The Chetboard

I've been working on Martha with CB poster and regular nice guy from OK, Steve Sanders (we gotta get him to come to CAAS sometime) - and, the tune is full of "half-step-up" diminished chords which Chet used all the time - and, I have fought with myself how to finger them for years. I finally want to "step up" and program myself to play them the "proper" way.

I wonder how Chet played these? With his thumb or 2nd finger on the 6th fret of the bass string? (in the key of A)

-------------------
---7-(2)----5-----------
---6-(3)---------------
---5-(1)--------------
-------------------
---6-(t)---------------

Or
-------------------
---7-(4)----5-(1)----------
---6-(3)---------------
---5-(1)--------------
-------------------
---6-(2)---------------

How do youz guys play these? Anybody know how Chet played them?

Palmer

Palmer, I think that Chet often barred them. Take a look at Muskrat Ramble. I think that's where I saw the barres. LMark

For the diminished chord shape you have referenced above, I think Chet played the 6th string with his thumb (when playing electric guitar) and with his 2nd finger (when playing classical guitar). On the video of Paul playing Georgia Camp Meeting, you can see Paul play the D#-dim chord at the eleventh fret with his thumb.

I think the best thing is for each person to decide what works best for them. While playing an F#-dim with your thumb at the 2nd fret is not too tough, the D#-dim at the 11th fret may be much more challenging. It depends on the size of your hands.

Thanks,
Jeff Stovall

Jeff you are correct, Daddy made the half dim both ways, he showed me how to play the same cord in both positions as well. The form of a cord really has a lot to do with whats going on in the tune, and tempo for sure, either shape will work.

Best regards,
Micah Yandell

Micah,

So very nice to see you on the board! I trust you know your Dad was loved by all.

My very best wishes for you and your Mom,
Bruce Keener

Thank you Bruce!

Thanks, guys - I was afraid y'all were going to say "both ways." Yea, fretboard position and the width of the guitar does make one easier than the other. It probably also "Depends" (lol) on where they were coming from - and, going to next. I guess it just boils down to more practice, practice, practice. And, it would probably help if I had real talent and hands the size of Chet's and your dad's, Micah.

I sometimes grab a "bit" of that dim out of a major barr chord, too, Mark - when I'm chording along with somebody and I'm lazy - leaving out the upper note - which means it's pretty much just a half step up with the bass note - which does give the "essence" of the dim - but, when you are playing solo you need the whole chord... ARG!

I guess I've just been buying more guitars hoping that one of them would play this demolished stuff by itself... (lol) The other one that I've been avoiding all my musical life is the dim that you wheel off a major chord that has a bass note on the A strang... Like a D to whatever dim is a half step above that - which is the other thing I obviously have been avoiding - naming those devils properly. (What's the trick to that?)

--5----5--------------
--7----7--------------
--7----5--------------
--7----7--------------
--5----6--------------
--------------------

I can't just "grab" it - I have to lay down my fingers one at a time.

I sometimes wonder why I have wasted 40 years pretending I like this pain. "Just sittin' in the basement - stealin' from Chet."

Palmer

Time well wasted Palmer!
You play great my friend.
Mark

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RH thumb and three fingers is all you need to make some giant chords. Playing the fifth string would only "diminish" the power of the diminished chord in this position, IMHO, even if you could finger it somehow. Ditto first string. You can do a lot with the pinky from this position, though. But maybe I'm answering the wrong question, Palmer. Oh well . . . . LMark

"Re: How did Chet play these demolished chords?" When I play it sounds like demolished chords.