#1
Hello everyone this is my first forum post I had a question here that maby some of you could help me with, I've just started learning the song Into the fire by sabaton and the first riff is a little tricky what I've noticed I have trouble with is when playing a note thats on the same fret as the previous but a higher string I roll my finger it just seems to me the easiest way to do it but my finger very lightly comes into contact with the high b string any suggestions as to how I might mute it ? I've tried slowing it down to a snails pace 25% song speed but even then no matter how I try to angle my finger it always makes contact as far as I can tell trying to mute the string is my best option.....I'm just not sure how to go about doing it
#2
To my way of thinking there are two fundamental ways of muting strings:

1] On a case by case basis; for each situation where one discovers it's needed, you figure out how to mute what you don't want to hear... this may include any or all combinations of adjusted fingerings, damping with the left hand, and damping with the right hand.

2] A universal approach; for everything you play, the strings you don't want to hear are damped all the time by any or all combinations of adjusted fingerings, damping with the left hand, and damping with the right hand.

My way of doing it is the second way; it came about all by itself and I never noticed it until I had been doing it for many years. Whether I'm playing chords or notes, accompanying or soloing, I can "freeze" my hands on a single note of chord, just to check, and I will notice that the only string or strings that are able to sound are those that are the solo note or the notes of the chord - and I use an unconscious combination of damping from fingering, and left and right hands.

If I try to examine this while playing a lead line, for example, what I notice is that I damp all the strings all the time and instantly "un-damp" the string I want for each note that I pick, pull off, hammer on, slide to or away, etc... basically I'm moving the damping off of or out of the way of what I play.

I could not do this if I had to think about it, but over the years my hands figured this out on their own and do it perfectly. I don't know how I would suggest learning to do this because I didn't learn it, my hands did. I think the mechanism for them learning this just came from listening to what I play; I know what I want to hear before I play it and if what comes out is not quite right (extra strings or other anomalies or noises) somehow my hands take note that my ear was not quite happy and they eventually do whatever to fix that.

It is complicated. While playing a lead solo the high E string may be damped by my right hand fingers for some note played on the B string, but a second later another note on the B string may be accompanied by a left hand finger damp of the E string... and it is like that all over the finger board with both left and right hands doing whatever it takes to keep the unwanted strings quiet, constantly moving to release the damps for each single note or chord. This is why I say I don't think it can be taught, but it may be learned (by the hands).

I perform jazz and blues and never really play the same thing twice the same way... I think at some point my hands realized they were going to have to do the damping themselves as needed in real time and somehow used my picking (what string I'm picking for notes, what strings I'm strumming for chords) to tell which strings to release damping. If I try to "feel it" when playing I can sort of feel a deep connection between the damping (in both hands) and my picking... I mean it kind of feels like my hands are "monitoring" my picking commands and un-damping the strings involved just as I'm picking them...

I have played a long time, so all I can say is, hearing and noticing the problem may be all it takes for the hands to figure it out, in the long run. Maybe using method 1 (case by case) while learning specific songs can jump start the hands toward learning to damp by them learning specific methods, techniques, and examples from which to generalize an eventual universal method.

Hope this helps
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Last edited by PlusPaul at Feb 25, 2017,
#4
phil22au yeah and I've played it both ways its not the initial stuff at the 5th fret that rings out the noise happens when I roll at the 3rd fret
#5
PlusPaul I think it has helped....since I first picked up the guitar I've been obsessed with correct finger positioning and angles ect ect but playing on the finger tips prevents me from muting as well as I could with the fretting hand because I've trained my fingers to only land on the very tip, guess its time to throw that out the window not that I'm learning stuff thats a bit more tricky
#6
e|---------------------------------------------------------------------------|
B|---------------------------------------------------------------------------|
G|---------------------------------------------------------------------------|
D|---7------8---------10---------------------------------------------------|
A|-----8-8-----8-8-------8-------------------------------------------------| instead of the wrong tabbed 2 33 3 33 5 3 etc
E|---------------------------------------------------------------------------|
#7
phil22au the tab I have has that it was the one tabbed out by Zgredek98 its all done right as far as my ear can tell, is it just the wrong position that its being played in ?
#9
phil22au alright, I'll try it out today and practice it like that for a bit to see what comes from it along with fret hand muting which.....I'm not actually sure I've ever needed to do before