# Why skip certain strings?



## maureenkitto (Jul 19, 2010)

I'm new to playing guitar (got my first one four days ago!), and I'm transitioning from ukulele. I was wondering: why do you skip certain strings? I can understand why the E string would be skipped if playing an F chord, because E isn't in that chord. But with the C chord, where the bottom E string isn't strummed: the E note is still in the C chord, so why not hit that one too? Is it because the lowest note should be the root of the chord?

Skipping strings is something I never had to do with the ukulele, so it's a very new and somewhat foreign concept to me. I couldn't find a "beginners" forum, so I hope I'm posting this in the right place!


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## kat_ (Jan 11, 2007)

maureenkitto said:


> Is it because the lowest note should be the root of the chord?


That's exactly it. Unless otherwise stated the lowest note should be the root. 

If a song wants to have a bass note that's not the root it'll be written as C/E or D/F# - a C chord with E on the bottom and a D chord with F# on the bottom, respectively. The added bass note doesn't even need to be a chord tone. It's quite common to have G - G/F# - Em.


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## zontar (Oct 25, 2007)

kat_ said:


> That's exactly it. Unless otherwise stated the lowest note should be the root.
> 
> If a song wants to have a bass note that's not the root it'll be written as C/E or D/F# - a C chord with E on the bottom and a D chord with F# on the bottom, respectively. The added bass note doesn't even need to be a chord tone. It's quite common to have G - G/F# - Em.


I like to experimant with different bass notes, both adding & subtracting.
If you know the chord's makeup you can do that more easily--so try that low E in the C chord--it might work.

If I'm the only guitar player I might do that--depends on what other instruments there are playing with me.


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## jeremy_green (Nov 10, 2010)

No it has nothing to do with the lowest note being the root... that is sometimes the case but quite often isn't. Playing rootless voicings is very common in full band situations. It has more to do with how the chord sounds. Try it - play the C Chord with the low E ringing... does it sound good to you? Is it clear? If you think so then play it that way. If not then dump it. It is one of the great things about guitars. Often the notes are repeated so you can swap them out for different fingerings as much as you want. Mix and match... seems intimidating at first but with time will set you free.


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## Mooh (Mar 7, 2007)

Nicely put Jeremy.

Continuing with the given example of an open C major chord, *sometimes* if there are more thirds or fifths in a chord than roots, the ear wants to "follow" that note. With as many as 3 Es in the open C major chord (6th, 4th, and 1st strings), it gets progressively more difficult for the ear to hear the root as C, particularly if one is conditioned by listening habits to most often hear the root as the lowest note. (Often it's louder too, which simply makes it harder to identify the intended root.) The lowest 2 notes of a C/E (E, C) are also the lowest 2 notes of an E aug chord (E, B#), compound that with additional Es and Cs and the C major chord is playing _Where's Waldo_.

Now, hopefully, context will support the hearing of the intended chord, but if that chord is held/repeated for too long, the ear can be swayed.

Choral arrangements often have bass lines which stress the melodic over chord roots. A study of the chord structure in choral arrangements shows that intervals as close as #5 as low as in a C/E chord aren't held as long as a strummed guitar chord often is, so varying the bass note to reflect a more melodic approach might solve some of the issue.

Peace, Mooh.


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## Jocko (May 17, 2010)

I play my C chords with a variety of sounds. C as lowest, E as lowest, G as lowest. Whatever sounds good at the time. I also like the sound of the C as the bottom note and another C on the 1st string.
Or low E and top C....................................................................................!


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## Shark (Jun 10, 2010)

Typically, the root note _is_ the lowest note of a chord, when using a regular chordal voicing. All open chords and all of the straight-out major and minor barre chords are like that. However, it doesn't _have_ to be that way. And, in fact, when playing anything but strummy-strummy stuff, it's often preferable to have it not that way, especially on an electric guitar, where partial chords sound much better. Ultimately, as has been said, play the chords the way you want them to sound. In your example of the C major chord, many people will include the low G for a fuller sound. Feel free to leave notes out, too. Chords don't always have to include the three main chord tones (root, third, fifth), because the surrounding chords will pull it into context. I like to make up chords and then figure out just what the heck I'm playing in the progression's context.


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## jeremy_green (Nov 10, 2010)

In a band situation there are really only 2 notes (or more) notes that matter: The 3rd, and 7th - plus any extension (9, #5 etc)

The root - is typically held by the bass. You you playing it is somewhat redundant.
The 5th - is almost the same in function as the root - you can leave it out and the chord will still maintain the flavour. It is so consonant against the root note that it can almost be considered Root B

These 3rd + 7th and/or extension notes form 'shells' of the sound of the chord in question. There is just enough information there to get the flavour of the chord. In jazz soloing these notes are often referred to as 'guide tones'. Meaning like marker targets or notes to hit during an improv, on chord changes, to define the sound of the changes.

Bear in mind, there are NO RULES that are absolute. Any and all of these concepts will work better or worse depending on the musical situation. Judgement must always be used. Sitting around a campfir as Mark P suggests and strumming rootless shell voicings will get you some pretty bizarre looks. You need to remember how the song was written and if that means strumming 'cowboy chords' then by all means do. Serve the SONG first and everything else will fall into place.

I think it is important to make your own voicings - this will help define your style and help differentiate you from other players. Plus you learn a lot about fretboard geography in the process.

Take a CMaj7 chord, figure out what notes are in it (C, E, G, B). Now take some neck paper and circle every occurrence of these notes on the neck. Then challenge yourself to find as many different versions of this chord that you can work out within your hands reach (further if you tap a note!). Now do the same for other chords, before long you will be a chord-ing monster!!


