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Thread: How do you play this chord?

  1. #11
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    Thanks John. 2013 is nice.

  2. #12
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    If you're playing with other instruments you are a couple more options. If you have two ukes, one can play the F while the other plays an Am over their F. Of if you have a piano / bass player covering the tonic note (F) you can simply play an Am. That said, neither of these options will give the spacing recommended in the song.

  3. #13
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    I'm participating this thread in a somewhat theoretical basis if to add any. Not concerning some particular song or piece.
    Some major 7ths can be hard, though there are are alternatives for Fmaj7, but anyways Am has the top notes of it and or also just play F as has been suggested.

    When with Dm7, though easy one can always play F. And Em7 can be played with G though easy as it is too. Most notable example we have is "hawaiian D7" that is actually F#dim with no D that many play in the key of G.

    Substituting the other way like Dm(7) for F works only sometimes, but it is good to know
    Last edited by Jarmo_S; 06-30-2019 at 12:35 AM.

  4. #14
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    Quote Originally Posted by Bill1 View Post
    I have had another look at the music in the book. The last bars are like a finale thing. I am not sure if you just want to play a Fmaj7 chord or if you want to discuss how to end the arrangement.
    If you want to play Daniel Ho's arrangement, you probably need to use a low G uke and you probably need to play the chord as shown, not use another version.
    If you look at the third last bar it has the word "rubato". This means the temporary disregarding of strict tempo to allow an expressive quickening or slackening, usually without altering the overall pace, to quote the internet. It also has the letter P, for Piano or play softly. The second last bar also has the crescendo and diminuendo notations.
    So the last three bars disregard strict tempo and play softly with a crescendo/diminuendo in the second last bar, and the last bar you hold the Fmaj7 chord for the whole bar. You arrange your playing so its like a finale or outro for the piece.
    The Fmaj7 starts in the second last bar, it gets arpeggiated several times. If you make the Fmaj7 chord at the start of the second last bar, you can play the last two bars as written, using the text instructions shown. The TAB shows the 2413 chord shape. No other shape is going to work well for the arrangement as written, because it has the low A note. There is nothing wrong with using your thumb to fret the low A note if you need to, but if you want to learn to play the chord without using your thumb, you are going to need to do some finger stretching exercises until you can reach all the notes as shown.
    When I hold that version of the Fmaj7 chord, I do stretching warm as follows: Make an F chord with index (F note 1 fret E string) and middle finger (low A note G string), tap my ring finger a few times on the high C note (fret 3 A string) then hold it, then work my little finger up to the E note (fret 4 C string). Going slowly to avoid straining my fingers. It take a few goes to reach then I have to carefully do a few reps like a training circiut in the gym. Over time the muscles grow and learn and eventually, like the results of reps in the gym, you can stretch to the shape. I don't actually use the 2413 version very often, I use 5500 or 5557, but if I want to play the arrangement as shown I need to use 2413.
    An alternative is to work out you own re-arranged TAB using the A note on the open A string instead of the low A note. Daniel most likely published this arrangment as a starting point for most players, he may be pleased to see some interesting variations happen.
    Bill has described this very well, and also put things into the right context. The final 2 bars are played using the same Fmaj7 shape as tabbed, as you are already holding the chord shape that you are referring to, there is no need to change the fingering
    Last edited by prb035; 06-30-2019 at 12:35 PM.
    Happy just to be a Newbie +, Penny

  5. #15
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    Quote Originally Posted by prb035 View Post
    Bill has described this very well, and also put things into the right context. The final 2 bars are played using the same Fmaj7 shape as tabbed, as you are already holding the chord shape that you are referring to, there is no need to change the fingering
    Thank you so far from everyone. It is a troublesome chord shape. While true the final 2 bars benefit from just holding the shape, it takes a great deal of effort and precision to transition to that shape so the notes are clean and can be played with an arpeggio.

    Iíve had a little success with angling my hand toward the pinky side, but it is taking some time. I guess, just practice, practice, practice...

  6. #16
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    Quote Originally Posted by ubulele View Post
    Try first planting your first and third finger; the second and fourth should then extend naturally over the fretboard at just about the places they need to fret.

    If you're trying to rest the neck against your palm, to support the neck, this will complicate most chord shapes, and certainly this one. Using a strap of some sort is the simplest way to allow the necessary freedom of movement; without one, you're always having to compensate somehow.
    Thanks for this suggestion Ubulele I gave it a try & it seems to make things a little easier. Now to practice, practice, practice!
    Happy just to be a Newbie +, Penny

  7. #17
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    There is another tricky chord shape earlier in this song, it's 2258 (Dm) any suggestions about fingerings?
    Happy just to be a Newbie +, Penny

  8. #18
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    Quote Originally Posted by prb035 View Post
    There is another tricky chord shape earlier in this song, it's 2258 (Dm) any suggestions about fingerings?
    I’ve been working on that one. The easiest suggestion is move from a tenor scale to a concert. Absent that.

    After that, bar the entire second fret with your index finger, hit the 5th fret with your ring finger and pinky in the 8th fret. I also find it helpful to not have your thumb in the middle of the neck, but closer to the treble side of the neck.

    Rich

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    Quote Originally Posted by ghostrdr View Post
    I’ve been working on that one. The easiest suggestion is move from a tenor scale to a concert. Absent that.

    After that, bar the entire second fret with your index finger, hit the 5th fret with your ring finger and pinky in the 8th fret. I also find it helpful to not have your thumb in the middle of the neck, but closer to the treble side of the neck.

    Rich
    Thanks Rich, that stretch is a bit much for me! I'll play 7558 for now, it works as an alternative Dm with a similar voicing & meanwhile I'll keep practicing the dreaded 2258 It's a great song and I'm really enjoying learning all the different complexities it has to offer Thanks for your help.
    Happy just to be a Newbie +, Penny

  10. #20
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    Quote Originally Posted by ghostrdr View Post
    I’ve been working on that one. The easiest suggestion is move from a tenor scale to a concert. Absent that.

    After that, bar the entire second fret with your index finger, hit the 5th fret with your ring finger and pinky in the 8th fret. I also find it helpful to not have your thumb in the middle of the neck, but closer to the treble side of the neck.

    Rich
    Hi, hhostrdr! It is difficult for me even on concert (see the photo below). I need soprano.

    Last edited by yahalele; 07-02-2019 at 11:14 PM.

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