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CFCFCF

 
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Mon May 23, 2011 7:05 am    Post subject: CFCFCF Reply with quote

It is a cause for wonder whether Nick actually went to BEBEBE, and instead held at CFCFCF, which to my ears sounds fitting. This way From The Morning is played without use of a capo and Man in a Shed feels more structured under the fingers.

Also a reason I mention this comes from the strings Nick was using, which were worn out according to Peter Rice, and probably silver plated for a time, which would not take too kindly with tuning down that extra half.

Any thoughts?
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LostBoy



Joined: 05 Aug 2007
Posts: 207
Location: Oxfordshire UK

PostPosted: Fri Dec 30, 2011 5:23 pm    Post subject: Reply with quote

Possibly my ears playing tricks but my guitar does not like the former tuning and sounds happier with the latter. It's a good point while bearing in mind that although Mikael Ledin and Chris Healey have done a truly wonderous job, no one actually knows for certain if they're all the way Nick played/recorded them. The BEBEBE tuning on my guitar always sounds somewhat fragile and unforgiving as well as opposed to CFCFCF which of course has more tension. Tension is important for projection imho.
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Thu Jan 05, 2012 11:20 pm    Post subject: Reply with quote

Well put LostBoy.

The tunings are somewhat forgiving to individual preference or style. You mentioned last year that you suffer from arthritis in your hands so do you adjust individual string tensions to lesson chord stretching?

I agree that tension is very important. And balance...
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LostBoy



Joined: 05 Aug 2007
Posts: 207
Location: Oxfordshire UK

PostPosted: Sat Jan 07, 2012 8:56 pm    Post subject: Reply with quote

Narcissus wrote:
do you adjust individual string tensions to lesson chord stretching?...

Not on my acoustic I don't but it may be worth a lowering job. My electric is as low as a low thing can go so that does make stretching slightly easier. I sometimes turn down strings half or a full step and then alter the tabs to compensate on the acoustic though, like for playing "Riverman" in standard tuning.
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Wed Jan 11, 2012 9:24 pm    Post subject: Reply with quote

Moreover; is it a mater of tension rather than the act of stretching for chord shapes?

Do you find that the pressure you must exert upon the strings more taxing than the stretch of the chord shape itself?

I think I understand what you mean but I remember you said you cannot play Road due to arthritis; is this because of the vigour or the stretch.?

The reason I ask is that the sound may not be compensated should you tune certain stings to reach your optimum capacity…. The varieties are endless.
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LostBoy



Joined: 05 Aug 2007
Posts: 207
Location: Oxfordshire UK

PostPosted: Thu Jan 12, 2012 6:55 pm    Post subject: Reply with quote

Narcissus wrote:
The reason I ask is that the sound may not be compensated should you tune certain stings to reach your optimum capacity…. The varieties are endless.

Yes, they certainly are and with a bit of thought quite a few that arn't now, could be more playable. In the case of "Road", it's a conglomeration of a few things including my brain. The one that really gets me in a tizzle is "Three hours" , not the stretch or picking but the basic rythem, I just can't figure it out from Chris Healey's tabs and listening to it, it doesn't make sense especially on the John Peel session excerpt.
It also doesn't help i'm using heavy strings presently as I kept breaking the G and B tuning up to some songs. Do we know what weight of strings Nick used? With all the bends on the blues home recordings probably lighter than mine Laughing
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Sun Jan 29, 2012 9:34 am    Post subject: Reply with quote

LostBoy wrote:
Do we know what weight of strings Nick used? With all the bends on the blues home recordings probably lighter than mine

I’m not sure, and going by the lack of response to your question neither are other members.
I think you are correct to surmise Nick used a lighter gauge than heavy for finger picking cries out for 11 or 12‘s. I’m not sure which strings were readily available but there is a brand which many guitarists from the 60’s claim to have used called Black Diamond; they were silver plated and could be used on both acoustic and electric guitars. Again, I know nothing of which gauges were available under this brand.
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tat123



Joined: 20 Sep 2006
Posts: 76

PostPosted: Sun Jan 29, 2012 2:43 pm    Post subject: Reply with quote

Road just tune down your G-string from standard tuning to an E, And drop a cappo on 2nd fret sounds pretty close to me.
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Sat Apr 21, 2012 10:48 am    Post subject: Reply with quote

LostBoy wrote:
I kept breaking the G and B tuning up to some songs


I had the same problem on my Yamaha FG180. The trick is to add winds to the string on the tuning peg for the cause of the G string breaking frequently is the hole in the tuning peg. Be sure to have four winds at least to insure the last wind of the string sits beyond the tuning peg hole! As for the B string, you must not go any higher than C#. Hope this is helpful.
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LostBoy



Joined: 05 Aug 2007
Posts: 207
Location: Oxfordshire UK

PostPosted: Sun Apr 22, 2012 8:42 pm    Post subject: Reply with quote

Thank you Narcissus, I hadn't considered the string winding soloution before (i hardly ever change my strings) so will try that out as i'm dropping a gauge soon from my 13 - 56's down to a more managable 11 - 52's. I should have known i'd be flogging a dead horse as on my electric I use 7 -38"s Smile
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Matt (admin)



Joined: 29 Jun 2006
Posts: 692
Location: United Kingdom

PostPosted: Mon Apr 23, 2012 10:20 am    Post subject: Reply with quote

LostBoy wrote:
Thank you Narcissus, I hadn't considered the string winding soloution before (i hardly ever change my strings) so will try that out as i'm dropping a gauge soon from my 13 - 56's down to a more managable 11 - 52's. I should have known i'd be flogging a dead horse as on my electric I use 7 -38"s Smile


I generally use 11s on an electric Smile
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Fri May 31, 2013 8:14 pm    Post subject: Reply with quote

I have come to understand that perhaps CFCFCF is also not quite true or harmonic either, through much repetition I assure you.

When one considers CFDFCF and equate one's fingers accordingly, CFCFCF is not so efficient when playing From The Morning in such a way.

I hope you encounter a pleasant surprise!
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Narcissus



Joined: 25 Jan 2011
Posts: 242
Location: United Kingdom

PostPosted: Mon Jul 14, 2014 12:50 pm    Post subject: Reply with quote

Has anyone used CFDFCF yet?

I must assure you that I have thought this through and played both on dreadnought and classic/studio guitars. I'm sure there are those whom have rattled off From the Morning in this tuning and have had positive or negative results.

I only post things in this manner which are helpful to all readers. My insights are yours. I have no secrets apart from those which don't seem to fit. If they did only by a hairs breadth then I would share them instantly.
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