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Originally Posted By MuscleXtreme⏩

When playing a B barre cord, do you guys mute the high E?

My ring finger can barre the D, G, B strings on the 4th fret, but it mutes the high E, since I can’t get my ring finger joint to bend anymore than it is.

Does anyone else do this? Is it going to throw off the chord too much by having the high E muted?

It makes the chord sound darker, but it's still technically a B major chord. You get B F# B D# which is the same chord without another F#. But if you want the high E to ring out without barring with the ring fingers, you can either do it like this:



Or alternatively, you can play without barring at all like this:



So you get F# B D# F#. It may sound a bit different because it's an inversion but it's still a B major chord.


I like doing what's shown in the first picture. But if I really need to use the ring finger barre and still get the High E right, I add my pinky to the equation to fret the high E. It's a bit of a stretch but works fine if you don't have to hold the chord for long.

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Originally Posted By gtrzrus⏩

I grew up on that stuff. I was a guitar major in college. I found that if you can get the shreddy stuff down (alt picking, sweeps, fretboard knowledge), you can easily learn other stuff with a little work. Shred gets your technique so jacked, that you will not have any physical limitations in learning other styles.

Mostly, yes. Modern jazz with wider intervals throws off most people that can only play linearly quickly. For example this Brecker lick, which is on the moderate side:



Lick at 0:56. Since it's swung, in order to play it comfortably without any tension, you'd have to be able to play triplets at that speed, which would be equivalent to 16ths at 231.

Originally Posted By MuscleXtreme⏩

When playing a B barre cord, do you guys mute the high E?

My ring finger can barre the D, G, B strings on the 4th fret, but it mutes the high E, since I can’t get my ring finger joint to bend anymore than it is.

Does anyone else do this? Is it going to throw off the chord too much by having the high E muted?

Most every electric player plays a root 5 major barre chord by not playing the high E. Only classical players use the barre with the first finger and 234 fingers on strings 432 (although Tommy Emmanuel will do it very occasionally). Just keep doing what you're doing, and yes, the first string should be muted.

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Originally Posted By z4v4⏩

Mostly, yes. Modern jazz with wider intervals throws off most people that can only play linearly quickly. For example this Brecker lick, which is on the moderate side:



Lick at 0:56. Since it's swung, in order to play it comfortably without any tension, you'd have to be able to play triplets at that speed, which would be equivalent to 16ths at 231.




Most every electric player plays a root 5 major barre chord by not playing the high E. Only classical players use the barre with the first finger and 234 fingers on strings 432 (although Tommy Emmanuel will do it very occasionally). Just keep doing what you're doing, and yes, the first string should be muted.

These sort of passages, passing tones, wide intervals and more odd fingerings because of barred notes that usually require hybrid picking at the same speed as linear notes is how you can really tell if someone is playing what they hear and not cliche fast linear patterns.

That's why "The fastest" player can't be quantified with just one piece. For example the fastest player for "The Bumblebee" isn't the fastest player in the world, he is the fastest "The Bumblebee" player in the world. There is zero chance he could play that passage you link at the same NPS.

Note selection and variety, this only comes when you listen to multiple genres. That's why I am so tired of cliche linear fast playing, it's easy, I can do it and so can thousands of others. If I hear some fusion lick blazing away or some more unique pattern then I stand up and go "Ok, nice, this is something".

I will add a caveat that sometimes a nicely played more diatonic feel is also needed. Just constantly playing an altered style also can get boring. It's all about timing, the same with playing slow, moderate or fast.

The dynamics matter. When you suddenly playing fast after a build up or right after something slow it stands out more. When you add some more chromatic style playing for a brief moment, it stands out more. There is greater impact then if you were to just play the same fast speed for 30secs or constantly blaze some fusion style for 2min.

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Go Canucks Go!



Mais notre monde érodé restera le même
Et demain toi et moi serons partis

Golden hands
Illuminated miscers: ScottTil
Agents of chaos, disorder and hate: Bodhy, Ironmanlet, ViolentZ, ItsWhatIDo, jeffl1980, BrosefMengele