Conference napalm::guitar

    I bar-chord with the hand lightly tilted so I am hitting the string
    just about halfway from the palm side of my index finger to the
    outside edge just for the reason you mentioned.  It is correct???
    beats me!!!  I've been using this technique for over 25 years.
    
    Bruce
    

    to do this "correctly", do what you many other places in your "life";
    
    adapt to whatever works best for you and don't worry about what someone 
    percieves as "correct"!
    
    
    Deep eh?

Thanks for saying that Steve - I have people tell me I'm playing barre chords 
incorrectly all the time - I play 'em with my index and pinky fingers.  Works
for me.

:)

    
    	Coop - how do you play a sus2, sus4, 7th, 9th, etc...
    	that way?  
    
    	Clapton does it in the "flip the bird" position ;^)
    
    

    
            >>Coop - how do you play a sus2, sus4, 7th, 9th, etc...
            >>that way?
    
    Coops' musical tastes usually don't call for "sus's" 8^)
    
           >> Clapton does it in the "flip the bird" position ;^)
             
    I use the "flip the bird" position ;^) for that position barre chord,
    for the "sus" reason.....need my pinkie free to add sus4 and 7th, 9th,
    etc...
    
    Steve                                                       

    >>Thanks for saying that Steve - I have people tell me I'm playing barre
    >>chords incorrectly all the time -  
    
    Yer welcome, doodsicle!  The other day, a guy at a restaurant told me I
    was eating my Spaghetti wrong.....can you imagine his nerve?  I said:
    "I'm getting it from the plate to my stomach, aint I?"  I woulda told
    him to "@!#$$%^ my !@@$$%% and go $$#$ himself" but he's my boss.
    
    There isn't a right or wrong way to do anything, IMHO, but wadooIno,
    anyway?
    
    Coop, my lad, always remember, "Crowded elevators smell different to
    midgets"......
    
    ponder that!  8^)
    
    Bark!
    

How do I do suspended chords ??

Same way you do I guess - with my pinkie.  I change to using my ring finger
when there is a need for those pinky-chords(tm) (I guess I do anyway :).  For 
out-and-out speed tho - the index/pinky power chords rule!

FWIW - Metal music (specially AC/DC) uses lots of sus chords.  I guess I just 
don't think about it much.

jc (Who is definately different !)

    >>FWIW - Metal music (specially AC/DC) uses lots of sus chords.  I guess
    >>I just don't think about it much.
    
    
    I just KNEW you were gonna say that!!!!!  8^)
    
    Stevo (went fishin' and caught me one!)

Whadja expect !?!?!?

Ya know, those blues tunes don't use 7ths or 9ths...
:)

    re: -1
    
    8^)
    
    dawg

    For most "routine" chords, I don't have much of a problem. One chord
    that's givin me a problem because of soft fingers is:
    
    O            <= open E string
    -----------
    | o o o o o    VII
    -----------
    | | | o | |
    -----------
    | | o | o o
    -----------
    | | | | | | 
    
    It's more difficult to get all the strings to ring the higher up the
    scale I go given the narrower fret spacing. Another one is the
    transistion between:
    
    x         x                x         x
    ___________                -----------
    | | 1 | | |                | | 1 | 1 |
    -----------                -----------
    | 2 | | | |        =>      | 2 | | | |
    -----------                ___________
    | | | 3 | |                | | | 3 | |
    -----------                -----------
    | | | | 4 |                | | | | | |
    -----------                -----------
    
    Practice helps, but if I want all strings to ring nice and clear, I
    gotta really watch what I'm doing. 
    
    "sakman"
    

    re -1
    
    After sitting and playing some pick last night, I realized that I made 
    a mistake. The chords should be:
    
          x       x                  x       x
        ___________                -----------
        | | 1 | | |                | | 1 | 1 |
        -----------                -----------
        2 | | | | |        =>      2 | | | | |
        -----------                ___________
        | | | 3 | |                | | | 3 | |
        -----------                -----------
        | | | | 4 |                | | | | | |
        -----------                -----------
    
     
    (just incase anybody else tried 'em)
    
    "sakman"    

    Well, I thought the (-2134-) was a pretty nice voicing of a maj 7th
    chord.  Almost the same as (-2434-) but more difficult to play and
    therefore more macho  ;^).  I thought the (-2131-) would sound awful, 
    and it pretty much lived up to that expectation.
    
