrange themselves. Perlman though plays in the standard guitar tuning with an occasional drop D. There are some great arrangements in Drop D of course.
Peace, Ed. I accompany tunes, do solo fingerstyle tunes and airs, and accompany songs. I find the richness of the available drones irresistible. Try that in standard! But when I am working out arrangements with "the lads," I try to refrain and change keys with the tunes. It is not backed by centuries of repertoire, and until recently, there have been few books of guitar tabs for "Celtic" music. So while Sarah McQuaid may have chord diagrams that demand the use of 6 fingers, my charts may use 1, 2, 3, and yes, sometimes 4 fingers.
I also found that the tuning released my creativity. I had the opportunity to create my own style instead. The emphasis in accompaniment for me is more on chord shapes up and down the neck, while in standard tuning, most of the chord progressions were in first position.
So guitars seemingly DO get used to a tuning. It depends on your touch. I find Pierre Bensusan has a fairly heavy touch and probably uses medium sets while some other stunning players are much lighter on the strings and get away with lighter set ups. I have a mod to heavy attack so the meds work. In my opinion, the intervals between the strings are inefficient for playing tunes on specifically the G - A bit. You can play any chord you like with it, and the bar chords are easy.
Athough,drop D is generally sufficient. Tony Byrne and Martin Dermody do a good job in standard. Some seem to come just to exercise their strumming arm. Perhaps there are too many strings on the guitar and this drives players toward inserting unnecessary or conflicting thirds, fourths and God knows what else, when if you believe what some purists tell us a decently pulsed tune on a melody instrument needs no more than a drone to help it along.
From my position as a habitual victim of well-meaning accompanists, bouzoukis seem to offer the best compromise between a string guitar and nothing at all. Not too many thirds and lots of zing. The player still needs to know the tune though. It has the disadvantage of making you shift positions to reach the high A. Unless one is in each tuning. It is time that we faced up to this insidious danger in our midst!
And after that, we can address the problem of people who think that using light gauge strings is a sign of weakness! I have no problem with what tuning people use. The only thing that matters to the melody player is that the accompaniment is sympathetic to the music and gives it lift and depth. This will give you your second A. Finally, take the high E string and again, drop it one whole tone to an E.
A tuning app can be useful for this, here are some of the best tuner apps. Your left hand should look something like this:. Technically speaking, this is a D power chord as it lacks the third F note.
But it will work as the root chord of any song in the key of D. Starting with the D chord shape, slide your first finger up the G string from the second fret to the fourth fret. Then, place your second and third fingers next to each other on the low D and A strings respectively at the fifth fret.
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