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New tune


AnneS

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(Got a Kindle Fire for Christmas and have been checking in here with it, but it doesn't let me type in the reply box. So back to the pc...but I've been watching! [sneaky] )

 

Enjoyed the recent post about capos and would've added to the discussion, but the capo has been so essential to me for so long that I can't imagine the how or the why of not using it when needed. This is especially so since (as others mentioned) the age factor really started setting in a few years back. Hard enough thing to deal with as it is...

 

And singing range notwithstanding, my guitar has SO much more to say to me with the capo option...it just sings up the neck, all sparkly, and even when I can finger those same chords in standard tuning w/o the capo, the capo allows the best voicing options.

 

For example, it's easy enough to play Steve Earle's "Goodbye" with a C chord fingering--why would I, where capo 5/play G not only is how he plays it, but it is different and better than the C chord fingering (even if you threw a capo on and brought that up a step or more).

 

Anyway, I got another new tune the other day...where the capo is on the 2nd (but I can already tell it'll be moved up at least 2 frets soon enough--don't know where I'd be without the flexibility).

 

Far Side of Me

 

There's no doubt the song was born in this key, with that ol' capo in place. While I was writing it, I moved it up a little (feeling that the vocal range is a bit low), but nope...the feeling and evocation that were coming with this melody just wasn't there when I moved it. Maybe not unlike dialing in a radio station; you might be able to nudge the knob and still hear the song, but move it too far and it's gone.

 

As I come to learn this song better, I'll be able to move the key up as needed, it just can't be done while the transmission's still coming in, though. Weird.

 

Thanks, guys...

Anne

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all those nights down in mexico huh?

 

which capo you use anne ?

 

one place I will never go... [rolleyes]

 

I have a Kyser, a Shubb and a G7, and I tend to favor one over the other at different times. I don't like the Kyser past the 3rd fret or so--seems to sharpen the pitch after that, especially when that spring is new.

 

The G7 (not one of the newer models) is handy, but as the frets get narrower, it's width bothers me cuz my hand tends to touch it.

 

The Shubb's adjustment feature is important and it's got that thin profile, so it's my current go-to, and the one I'm using here.

 

[smile]

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fantastic album that , not just that song .

i have same capos as you , kyser for gigs cos of handiness really and less chance of loosing it if its on headstock, i like my G7 a lot but even non guitar players can't stop fiddling with it !

i have ordered a paige to see if it suits me , i like the fact it stays on the guitar . if it works for me then i'll fork out for one of the dandier ones , dan crary , kat eyz or maybe an elliott if i'm feelin flush . was hoping one of these guys would have one and advise me . i mean i know one of them has a 40 dollar pick !! :-)

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Great song! Don't know which mic you are using, but it records you and your guitar well.

 

Thank ye very kiindly (and you, too, BK)--

 

It's a Samson condenser USB (CO3U)-- shoulda sprung for the slightly more expensive model with the headphone monitor jack, but I'm pretty happy with it. [thumbup]

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I really like this song, Annie. The title is excellent, and it expresses a journey we all take in our own way. Sometimes other people wonder where I'm coming from. It's likely from "the far side of me." Never thought of it that way until I heard your song. Good song, vocals and guitar. I also enjoyed the strum and arpeggios you use. They fit the tone of the song. [thumbup]

 

On capos, I don't know much about them, aside from the standard capo. I have no hesitation using one when I think I need it.

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I really like this song, Annie. The title is excellent, and it expresses a journey we all take in our own way. Sometimes other people wonder where I'm coming from. It's likely from "the far side of me." Never thought of it that way until I heard your song. Good song, vocals and guitar. I also enjoyed the strum and arpeggios you use. They fit the tone of the song. [thumbup]

 

On capos, I don't know much about them, aside from the standard capo. I have no hesitation using one when I think I need it.

Glad you like, sir--I always appreciate your thoughtful comments. Very helpful, as I know you must know. [rolleyes]

 

A

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Bravo – such a strong performance. The tune – though built in the rhymes on the title tradition – immediately finds an originality, which stays in balance all the way through - a challenge for every honest note-smith. And that intro theme works splendid as some sort of song-logo emerging here and there in the landscape of sharp strums. You obviously tried this before. . . .

Wonder if you could post the lyric ?

 

There's no doubt the song was born in this key, with that ol' capo in place. While I was writing it, I moved it up a little (feeling that the vocal range is a bit low), but nope...the feeling and evocation that were coming with this melody just wasn't there when I moved it. Maybe not unlike dialing in a radio station; you might be able to nudge the knob and still hear the song, but move it too far and it's gone.

 

As I come to learn this song better, I'll be able to move the key up as needed, it just can't be done while the transmission's still coming in, though. Weird.

This could be about writing depth, , , the volcano springing, the lava rolling from further below - somewhere uninterruptible.

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Bravo – such a strong performance. The tune – though built in the rhymes on the title tradition – immediately finds an originality, which stays in balance all the way through - a challenge for every honest note-smith. And that intro theme works splendid as some sort of song-logo emerging here and there in the landscape of sharp strums. You obviously tried this before. . . .

Wonder if you could post the lyric ?

 

 

This could be about writing depth, , , the volcano springing, the lava rolling from further below - somewhere uninterruptible.

Thanks for the observations, EM--and yes, there's something to the "writing depth" of which you speak. Interesting...

 

The lyric for you-[smile]

 

Far Side of Me

Anne Stieber © 2012

I remember the ocean, I remember the sky

These memories like shore birds winging by

Like one little pigtail, like grass stains on each knee

Just shadows from the far side of me

 

I came to know Jesus; they said he knew me

But we parted 'cause I don't think he believed.

So I lit out for somewhere, and a traveler I'll be

Destination, the far side of me

 

So many spring times, oh and how the earth spins

An old story like a new day begins

Still leaning toward sunrise, still aching to see

Some vision of the far side of me

Some vision of the far side of me

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Far Side of Me

Anne Stieber © 2012

Ouuh, it's good – the title holds a fan of possibilities and you use them in an ideal way.

First verse – Echos from earlier days, still remembered and carried inside.

Second – Lines about the deeper personal self. The existential search and choices unfolded as time went by.

Third – The perspective opens, becomes more general without losing connection to the theme. The longing and curiosity remains.

Glad to read and hear these things, , , and just as happy to listen to the By Way of Sorrow tune.

Understand why you'ld wanna learn that one – superb spot where the fiddles start storming.

 

 

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