    Now I don't know what to think!  What is that first chord anyway now? 
    Still a M7 but missing the root?  Or is it now possibly a minor chord? 
    Or both?  And what of the 2nd chord?  I think it now has a better
    chance as a minor 6th of some flavor.  Am I close?
    
    							Wondering

    The first, F# D# A# D# is an F#6  (no 5). Raising the fifth string one
    fret to E gives a four-string voicing of F#13.
    
    The second one, F# D# A# C is F#6b5 and is often used as an ending
    chord. Try it after a progression like:
    
    F#MA7 A#m7 G#m7 C#9 C#b9 C#7 C#7b5
    
    Danny W.

    re .12
    
    Fercrissakes, I still didn't have it right. This time for sure it is (I
    verified it before I came in this AM):
    
              x       x                  x       x
            ___________                -----------
            | | 1 | | |                | | 1 | 1 |
            -----------                -----------
            2 | | 3 | |        =>      2 | | 3 | |
            -----------                ___________
            | | | | 4 |                | | | | | |
            -----------                -----------
            | | | | | |                | | | | | |
            -----------                -----------
    
    
    I can't speak to what it is, I'm practically illiterate when it comes
    to theory. It comes from SRV's Riviera Paradise. For this tune, fingers
    2 and 3 are on the 8th fret (C & Eb). Sorry for the confusion.
    
    Just about every chord in that song is one where some of the notes are
    difficult for me to articulate. Here's another series beginning with 
    Cmaj7.
    
            x x                x x              x x             x x
            ___________        -----------      -----------     -----------
    7th fr  | | | | | 1        | | | | 1 1      | | | 1 1 1     | | | | 1 1
            -----------        -----------      -----------     -----------
            | | | | 2 |   =>   | | | | | |  =>  | | | | | |  => | | | 2 | |
            -----------        ___________      -----------     -----------
            | | | 3 | |        | | | 3 | |      | | | | | |     | | | | | |
            -----------        -----------      -----------     ___________
            | | 4 | | |        | | 4 | | |      | | 4 | | |     | | 4 | | |
            -----------        -----------      -----------     -----------  
    
      I've been practicing this tune for a couple of months now and I still 
    find it hard to play it smoothly and articulate each note of the chords.
    
    "sakman" 
    
    

    In your first progression, the second chord, an F#dim7 (could also be
    D#, A or Cdim7) can be fingered without using a barre: try 3 1 4 2. 
    
    The second progression is very useful. It makes a good intro or ending,
    and is often played through the first three chords quickly with a
    ritard on the last chord before resolving (in this case to GMa7). The
    exact order of the chords can be swapped around for mix 'n' match
    variety. You will need to learn how to do a partial barre properly, and
    the changes must be done smoothly to be effective. There's no shortcut
    to this but practice. Sorry.
    
    BTW, the chords are CMa7 CMa7b5 D13 D13b9. Since the last two are
    incomplete it would be possible to argue endlessly over whether the
    chords could be named something else, but in the context of this
    progression the changes are clearly going through the subdominant and
    dominant and setting up a resolution to the tonic, so this makes the
    most sense.
    
     
    Danny W.
       

    OK, all you long-time string benders, I need some help, and this looks 
    like a good note for my question.  I've been taking electric guitar 
    lessons for a couple of months and have this recurring problem.  On the 
    middle finger of my left hand, the flesh pulls away from under the nail 
    due to string bending.  It only happens on this one finger, and it's 
    not even the one I do the majority of my bending with; it is my longest 
    finger, if that has anything to do with it. 

    Needless to say, when the nail and flesh separate it hurts, and it 
    especially hurts to push on a string to bend it.  I have always figured 
    it would just heal up and then I could use it, similar to the way your 
    fingers hurt before you build up callouses, but it heals somewhat 
    overnight, then separates again the next time I practice.  The problem 
    seems to be worse now in the dry weather. 

