I'm practising a twelve bar blues rhythm (I-IV-V) in E.....E A B. It's open position so for the E and A chords you use the open E and open A strings for the root of the chord. The problem is that these open strings ring a lot louder than the other note in the chord (the 5th) and contuinue to ring when I change to the next chord. These droning open strings 'muddy' the sound a lot.
When I change from the E5 to the A5 chord, I can use my thumb to deaden the open E string, but I can't do that when I change from A5 to B5. Also, I use palm muting, but that deadens both the root and the 5th in the chord by about the same amount, so the 5th is still much quieter than the root string.
Is it possible to palm mute such that your palm is touching/muting the lower string with more force than the higher string(s)?
I tried that but so far without success. Thanks.
Patrick
Not exactly sure what to tell you, not hearing what you are doing. It is pretty normal for the bass strings to be a little louder than strings below. You could work on using a lighter touch when you pick. It could also be that you have your pickups a little too high on the bass string side, this can cause them to be very "boomy".
Other than that, I would use palm muting. When you go from the E5 to the A5, just as you are getting ready to pick the A5, bring down the side of your picking hand to mute the E string. So your picking hand is kinda bouncing up and down in time with your picking strokes. It's a timing thing.
It is also possible that you are letting up a little too soon on the fretted notes, so you hear the open strings, but the fretted notes go out quick.
Like I said, little hard to actually know what is happening not being there.
If you know something better than Rock and Roll, I'd like to hear it - Jerry Lee Lewis
Thanks Wes; I tried your idea of the quick palm mute to dampen the string(s) right before moving to the next chord and once you get used to doing it, it works.
About the ringing open string; I just play those open position power chords like I would if they didn't contain any open strings. When there aren't any open strings, my power chords sound good.
Another thing might be that I still haven't yet fully developed my ability to control the amount of palm muting; to get just the right palm mute sound depends on the palm's precise position on the bridge within a few mm.
Yeah, Wes is right on with the palm mute...prolly exactly what you're lookin' for....
Also, try playing a diad, or double-stop, essentially, just two-string voicings of your E and A chords. Forget the root, and (for open E) just pick the A and D strings. Diads are a guitarists BEST friend. You can finger chords (technically, chord voicings) with just one finger, and embelish with the other three.
With a little discipline and focusing on "string sets", that is, playing just the two (or three for triads) strings in any voicing, you can make diads sound HUGE.
Also, with open E and A, you can play both chords by simply laying a finger across the second fret, "rooted" on the A string. When you play the A and D strings, that's your E. Play the D and G string set, that's your A- no repositioning of the fret hand.
Expeiriment with embellishments above and below your diads...
KILL WHITEY!
