Post by vikingblues on Jun 8, 2015 7:42:34 GMT
About time I gave a wee review to this little piece of gear rather than the occasional reference to it in other posts. One day I am in hope of hearing that someone else uses one too!
I see my fretboard needs dusting.
In essence it's a partial capo that lets you capo each string individually. It gives a massive number more of tunings than a normal partial capo. Like the partial capo it means that the chord shapes and scale note positions higher up the neck from the capo are the same as in standard tuning. So you can still use chord shapes and phrases or note patterns you already know but they can be combined with an open string combination that is very different to normal.
The main-bulk of the Spider-Capo is made of some sort of hard-plastic, I believe the screw and claws are made of stainless steel, padded where it contacts the strings. When capo-ed, all strings ring out cleanly and in tune and when first used on a guitar you have to position the individual legs above the strings and there is a screw to tighten to clamp the capo onto the neck - there is an leather pad where the sides grip the neck to prevent damage. This does give a really solid fit, but it does mean a quick change of capo position is not possible. They are at the same sort of price level as G7 capos.
Using one of these is not the same as, or a substitute for open or altered tuning, but I feel it's as valid an option as any other tunings. It is certainly of benefit to those of us who like to improvise as, unlike open or altered tunings the relationship between the notes on the strings and various frets is the same as in standard tuning and does not need a whole new learning process. While the presence of the capo for "open" string combinations results in some very different harmonies and sounds. Playing around and getting to hear the influence that a particular spider capo setting has is vital - the note choices can then be made to enhance and fit in with that underlying sound signature.
****************
I realised it had been several months since I had used the Spider Capo, the piece of gear that made me see that I could manage improvisation on an acoustic guitar and that persuaded me to try and make the move from playing electric to acoustic guitar. Since then I discovered opening and altered tunings and realised I could improvise using these as well. I have been so caught up with learning these that the Spider Capo has gathered dust. Which is a shame as I owe my enjoyment of playing acoustic for the last year and two thirds to it.
It also came to me yesterday that I had never used it on on the Lowden. So I had a go with it yesterday using the same setting that I first used on it when I bought it that resulted in "Spidery Phrygian Varitions" improv recording linked in my post on the thread "An Introduction to the Partial Capo" in January 2014 shortly after I joined the forum. The Spider Capo was appropriate to that thread as the Spider is a sort of flexible partial capo.
The setting I used is with the capo on the second fret on strings 1,2,5 and 6. Resulting in "open" strings being F#,B,D,G,C#,F# and notes higher than the capo being the same as standard tuning. A chord of GMaj7#11 on open strings if my QwikChord software is not mistaken.
A lot of the time I find I played with the third string 4th fret used which is apparently Bmadd9!
Yeah - OK - I don't know what chords are part of the improv I'm playing - but that's as it should be for me as improv should be about feel and making choices with the ears not the brain - there are certainly Phrygian aspects to this setting in my choice of scale notes / root notes.
I had 20 minutes or so practice working my way round the fretboard yesterday morning - this was take 2 of 2 that afternoon. Barre chords were not allowed as that would mean established chord shapes and chord relationships would get in the way of exploring and finding new areas.
Deliberately starts slow - exporing which combinations might be useful in forming later repeats, setting the scene and trying to give a structure - it can then build in temp and intensity over the length of the recording. Trying to listen for good runs and note combinations so they can be brought in again later and give the impression that there's really is some sort of structure. At least that was the plan.
"White Spanish Wine Needs a Fridge Iain"
Main plus for me with the Spider Capo .... it's great fun!
I see my fretboard needs dusting.
In essence it's a partial capo that lets you capo each string individually. It gives a massive number more of tunings than a normal partial capo. Like the partial capo it means that the chord shapes and scale note positions higher up the neck from the capo are the same as in standard tuning. So you can still use chord shapes and phrases or note patterns you already know but they can be combined with an open string combination that is very different to normal.
The main-bulk of the Spider-Capo is made of some sort of hard-plastic, I believe the screw and claws are made of stainless steel, padded where it contacts the strings. When capo-ed, all strings ring out cleanly and in tune and when first used on a guitar you have to position the individual legs above the strings and there is a screw to tighten to clamp the capo onto the neck - there is an leather pad where the sides grip the neck to prevent damage. This does give a really solid fit, but it does mean a quick change of capo position is not possible. They are at the same sort of price level as G7 capos.
Using one of these is not the same as, or a substitute for open or altered tuning, but I feel it's as valid an option as any other tunings. It is certainly of benefit to those of us who like to improvise as, unlike open or altered tunings the relationship between the notes on the strings and various frets is the same as in standard tuning and does not need a whole new learning process. While the presence of the capo for "open" string combinations results in some very different harmonies and sounds. Playing around and getting to hear the influence that a particular spider capo setting has is vital - the note choices can then be made to enhance and fit in with that underlying sound signature.
****************
I realised it had been several months since I had used the Spider Capo, the piece of gear that made me see that I could manage improvisation on an acoustic guitar and that persuaded me to try and make the move from playing electric to acoustic guitar. Since then I discovered opening and altered tunings and realised I could improvise using these as well. I have been so caught up with learning these that the Spider Capo has gathered dust. Which is a shame as I owe my enjoyment of playing acoustic for the last year and two thirds to it.
It also came to me yesterday that I had never used it on on the Lowden. So I had a go with it yesterday using the same setting that I first used on it when I bought it that resulted in "Spidery Phrygian Varitions" improv recording linked in my post on the thread "An Introduction to the Partial Capo" in January 2014 shortly after I joined the forum. The Spider Capo was appropriate to that thread as the Spider is a sort of flexible partial capo.
The setting I used is with the capo on the second fret on strings 1,2,5 and 6. Resulting in "open" strings being F#,B,D,G,C#,F# and notes higher than the capo being the same as standard tuning. A chord of GMaj7#11 on open strings if my QwikChord software is not mistaken.
A lot of the time I find I played with the third string 4th fret used which is apparently Bmadd9!
Yeah - OK - I don't know what chords are part of the improv I'm playing - but that's as it should be for me as improv should be about feel and making choices with the ears not the brain - there are certainly Phrygian aspects to this setting in my choice of scale notes / root notes. I had 20 minutes or so practice working my way round the fretboard yesterday morning - this was take 2 of 2 that afternoon. Barre chords were not allowed as that would mean established chord shapes and chord relationships would get in the way of exploring and finding new areas.
Deliberately starts slow - exporing which combinations might be useful in forming later repeats, setting the scene and trying to give a structure - it can then build in temp and intensity over the length of the recording. Trying to listen for good runs and note combinations so they can be brought in again later and give the impression that there's really is some sort of structure. At least that was the plan.
"White Spanish Wine Needs a Fridge Iain"Main plus for me with the Spider Capo .... it's great fun!
)
Jo whoever he is.