    Is it just a matter of keeping the skin on my hands moist, or is there 
    some kind of nail trimming (or not trimming) I can do?  I generally 
    trim my left-hand nails down as close as possible, and I try to put on
    some hand lotion at night.  Any ideas?  Or is this one of those 
    dues-paying things I have to go through?  Should I try to play the blues
    on a nylon-stringed guitar?  %^)

    If it matters, I'm playing an Epiphone SG with .010's.  I tried .009's
    and they don't cause this problem as much, but they feel too wimpy.
    Thanks.

    Dave

    Dave,
    
    If I were you, I'd probably go with the .009's for awhile, at least
    until your fingers toughen up.  I'd rather play with wimpy feeling
    strings then not being able to play 'cause I'm waiting for my finger to
    heal up.
    
    How's the setup/action on your guitar?  That can affect how much
    pressure you have to exert from your fretting hand.  You might
    experiment with different playing techniques that require a lighter
    touch if you play hard.
    
    I've never had that particular problem, so I really can't offer much
    advice beyond that.
    
    Greg
                           

    Greg,
    
    The action on the guitar is not very high, and it doesn't take a lot of
    pressure to fret a string.  I don't get this problem unless I bend 
    strings, for example.  And I never bend a string more than a whole step,
    so I'm not tearing the skin off with monster bends.  Gee, I'd hate to
    go back to .009's after having it nicely set up with .010's (thanks,
    Charlie!).
    
    I can just imagine what Stevie Ray went through.  %^)
    
    Dave

    That's a shame, Dave.  Sounds like you may just have a weak spot there
    or something.  Barring other's suggestions, I'd say it looks like
    you'll have to work around it until it get's better.
    
    Seems odd that bends would tear up your middle finger rather then your
    ring finger or index finger.  Have you examined your technique for
    potentially damaging things in it?  Maybe it would help to have someone
    else watch you play, looking specifically for things like that.
    
    Greg

   If it's a temporary condition, and not either a) a physical problem with
   your finger/hand (I've never heard of this happening to anyone else
   before), or b) a problem with your technique, as Greg suggested, you might
   try some of that "Liquid Bandage" stuff.  I use it if I cut a finger tip
   or lose a callous (like now) and it works pretty good.  A little dab right
   at the spot where the skin is seperating might reinforce it enough to not
   come apart while you're playing.

   If the condition persisted though I'd seek another remedy.  Your finger
   might be trying to tell you something, and you don't want to negate your
   body's defense mechanisms...

   -- Sam

    
    Two things:
    
    try tuning the guitar down half a step
    
    Use your index finger to help your middle finger with the bend
    

    Hi
    
    I had the same thing on the same finger - the nail was *painfully*
    pulling away from my finger when I bent strings. I used to cut my nails
    really short on my left hand, but now I don't quite cut them so close.
    This made quite a difference, and I haven't had the problem since. It
    means I have to cut them a bit more often so as not to get in the way
    of playing, but it's a lot less painful !
    
    Pete

    I had the exact same problem.....I used Neosporin to heal the resulting
    "split".....it acts *real* fast.  Then I trimmed the nail as short as
    possible and kept it that way.  I now have that "space" filled with a
    nice tough callous (sp).  I use .009's.
    
    Steve

    re: .20
    
    Good idea, Greg, I'll see if I can have someone else watch my
    technique.  Probably have to supply them with earplugs, though.  %^)
    
    re: .21
    
    Hmmm... Liquid Bandage, eh?  Never heard of it; is it sold in
    drugstores or music stores?  Might be worth a try if the problem
    persists.
    
    re: .22
    
    I'd rather use .009's than tune down, but I like the idea of the index
    finger helping the middle - I'll try that.  I already use my ring
    finger to help my pinkie on bends, but that came sort of naturally
    after playing string bass.
    
    re: .23 & .24
    
    Well, thank goodness I'm not the only one.  I was starting to think
    maybe God was telling me to stick to bass.  (Maybe He really is, but
    I'm not listening.)  I think I'll try leaving the nail a little longer,
    and get some Neosporin.
    
