All Elliott smiths tracks have like a bunch of complex chord changes that sneak up on you but once you realise he’s going off the pacing of the lyric foremost it becomes a million times easier
have you got any specific examples?
one crucial thing that helped simplify things for me so much, btw, is try to stick to playing your lowest three strings with your thumb and your highest with your first three fingers
not always gonna be able to do that, but most of the time you will be doing that
Yeah, it’s almost like playing piano with two hand - splitting it into the bass part with your thumb on the low strings and other fingers/ high strings doing chord / melody stuff
one thing I still have to work on is being able to play quickly and loudly with my thumb on the bass notes
this is something ‘The Partizan’ made clear for me - video is en Francais, but you can still follow
there’s emphasis on certain notes, you see.
so you’ve got to make sure your picking hand is positioned so you can move your thumb properly.
this same idea applies in Road’, and not just on bass/thumb notes
by which I mean dynamics, innit.
not all the notes you’re picking are gonna be emphasised the same. some strong, some graced.
don’t worry too much about it, just work on it with everything else.
i’m ok at finger picking, maybe as I play a bit of banjo, but for some reason I can’t seem to do it with my index finger, it is thumb, middle and occasional ring finger doing all the work. no idea why I can’t utilise my index finger it just hangs there looking stupid, but I get by
I’m going to learn all this stuff and come back in a couple of weeks being all billy big balls
just remembered the only other thing I know that should have added to the table. secondary dominants.
the fifth chord in a key is the one that most wants to resolve to the first chord in the key, even more so if the 7th note is added to the chord making a dominant 7th. that is all completely standard using just the notes from the scale.
but that same 5 to 1 movement can be applied to other chords within the key, major or minor, even though it means the dominant 7th chord uses notes from outside of the scale, doesn’t matter as long as it lands on a chord that is in the key. so out of key dominant 7th chords can be slipped in before other chords as another way of bending familiar tonalities out of shape a bit
always sounds bad when I try it, but a good example of it working would be ‘what a wonderful world’