We know that Keith plays this in standard tuning with a capo on the 7th fret. But did he always? The capo does not seem to offer any advantages, other than to not put stress on the left hand when barring the main "B" chord and the second part of the main riff. On the other hand it seems to present some disadvantages, especially during the slow blues break in the middle where there are a lot of opportunities to hammer off notes, etc. Also, you can't get to the lower "E" boogie riff on the open E string with the capo on the 7th fret. So, my question: Has Keith always played "Rambler" this way (especially in '69?) or is this a more recent thing?

I don't know, but the Ya-Ya's tab book has it that way.

I'm not sure there was ever a performance of Midnight Rambler where he did not use a capo. he even used one in Hyde Park in 1969. I don't see any other way to play the song without a capo. you mentioned the advantages for having a capo but really the dvantages are crucial to the riff and the entire song. the pull off that happens in the A ( played as a D with the capo on 7) would be a complete pain in the ass to play without a capo. as far as the disadvantages you list including the boogie section in the middle.... I do not exactly see what you mean. I've never had any issues playing that section... and it's always sounded like the way Keith plays it.

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Justin
frankly I don't see any other way to play the song without a capo.

Me either, but I've never really tried that hard to figure out another way. I have messed around with it a few times, but not successfully. Mainly it just seemed unnecessarily difficult to try and play it without the capo.

I play it without a capo now. I like to have that lower "E" available when I want to change things up, and I like playing the blues licks on the regular "B" position instead of the open "E" position (as capo'd on the 7th fret).



Edited 1 time(s). Last edit at 2013-03-02 07:36 by 71Tele.

The capo just basically means that a player can take advantage of open sustaining string like things if they want to.

The capo also frees the index finger from having to barre the chord, so things can be played with a capo in a similar way to playing in the first position and the capo can shift the key.

All a capo is, is a movable guitar nut which is also simulated by the index finger barre used for barre chords.

Tapping is basically just a movable guitar nut (movable capo) version of open string hammer ons.

Playing in the first position E chord, there are open sustaining strings available.

Move the capo (guitar nut) up to the 7th fret and there are the same sort of open sustaining string like things available but it's a B chord instead of the first position E chord.

Keith wouldn't be that worried about using the open E string because the band fills in any possible holes.

Keith and his 5 string open G tuning with no E string, works with the band.

This player is playing it with a index finger barre at the 7th fret which could easily just be replaced with a capo at the 7th fret.








Edited 1 time(s). Last edit at 2013-03-02 09:21 by howled.

Exactly. With a capo you can play both A or A9, with an open E string, the second chord. A bit more difficult to do without a capo.
Keith does both A and A9 on LiB (and Ya Ya's), so the capo is in VII there.

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71Tele
We know that Keith plays this in standard tuning with a capo on the 7th fret. But did he always? The capo does not seem to offer any advantages, other than to not put stress on the left hand when barring the main "B" chord and the second part of the main riff. On the other hand it seems to present some disadvantages, especially during the slow blues break in the middle where there are a lot of opportunities to hammer off notes, etc. Also, you can't get to the lower "E" boogie riff on the open E string with the capo on the 7th fret. So, my question: Has Keith always played "Rambler" this way (especially in '69?) or is this a more recent thing?

But how can you play the second A chord with hammer-on without a capo? You need 4 fingers there -so you can do it without the barre, but that's not how Keith plays it. Of course you can play the riff in many ways, with and witout capo, even in open G or E, but if you want to play it like Richards does, you need a capo.

The funny thing is that a capo does have disadvantages, and it does limit the possibilities, but that basically is the strength of Keith Richards: limiting himself and still coming up with something new, something you and I won't come up with.

Mathijs

Many years ago I asked Keith about open G,he told me to put the E string instead the A string.The A string in the trash.I tried and it sounds better.It is also better for the guitar.
JACK

On Ladies & Gents, Keith seems to have his capo on the 4th or 5th fret for MR. The player in Howled's video is just making it harder to play by barring instead of capo'ing.



Edited 1 time(s). Last edit at 2013-03-02 12:04 by Father Ted.

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JMARCOU
Many years ago I asked Keith about open G,he told me to put the E string instead the A string.The A string in the trash.I tried and it sounds better.It is also better for the guitar.
JACK

OK, but MR is in standard tuning. With capo although it's possible to play without capo. Keith uses a capo. Standard. And I knew Justin would answer ><

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Father Ted
On Ladies & Gents, Keith seems to have his capo on the 4th or 5th fret for MR. The player in Howled's video is just making it harder to play by barring instead of capo'ing.

just not possible. Keith will not randomly change position the capo like that. you are conveniently forgetting that by moving the capo you are changing the key of the song. by bring it down to the fifth fret that brings the song to the key of A... and then to G# if it were down to the fourth fret.. simply impossible. the ripple effect will affect the entire band not to mention mick having to change harmonica keys. there is no way to play the song besides Capo 7, standard tuning

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71Tele
I play it without a capo now. I like to have that lower "E" available when I want to change things up, and I like playing the blues licks on the regular "B" position instead of the open "E" position (as capo'd on the 7th fret).

