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Discussion in 'Telecaster Discussion Forum' started by bottomfeeder, Jan 15, 2021.
Not necessarily the G string. Everything is close but not quite on. Probably why a lot of jazz cats use heavier strings. They're more forgiving if you're slightly out.
I don't think so ... intonation is intonation. Heavier strings are less likely to be bent or pushed out of tune inadvertently.
Kind of sort of what I was getting at.
Great video. Thanks for sharing. Kind of a back to basics, common sense, wake up call.
I know about Mike Stern and all, but when I want to play jazz, which I mostly play these days (mostly just weirded-out blues, tbh), it's flatwounds on a jazzbox. I do want to try flatwounds on my Tele, which I have set up switchable to both p/u's in series. That and the flatwounds, I think, might work pretty well.
bottomfeeder, I didn't see anyone say it directly, but one thing about jazz tones on a Tele is
a relatively soft touch will serve most players better. This is one aspect that might run counter to the intuition of many players -- applying the thinking that 'more is better'. In this case, probably 'less' gets the job done just fine. Turn your volume(s) up but keep the output clean (you might even play around with a compressor for kicks too). Check also that your neck pickup is adjusted fairly low (well, for many or most types). Running the volume(s) as he does is also a good practice.
Edit: Oh, forgot to mention it earlier -- have you checked the string slot(s) in the nut to be sure they are angled downward (toward headstock) properly? ..just to make sure it isn't part of the problem.
Yep. I always end up setting my high e a tad sharp for some reason. that way it plays nice with the E;s, though that does screw up the octave between g-string open and the g three frets up on the e-string, so when I play in g I tend to flatten the high e. It seems I hardly ever play the g-string without bending it a little or boinking the trem bar. It's a weird string somehow: I enjoy screwing around with it. It's where the thirds live in e-positions scales, and where you bend to the flat five or to the minor third from the 2. Maybe that's it. Or maybe it just bends nice. Maybe each string has it's own personality. That'd make an interesting little essay.
Amen, particularly on keep-the-neck p/u low thing. The bridge p/u I just hit hard with the tone knob, which kills the harsher trebles but lets the harmonics come through.
Compensated saddles are calibrated for an unwound G
A wound G will be difficult to intonate on those
Intonation is not the problem
Some “Jazz” chords will put fretting hand fingers in positions that stretch notes sharp
Jumbo frets, high action and light gauge strings will exacerbate the problem
.011” strings, sweetened tuning, a good setup, and light touch on fretting hand will solve the issue
Yeah. I'm gonna go with Daddario Mediums with the plain G.
I was working on a jazz progression (new to jazz and intro book) and I could not for the life of me get one chord to sound right.
It's a voicing for Cmaj7.
After days of this, I texted a local pro musician about it (worked on AAA video game sound tracks, BAFTA winner, etc.). I told him my issues with the dissonance between two of the notes and how I had tried and tried many ways to get it to sound better.
here's his text back:
"OOF yeah that's a terrible voicing.......TERRIBLE"
"No that's a non guitar plater trying to makes some money there. No guitar player would ever play that chord. It's hard to play and sound ****ty. No jazz musician would voice a chord like that."
reading this made me feel much better. I went and found a much better sounding voicing for the same chord and moved on.
I play jazz on a stock AVRI tele using GHS boomers with 11's and an unwound G. I also have a Byrdland with flat-wound 12s. All I ever did with the tele is set the intonation and it was good to go. A G7b9 sounds equally fine on both guitars.
I play with a very light touch and let the amp do the work. That also gives me more dynamics. But I never use any strings lighter than 11's. With 10's and lighter I have trouble playing in tune. That's because, if I grab the chord too hard then left hand finger pressure can push one or more notes out of tune. If I'm not relaxed enough and apply too much left hand pressure it can even happen on 12's. YMMV
Many fake books (and instruction books) contain wrong changes... even the "Real Book", which was largely written and compile by students. It's always a good idea to seek out the "source" of a tune ... the original version or an arrangement by a well known and respected artist with critical and historical "cred". You will be surprised to hear the "real" changes, plus it's great ear training.
Once, long ago, I was playing with Carson Smith and he said,"You're playing a wrong chord on Joy Spring."
I went back to my copy of "Jazz Immortal" to double check it. The players on that cut, particularly the Bass player, got my attention.
I second flattening the G. The G on any guitar never plays perfectly with both cowboy chords and jazz chords between third and 8th-10th fret. whether a guitar is set up correctly or not just determines how bad of a discrepancy it is, but it’s always there.
I would tune for good sound around the 5-7th fret with a minor 9 chord. The major 7 interval between the third and the 9th of the chord really makes it stand out. Not like you’re playing too many open chords anyway, so screw the cowboy chord area.
and also pay attention to what’s easy. you always hear certain turnarounds with particular extensions more than others because it fits the fingers nicely and has chromatic voice leading built in automatically.
Lots of good solid advice here
How far off are the chord tones?
Are we talking a few cents, or 20 cents?
Is it just one note, or all of them?
Nothing is going to have perfect intonation all the way up and down the neck.