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Old 04-07-2013, 12:43 PM   #21
MissingSomethin
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It's not about muting, though it helps. You just need to learn how to strum exactly 3 strings. It becomes automatic after some time.
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Old 04-07-2013, 12:48 PM   #22
Freepower
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Quote:
Originally Posted by dragnet99
Seriously man, this was EXACTLY the video I was looking for all this time. Thanks again, I not only hugely appreciate it myself, but I have no doubt this will answer a lot of other people's questions.


Sorry I missed your replies for some reason, thanks so much for the appreciation, just pay it forward when you can next help someone out. ^^
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Old 04-07-2013, 07:25 PM   #23
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Originally Posted by MissingSomethin
It's not about muting, though it helps. You just need to learn how to strum exactly 3 strings. It becomes automatic after some time.


I'm torn on this. As a follow up to my original post, I've since gotten very comfortable with major/minor triads in the top two string groups (root position + inversions), and for each shape, I've now developed an automatic muting technique for whichever strings are adjacent. So if I'm playing strings 3-2-1, I mute string 4 with the closest finger. It doesn't get me off the hook entirely, but it gives me a string's worth of "buffer".

My biggest problem with relying 100% on strumming accuracy is that the mistakes are sometimes too subtle to even notice, so it's a hard thing to practice effectively. Is it really that clear if certain strums are missing a string? I can easily miss something like that. If I have that extra muted string buffering me, though, I can widen my strum just a bit to ensure that worst case scenario, I'm strumming an extra muted string, and in the best case I'm getting all three.

Also, I really like the idea of eventually using these on stage. So if I'm standing up, moving around, not looking at what my hands are doing and so on, I just can't see myself ever feeling confident enough to rely 100% on strumming accuracy, especially when there are strings to be avoided both above and below (middle string sets, like 4-3-2). With some strategic muting, I can really get into the performance and not worry.

Lastly, I'm learning 4-string jazz chords at the moment and have carried over this technique there as well, where it's paying off in the same way. I'm building up a rather versatile collection of 3- and 4-string chords all over the neck that I can strum almost as freely as barre/open chords, which is a very fun and flexible way to play.

Anyway, I just wanted to provide my own insight since I can definitely say from [brief] experience at this point that the muting strategy feels good. Hats off to players who don't need it, but I'm not too proud to acknowledge that it helps me out quite a bit.

Last edited by dragnet99 : 04-07-2013 at 07:27 PM.
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Old 04-08-2013, 06:04 AM   #24
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Glad it's working out for you!
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Old 04-10-2013, 08:54 PM   #25
MissingSomethin
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dragnet, did you see the video I PM'ed you?
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