I give UP! - Never Going Back Again. Or... Maybe not.

michelew
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Wed Nov 12, 2014 8:45 pm

fjeanmur wrote:
Great topic, Michelle! (Although it's not great that you're frustrated.). I think Neil probably came up with the best answer--that sometimes you just need some "work arounds."

I was having that trouble of putting the third finger over the fourth that Vanessa and Neil helped me with (and the problem started to correct itself quite quickly!). Now just for those big stretches in the second part. They're coming, but clumsy, but I know Sandy has some work arounds. Maybe I'll have to pick her brain.

I retreated a while ago on the second part of Romanza. The first part was easy enough, but I found myself becoming disoriented between reading the music and finding the right frets on the guitar. Maybe after Rosa May I'll give it another try.

But I loved seeing everyone's tales of their "Terrible Tunes." It makes me want to check them out to see what makes them so terrible.

Keep going, Michelle.

BTW- Why does Kevin call you "sis?" Is the answer the obvious?
Hi Jean!

Well I'm glad that me throwing my hands in the air has been beneficial for you. :) It definitely helps to share and our gurus absolutely know their stuff.

You probably should ask Kev about the sis thing. But, I can tell you that he's definitely been a big brother to me. He's encouraged and supported my playing in a bunch of ways. He's simply a sweetie and a hell of a guitar player.


michelew
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Thu Nov 13, 2014 5:52 am

TGNeil wrote:
michelew wrote:
I've been revisiting alternate tuning songs recently, including one that I ironically revisit fairly regularly, Never Going Back Again. I'm stuck. I just can't do the pinky barre. My finger just can't bend like that and when it does its uncontrollable and will flick out of the partial barre of its own accord.

...

Shel
Hey Michele,

Here is a suggestion, and I guess a philosophical tangent as well. Many professional guitarists working on covers, or even original arrangements, will modify notes if they seem like too much trouble. This can appear to be creative license but the truth could be that it was just too hard to do it the way somebody else did. Maybe I will cite some examples on the News this week.

A completely acceptable solution here would be to change one of the offending notes to a different one in the same chord, preferably a filler (or inner note), and keep the melody intact. There is a good solution to this problem as far as Never Going Back Again is concerned.

End of hint one for now and get back to me with a workaround, maybe multiple ones.

Neil
Neil,

Well after looking at the tab, it looks like a straightforward solution is to turn the C5s into Cs 005558 (CGGCEC) instead of 005588 (CGGCGC).

And it sounds pretty close. :) so I think that will work. And now I need to improve my partial barre. :)

But I'm of course open to other suggestions.

M - :) smiling. So there's hope yet.


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TGNeil
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Thu Nov 13, 2014 6:29 am

michelew wrote:

Neil,

Well after looking at the tab, it looks like a straightforward solution is to turn the C5s into Cs 005558 (CGGCEC) instead of 005588 (CGGCGC).

And it sounds pretty close. :) so I think that will work. And now I need to improve my partial barre. :)

But I'm of course open to other suggestions.

M - :) smiling. So there's hope yet.
Michele,

There you go! My first thought exactly, which might even be an improvement on the original.

On a very coincidental side note, just a few days ago I resurrected a ragtime arrangement of a Scott Joplin piece I did almost 20 years ago, only to abandon as impossible a few months later. After digging it up, reviewing the music, and reading through all 10 pages again, I was excited, and dismayed to suspect that with enough work it might be possible. For the last few days I have been completely consumed with the revival, bordering on the type of obsession I am occasionally prone to, resulting in not much else getting done. Now, for better or worse, I am starting to see a little light at the end of a very long tunnel. I am sure I will work this story into the News tomorrow, if I don't start an independent mini-series on the drama of the dilemma.

In any case, I look forward to following your story with Lindsey Buckingham's tune as it continues.

Neil


michelew
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Thu Nov 13, 2014 6:59 am

Thanks for the confirmation Neil. Woo hoo!

I still need to smooth it out heaps and then speed it up, but it's incredible how much progress I've made after changing just one note.

Stroke of genius. Thank you. That's why you're the guru. :)

Of course it seems so obvious now. I'll remember this solution for future instances when things seem impossible. :)

Thanks again. And have fun with your Jolpin obsession. :)

M


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neverfoundthetime
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Thu Nov 13, 2014 6:52 pm

Looks like you're getting a handle on it Shel, nice bit of nudging my our resident master!

Jean, Kev calls Shel Sis for the same reason he calls me brother... ;-)


jayswett
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Thu Nov 13, 2014 8:11 pm

I agree with Kevin. NEVER give up!


michelew
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Thu Nov 13, 2014 8:25 pm

Chris and Jay thanks for the call to guitars guys ;). Yep! It seems my claims of defeat were premature and unnecessary. What I really needed was another way to look at the problem; or specifically to take a trip up the proverbial mountain to consult the guru. :)

Perhaps there's a take home message in this for most of us; 'If you're stuck post your problem/issue on the forum, you never know when another view can help and who's watching.'

Jay of course you're absolutely right. :)


Catman
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Wed Nov 26, 2014 9:51 am

Hey Shel,

This thread caused me to revisit NBGA. This time I decided I wanted to master the solo too, so I went to YT to watch some of Lindsey's performances as the solo is not in the TG lesson. I ran into difficulties with the bass line for the solo part, and then I noticed that, at least in the live performances I found on YT, he uses a different fingering than the TG lesson.

After a bit of research I found that in the live performances he is playing dropped D capo-ed on the fourth or third fret. Then he uses a four-string half-barre on the second fret (above the capo) most of the time when the TG lesson uses the open position. It's harder to play this way but now I can do the D2/D3 Travis picking base line from the solo.

So, Michele, it's your fault that my fretting hand is aching and I have to relearn NGBA B).

Fancy a duet?

-David


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TGNeil
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Wed Nov 26, 2014 1:44 pm

Hey Gang,

A couple other thoughts on this subject. As David pointed out, Lindsey plays this in Dropped D, requiring a partial barre almost all the time. That was the reason behind doing the lesson in the C-G Tuning.

Also I just worked on this with a student and we came across another solution to the part that Michele was having trouble with. Larry found it easier to do the high barre on the 1st and 2nd strings with his 3rd finger, rather than the 4th as I showed in the lesson. Maybe give that a try and see what you think.

Neil


michelew
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Thu Nov 27, 2014 4:47 am

TGNeil wrote:
Hey Gang,

A couple other thoughts on this subject. As David pointed out, Lindsey plays this in Dropped D, requiring a partial barre almost all the time. That was the reason behind doing the lesson in the C-G Tuning.

Also I just worked on this with a student and we came across another solution to the part that Michele was having trouble with. Larry found it easier to do the high barre on the 1st and 2nd strings with his 3rd finger, rather than the 4th as I showed in the lesson. Maybe give that a try and see what you think.

Neil
Thanks Neil. I found the barre easier with my third, but I'm finding the C instead of C5 approach has allowed me to make much more progress in a short time. The biggest issue I'm having now is landing the partial barre well enough when I move up to the chorus section, so that I don't end up with dead notes on the second or third string. But, I'm confident that I can finish it now.

Woo hoo. :)

M


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