    Thanks to everyone.  Man, this notesfile is terrific!
    
    Dave

I had an experience similar to Steve in .24.  It was when I first started
playing th#$*y @$%! years ago.  It wasn't particularly associated with bending
but sounds like essentially the same thing.  The connection between finger and 
nail on my index finger was closer to the tip than on other fingers and the
flesh and nail tended to get separated after a lot of playing.  As soon as it 
healed, I brutalized it again.  After several iterations, while the wound
was scabbed over, I cut the nail back as far as I could without more injury
and kept it that way while it healed.  Since then, I never let the nail get 
any longer and it's never bothered me again.  

I still have to be careful with that nail because I can see that the finger
wants to return to its natural state.  

Now that I think about it for a minute, I remember that one of my friends had 
the same problem on all four fingers.  His flesh-to-nail connection was right 
out to the tip of the fingers.  What he did about it made me realize that 
he was gonna be a serious musician (in fact, he's never held a job except
playing music).  Every three or four days he scraped under the nails to 
separate them from the flesh and filed the nails back to expose the raw flesh.  
If you've ever done that accidentally, you know how it hurts.  After a few 
weeks, he had the nails pushed back about a quarter inch and he never let 
them grow out again.  

Disclaimer: I am NOT recommending this.


Bob

    re: .26
    
    Bob, I think you've described my problem exactly: the flesh under that
    nail grows way out underneath.  And what I've been trying to do, sort
    of passively, is similar to what your friend did deliberately - I cut
    the nail way back, play some more, separate the flesh and nail, heal a
    little, cut the nail some more, etc.  Except it doesn't seem to be
    working.  But maybe I have to give it more time, and maybe a little
    more nail, and maybe some Neosporin.  Thanks.
    
    Dave

    
    then there's always Superglue....;-)
    
    
    
    guy

    
>    then there's always Superglue....;-)
    
    
Cyanoacrylate (Super Glue, Krazy Glue, etc.) can be pretty handy for reparing
nails.  Lots of people use nails for fingerpicking and when you depend on them
it's a disaster to break one before a gig.  I've used this stuff lots of times
to repair or strengthen nails.  It works great.  

I've also heard the concern expressed that it can put cyanide into your blood 
stream.  I don't know about that but I know it is sold at cosmetic counters
for repairing nails and attaching false ones.  Naturally, it costs three times
as much as in the hardware store.  I generally avoid putting it on any part of 
a nail that covers flesh.  Some people use it to pad the fretting fingertips 
when the callouses get too soft.  I've also done that a few times when my 
fingers weren't in shape for a grueling gig.  It didn't cause much brain 
damage at all...at all...at all...

Brian Rost

Not

    I'm afraid 22 years of playing bass has done more damage than any
    steenking glue can do.
    
    Gene Simmons

    
    No, don't INHALE the glue.....;-)
    
    
    guy

I discovered how to give myself a paper cut under my middle finger on
my left hand (I'm right handed), and it made playing guitar 'oh so fun'
this weekend. My finger tips are well hardend, but I wasn't prepared 
for someone handing me a request, then pulling it away (it was an
accident, but one that kept me thinking about that request all night).

								Jens

    The question that springs immediately to mind, Jens, is whether you
    played the request after being injured in that fashion...

	It's finally healed up, and yes we did play the request. I
	had someone (who had been drinking) trip on my microphone
	stand once (you've seen the one that I made, it's really a
	holder of many things with a 14 inch by 24 inch by 1/8 steel plate
	on the bottom to hold it steady) and attempt to impale me with the
	microphone. Had my mouth been open, I probably would have chipped
	one of my teeth, or I might have choked on it. As it was, I had a 
	bloody cut on the inside of my upper lip and a sore nose. It's
	amazing how people that you are trying to hold up, to keep from
	falling on you again, think that you want to fight them - I don't
	know why. It's easy to get hurt with out expecting to.

							Jens