This past weekend I've been watching Buddy on the Bell Cove dvd and he uses a lot of thumb and middle finger. Or do you rely on your right hand accuracy?Īnd if the answer is "all of the above", what percentage would you guess on each of the 3?ĭean, I'd vote for right hand accuracy. Would you find yourself EITHER holding the silent middle string (string 4) just to ensure its silence, OR levering the appropriate voicing for it. When, for example, playing 6ths going up or down the neck on two separated strings (3 and 5?), with and without AB as needed: In a related question (maybe deserving a new topic?), I've also been wondering about what I'd call "safety blocking", and "safety levering", meaning this: Using the same strings and pedals with the 9th string tuned to D eliminates the problem. When my 9th string is tuned to C# and I play strings 6, 8, and 10 with pedals A and B down, releasing the pedals leaves a 6th interval resonating within the chord.
Playing a string next to a string of the same frequency creates a sympathetic vibration in the dormant string. I don’t drop string 7 to F in normal use but I’ve found the example you speak of in other situations. Muting is necessary, tho, I'm learning.īuddy, if you're still reading: Did you find that, when you were dropping 7 to F with RKL, this resonating problem disappeared?
The inherent problem is that string 6 becomes unison with stirng 7, and so 7 resonates. I am finding the other position (the B chord with 4 or 8 lowered to Eb, and 6 lowered to F#) very useful in a lot of ways. Thurlon, yes, that is what I meant by "AF" position, just as you described. Set-up, from ap pedalled F chord on the 8thįret, i get pretty good effect by releasing the pedal that raises strings 3 and 6 when i drop to the fourth fret and raising the #4 and 8 i/2 step, when still playing #'sĥ,6 and 8 and then going back to the 8th fret with the standard triad on # s 5, 6 and 8. That i am thinking of, with the Day tuning It’s a distracting but necessary means of handling the problem, but in time, it becomes second nature.ĭean, you had the MAN himself answer you so my little entry will seem feeble, but if you are referring to the drop/ raise phrase In that case I used the third finger of the right hand to block as I released my pedal A. When I was using an E13th country pedal tuning, the B to C# change would almost always activate the C# note between the E and B strings. I’m not near a guitar at the present but if I ever have that problem I block the vibrating string either with the thumb pick, third finger of the right hand, or the thumb of the bar hand, depending on where the vibrating string is located.
Tab is in Scotty's Anthology book by Mel Bayĭean, Ron Elliott has a great version of "Blue Jade" along with some other great songs in his "Pure American Steel" tab book and CD give him a call, he would appreicate it and you won't be disappointed.
did you use the AF pedals, or LKR and RKL? If it was the LKR and RKL, did you mute string 7 on the way back up? My string 7 wants to play along! Topic: Blue Jade Question for Buddy EmmonsĪt the end of the verse, that drop to the lower inversion and then back up again. Your profile | join | preferences | help | search Classic country shuffle styles for Band-in-a-Box, by BIAB guru Jim Baron.
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