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Why do my strings go dead?
Let’s look at the way that a string works; a metal wire is stretched
over two solid points with the ability to flop from side to side and
cutting through the air. Cutting through the air does little for the
volume; it is where the vibrations are absorbed into the solid points and
where these points are attached to, such as some type of hollow
box. The hollow box must be able to allow the wave of vibrations to bounce
around for as long as possible with a pleasing tone. This describes any
acoustic instrument.
The string is like a round fiber optic rod that allows light to
bounce along the walls with little to no obstructions to hinder the light
wave. Though we see one string as one entire sweep at a time, there is a
vibration running back and forth as well. If you have played your
instrument very much then you have flat spots on the bottom side of the
strings, just out of your sight. This can cause the vibration to take a
turn in the wrong direction and lose some of its power. In this case,
there is no longer a smooth path for the vibration to follow like the
fiber optic example from earlier. Skin has oil and metal has pores; a
dirty string would be deadened. At this point, replace the strings.
Better strings. If the strings are harder, they might have a better
sound longer, but the frets will wear out faster. If the strings are
softer, the frets will last longer but there goes the strings. What about
coated strings? This helps the oil but the flat spots will still deaden
them. Being that strings are only around $6.00 per set, replace them when they need to be
replaced.
My strings only stay good for a short time and they become dead. In
this case, it is likely to be the instrument. A good instrument will make an
old set of
strings sound good just as a new set of strings will make a cheap
instrument sound good. It is the ability of the box to bounce sound and
control tone. A good quality instrument might be looked at as cheap when
it is really not set up properly. Example: Any type of fiddle from small
to bass, if the sound post is not in the right place, the sound will be
substandard. A mastertone banjo must not have anything touching the
tension hoop or it will drain it of sound, such as the arm guard or the
fingerboard.
As discussed in last month’s lesson, the heavier the string, the
more tone; but the harder to play. The type of picks used and the location
that they are played will also drastically effect the sound.
In conclusion, replace strings as needed and make sure that your
instrument is set up for the best sound.
Guitar
Let's compare Bluegrass to Blues and Jazz.
The scales below are what I understand to be the "G minor" pentatonic
scale for the most part. Does it make sense that we would play in a minor
chord while everyone else is in a major? As I have said in the past, Bluegrass
lead is about playing everywhere except where you are suppose to be, but ending
up all together at the end. The same is true with Blues and Jazz.
Take the scales below and add the influence, mood, and instrument needed
and you will find that all music is very similar.
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The scale on the left is the
same scale as on the right except that we are going to play it Bluegrass
style on the acoustic flat top at the end of the neck. You try it as the picture shows
it and I will play with it to see what it can be changed into. Listen to my
example.
The scale to the right is the
same scale played down the neck without aid of a capo. You will find
that when you learn the scale, the need for a capo goes away and chords
become bar chords. Let's
play this in the Blues/ Jazz style and see what happens. I
will use my Stratocaster for the desired effect. Again, you play the scale
as it is shown and I will see what it can be changed into.
Listen to my
example.
Can you hear that the scale is
the same? Tip! Use the pointer and the little finger to fret with.
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In any case, when the chord
changes, the scale moves to the scale of that chord. Many times you
will still be in the first chord when everyone else has changed; it is
likely that your run will still fit over the top of their chord. Odd
things start to happen for the good in this case. Just remember to
finish up your run at the end of a verse and the chorus. That is where
we have to meet back together. As you want to play the melody, just
put in the melody note occasionally and continue your scale as you can
make it fit. I know this sounds like a lot all at once and with
very little instruction, but try this exercise; when you get to the point
that you can play the scale a little, play the "G minor" scale only while your favorite
music is being played. Assuming that they are also in
"G", let them play where ever they need to go and you stay in
the "G minor" scale. You will hear things start to cross over and sound
good.
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