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DandelionPowderman
For people who don't play guitar (re piano keys):
When you play rock'n'roll/boogie, you'll often use barre chords. It's true that playing in A, E or D is somewhat easier. But if you use barre chords, like Chuck, it doesn't matter if you play in E, G or B. It's all the same.
For Keith's GS it's the same. The riff (how he plays it live) is partly barre chords, descending. The key doesn't matter, as the formations will be the same on a different spot on the guitar neck.
One reason for choosing an unusual key is often that it suits the range of your vocals better - like with a capo.
The "piano keys" is a misunderstanding when it comes to Chuck, imo.
That said, I don't doubt that Johnnie was instrumental in making music with him. Not at all...
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71Tele
Just listen to Carol or Queenie from Ya Yas. You can play the I, IV and V figures all on open strings, add a 7th and do runs, where if you are hacking away in A flat it's way more difficult (and certainly less fun).
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71TeleQuote
DandelionPowderman
For people who don't play guitar (re piano keys):
When you play rock'n'roll/boogie, you'll often use barre chords. It's true that playing in A, E or D is somewhat easier. But if you use barre chords, like Chuck, it doesn't matter if you play in E, G or B. It's all the same.
For Keith's GS it's the same. The riff (how he plays it live) is partly barre chords, descending. The key doesn't matter, as the formations will be the same on a different spot on the guitar neck.
One reason for choosing an unusual key is often that it suits the range of your vocals better - like with a capo.
The "piano keys" is a misunderstanding when it comes to Chuck, imo.
That said, I don't doubt that Johnnie was instrumental in making music with him. Not at all...
That's only part of it. You are leaving out the rather important issue of open strings. Care to play that boogie rhythm part in E flat? Not me, if I can move between the E and A pattern on a low open string. Gives me many more possibilities than barre chords. Just listen to Carol or Queenie from Ya Yas. You can play the I, IV and V figures all on open strings, add a 7th and do runs, where if you are hacking away in A flat it's way more difficult (and certainly less fun).
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Redhotcarpet
True but for one:
around and Around 1976 and 1977
Sounded much better in open G.
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DandelionPowderman
For people who don't play guitar (re piano keys):
When you play rock'n'roll/boogie, you'll often use barre chords. It's true that playing in A, E or D is somewhat easier. But if you use barre chords, like Chuck, it doesn't matter if you play in E, G or B. It's all the same.
Quote
71TeleQuote
DandelionPowderman
For people who don't play guitar (re piano keys):
When you play rock'n'roll/boogie, you'll often use barre chords. It's true that playing in A, E or D is somewhat easier. But if you use barre chords, like Chuck, it doesn't matter if you play in E, G or B. It's all the same.
For Keith's GS it's the same. The riff (how he plays it live) is partly barre chords, descending. The key doesn't matter, as the formations will be the same on a different spot on the guitar neck.
One reason for choosing an unusual key is often that it suits the range of your vocals better - like with a capo.
The "piano keys" is a misunderstanding when it comes to Chuck, imo.
That said, I don't doubt that Johnnie was instrumental in making music with him. Not at all...
That's only part of it. You are leaving out the rather important issue of open strings. Care to play that boogie rhythm part in E flat? Not me, if I can move between the E and A pattern on a low open string. Gives me many more possibilities than barre chords. Just listen to Carol or Queenie from Ya Yas. You can play the I, IV and V figures all on open strings, add a 7th and do runs, where if you are hacking away in A flat it's way more difficult (and certainly less fun).
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CBII
"What has been will be again,
what has been done will be done again;
there is nothing new under the sun."