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## simescan (May 15, 2007)

...Makes me wish I had taken "music" instead of "art", in high school :-(


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## jeremy_green (Nov 10, 2010)

Brother honestly I apply as many "art" skills if not MORE than I do music skills. It's all from the same place. The guitar is just another kind of paintbrush. 
Besides picking up the theory stuff is the easy part. That requires no skill just a memory and a desire to understand.


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## shoretyus (Jan 6, 2007)

You guys got secret club? .. The *real* reason...

Guitarists are lazy. By not doing a full stroke the can cover the same ground as the ukulele players


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## Mooh (Mar 7, 2007)

shoretyus said:


> You guys got secret club? .. The *real* reason...
> 
> Guitarists are lazy. By not doing a full stroke the can cover the same ground as the ukulele players


Secret club? Yes actually, and a secret handshake. Kinda like the Stonecutters (think The Simpsons).

Peace, Mooh.


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## shoretyus (Jan 6, 2007)

Mooh said:


> Secret club? Yes actually, and a secret handshake. Kinda like the Stonecutters (think The Simpsons).
> 
> Peace, Mooh.


 ... hey thanks for the thoughtfull and educating posts


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## Mooh (Mar 7, 2007)

Further to my first post...I have found that young untrained ears have more difficulty distinguishing between notes in the guitar's lowest octave, than between notes in the next two higher octaves. (Those low notes are closer in frequency too, fwiw.) They hear the note volume well, but don't hear the difference in pitch. Some training and experience with those notes however, usually (and quickly) educates their ears. The "muddy" bass range of their hearing cleans up as the brain learns to recognize low pitches. This is an area where those pesky chromatic exercises can help. Banging out chords with all that low end content is as percussive as it is melodic, so pitch definition can be almost immaterial to untrained or unconditioned ears. (None of this should be confused with what happens to aging ears and hearing loss.)

There was a discussion recently at the telecaster forum (I think, maybe it was the gear forum) about someone's bandmate who simply didn't hear those unwanted open notes when strumming all six strings. Seemed disasterous to me.

In any event, if it sounds good, do it; if it doesn't sound good, don't; and use the various kinds of what sounds good to embellish your arrangements. 

Peace, Mooh.


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## jeremy_green (Nov 10, 2010)

You are bang on Mooh.

I will also add what 'sounds good' in isolation - may NOT sound good in a group setting. It always depends on what else is going on. Especially with those low frequencies. 

I hear a LOT of guitarists with this thick full tone, lots of bass in the EQ. Sounds KILLING by itself... but as soon as the band starts all of a sudden WHAM the kick-drum disappears... also certain notes the bass player is playing. There becomes a general sonic haze over the whole band. You also see these guys messing with their volume a lot - because they can't hear themselves. 

Understanding how sound waves work is a big part of getting a great tone. All sounds need to have holes to live in. If you are playing solo, you likely want a broad frequency range - AND to use as many bass and open strings as possible. But the bigger the band the smaller your voicings should become. Otherwise they wont stand out. Listen for a second to what is going on. Is there a lot of low end? If so then play in the mid-to-high range (up the neck a bit). If there is a lot of treble-y stuff - the opposite. 

Sound is very organic and the slightest little thing can change the balance. Being aware of this is a huge advantage.


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## shoretyus (Jan 6, 2007)

jeremy_green said:


> You are bang on Mooh.
> 
> There becomes a general sonic haze over the whole band. You also see these guys messing with their volume a lot - because they can't hear themselves.
> 
> ...





Mooh said:


> Further to my first post...I have found that young untrained ears have more difficulty distinguishing between notes in the guitar's lowest octave, than between notes in the next two higher octaves. (Those low notes are closer in frequency too, fwiw.)
> Peace, Mooh.


Both you folks are right on. I can hear the notes of the guitar just fine but I am having a hard time distinguishing the lower notes on trombone ( newbie) . 

Also very good point Jeremy. Arrangement is the key. You are only one player in the band. Playing with a community band has brought that home big time. Reading written arrangements and hearing a chord played by the whole band not just one person ( or 2 or 3 playing the same chord) . I can practice my charts at home but sometimes it doesn't make sense until the whole band is playing it or I get a section of melody. 

I have always supported the idea "it's not what you play but what you don't play"


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## zontar (Oct 25, 2007)

jeremy_green said:


> I will also add what 'sounds good' in isolation - may NOT sound good in a group setting. It always depends on what else is going on. Especially with those low frequencies.


I have expperienced that--but try telling that to somebody who thinks they have come up with the coolest part ever, that turnes into mush with others.

Any way--it's also why I posted earlier that what strings you use in playing chords depends on what else is going on.
If I'm playing guitar with another guitarist I will use some different voicings and strmming than playing on my own or where I'm the only guitarist.

It will also vary with a keyboard player--some keyboard players add layers--which can work well, somme play more sparsely--which can work well also. Others just play everything, with no regard for the others they're playing with.

Of course I have encountered guitar players liek that as well.

One of my friends likes to do lots of fills and big voicings, so I leave him spaces to do that.
Another one leaves room for me to do more--so sometimes I do.
Another guitarist I used to jam with came up with cool riffs, and I would try to come up with other voicings & rhythms to fit his riffs, it worked well, I like it better thna just doubling his riffs.

I haven't played with any of them in a while though.

It's important to listen to what the others are doing and make your chord choices fit.


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