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thinking - position shifts

 
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Devon8822



Joined: 28 Aug 2008
Posts: 4

PostPosted: Thu Aug 28, 2008 4:11 am    Post subject: thinking - position shifts Reply with quote

This topic may be confusing especially for less advanced players, and I am expecting to get answers that are not what I am looking for but I hope someone can understand the concept.

I am wondering how Guthrie perceives his playing/shifts (it would be easier if he could answer but maybe someone who knows his style very well).

1. Is he playing with 3 nps patterns and just doing a lot of shifting

2. or is he playing 3 & 4 nps patterns (which require these position shifts)
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frankus



Joined: 13 Sep 2004
Posts: 1100
Location: Chelmsford/Arachnipus

PostPosted: Thu Aug 28, 2008 1:16 pm    Post subject: Reply with quote

I think, it's more whetever pattern works for that lick..

If you think about it the notes are all over the place and there are different ways of getting to them ... so you learn loads of different scales rather than just one ... then if you want to get from A to B you can go up the neck in a few strings either sliding tones or semitones or down the neck and across the strings ... depending on the sound that technique creates and the timbre of the notes you chose to fret.

That said I find my Suhr has a pretty even Timbre along the entirity of the fretboard.
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sumis



Joined: 22 Feb 2005
Posts: 570
Location: gothenburg, sweden

PostPosted: Fri Aug 29, 2008 6:14 am    Post subject: Reply with quote

i don't think gg thinks in 4 or 3 notes per string patterns at all. someones playing might be analyzed in those terms, but that doesn't mean it's conceived that way. i'm pretty f***king far from guthrie Laughing but i don't rely on scale shapes that much really. i know many differnt fingerings of many different chords, arpeggios, arpeggios and (most importantly) intervalls, but when you've run through them for a few years, or a lifetime, you don't really think about it. it's just there ...

guthrie is obviously using many different fingering approaches, and if it's supposed to come down to which ones, i believe frankus explanation is right on the money.



Quote:
I think, it's more whetever pattern works for that lick..

If you think about it the notes are all over the place and there are different ways of getting to them ... so you learn loads of different scales rather than just one ... then if you want to get from A to B you can go up the neck in a few strings either sliding tones or semitones or down the neck and across the strings ... depending on the sound that technique creates and the timbre of the notes you chose to fret.


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