I see your point but the main objective of the song really is the rhythm playing not so much any lead licks. the capo may be an issue for the lead solo work for some but it works perfectly fine for all the rhythm throughout the entire song from beginning to end.



Edited 1 time(s). Last edit at 2013-03-02 13:18 by Justin.

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Mathijs

But how can you play the second A chord with hammer-on without a capo?

Mathijs

Quite simple as I stated in my post: by playing it as a bar-chord. It is a fingering type commonly used by classical guitarists, but a bit more unusual to execute for the average rock guitarist. Not impossible though.

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Justin

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Father Ted
On Ladies & Gents, Keith seems to have his capo on the 4th or 5th fret for MR. The player in Howled's video is just making it harder to play by barring instead of capo'ing.

just not possible. Keith will not randomly change position the capo like that. you are conveniently forgetting that by moving the capo you are changing the key of the song. by bring it down to the fifth fret that brings the song to the key of A... and then to G# if it were down to the fourth fret.. simply impossible. the ripple effect will affect the entire band not to mention mick having to change harmonica keys. there is no way to play the song besides Capo 7, standard tuning

Ahh, don't be so strung up about it

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VT22

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Mathijs

But how can you play the second A chord with hammer-on without a capo?

Mathijs

Quite simple as I stated in my post: by playing it as a bar-chord. It is a fingering type commonly used by classical guitarists, but a bit more unusual to execute for the average rock guitarist. Not impossible though.

Umm..that that little move during that A chord is really a pull off not a hammer on. with the capo on 7...the cord is played like a D chord and you are pulling off the middle finger

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Father Ted
On Ladies & Gents, Keith seems to have his capo on the 4th or 5th fret for MR. The player in Howled's video is just making it harder to play by barring instead of capo'ing.

That's how I learned it capo at 5th fret open g, barring the 7th and then descending to the C at the 5th fret... maybe these days KR does differently.

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Justin

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VT22

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Mathijs

But how can you play the second A chord with hammer-on without a capo?

Mathijs

Quite simple as I stated in my post: by playing it as a bar-chord. It is a fingering type commonly used by classical guitarists, but a bit more unusual to execute for the average rock guitarist. Not impossible though.

Umm..that that little move during that A chord is really a pull off not a hammer on. with the capo on 7...the cord is played like a D chord and you are pulling off the middle finger

So what? Without a capo, make the A/A9 a barred "D-chord", in pos VII with your middle, ring and pinky finger, and make a pull off with your ring finger. It's the same harmonically, and a matter of technic. I would prefer a capo though, as this sounds a bit artificial without a capo, unless you are Julian Bream.
I didn't say it's a hammer on.

On Ya Ya's, during the intro and verses it's not a pull off btw, you can Keith clearly hear stroking the chord twice, A - A9, but that's less important.

I understand the purpose of the capo and that it makes the main riff easier to play. I was just pointing out the disadvantages, like being unable to play the rhythm riff over the E chord using the lower position. You can do the main riff without a capo, but it means you are limited to the high three strings on the "D" to D9 chord shape, as it's physically impossible to barre and do that.

In one of my bands, I actually play Route 66 in the key of A with a capo on the 5th fret, Rambler style. Quite unnecessary, but it makes it easier to slash away without having to lay down the bass notes with the index finger all the time. Sometimes I even bang on all strings with only the capo and no fingers on the fretboard like one would do in open G (I believe Keith does that on Midnight Rambler on occasion). It's punky and fun!

Do an upstroke on the D barre chord, followed by a quick downstroke on the D9 barre chord (which I would play together with the D and A-string as well), and it will sound good. Not as good as with the capo, though. That open E-string makes the magic.

Why do you need the dark E-string for the boogie, Tele?

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71Tele
You can do the main riff without a capo, but it means you are limited to the high three strings on the "D" to D9 chord shape, as it's physically impossible to barre and do that.

It's physically possible to copy without a capo the way Keith does that with a capo, but is it worth it..If you want to sound like Keith you have to play like him, or just do it your way.


[www.amazon.com]

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Justin
there is no way to play the song besides Capo 7, standard tuning

True. Only way to play it like Keith plays it and always have played it. To get the uptempo part right its (almost) impossible to play it without capo.

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71Tele
I understand the purpose of the capo and that it makes the main riff easier to play. I was just pointing out the disadvantages, like being unable to play the rhythm riff over the E chord using the lower position. You can do the main riff without a capo, but it means you are limited to the high three strings on the "D" to D9 chord shape, as it's physically impossible to barre and do that.

Actually you can drop the capo and play the mid part, the fast boogie uptempo riff. You can pull it off without capo or finger over the fret, its basically three strings but its pointless. And it wont sound right on the slow parts, and the riff wont sound right (the high E string wither inaudible or half muffed or audible but not with that ringing tone). I mean its just making things harder and worse sounding.