Capo (musical device): Difference between revisions
No edit summary |
added G7th capo picture and link |
||
| Line 15: | Line 15: | ||
[[image:Guitar capo (shubb)-KayEss-1.jpeg|thumb|left|A [[Shubb]] capo which uses a lever operated ''over-centre locking action'' clamp]] |
[[image:Guitar capo (shubb)-KayEss-1.jpeg|thumb|left|A [[Shubb]] capo which uses a lever operated ''over-centre locking action'' clamp]] |
||
[[image:G7th-capo.jpg|thumb|left|A G7th capo which uses a Wrap Spring Clutch mechanism to allow easy operation'']] |
[[image:G7th-capo.jpg|thumb|left|A [http://www.g7th.com/ G7th capo] which uses a Wrap Spring Clutch mechanism to allow easy operation'']] |
||
Because of the different techniques and chord voicings available in different keys, the same piece may sound very different played in D or played in C with a capo at the second fret (at the same actual pitch). Additionally, the [[timbre]] of the strings changes as the scale length is shortened, suggesting other short-scaled stringed instruments such as the [[mandolin]]. Therefore the use of a capo is as much a matter of artistic expression as of technical expediency. |
Because of the different techniques and chord voicings available in different keys, the same piece may sound very different played in D or played in C with a capo at the second fret (at the same actual pitch). Additionally, the [[timbre]] of the strings changes as the scale length is shortened, suggesting other short-scaled stringed instruments such as the [[mandolin]]. Therefore the use of a capo is as much a matter of artistic expression as of technical expediency. |
||
| Line 24: | Line 24: | ||
For guitar playing, some styles such as [[flamenco]] and British/American [[folk music]] make extensive use of the capo, while it is used very rarely, if at all, in other styles such as [[classical guitar|classical]] and [[jazz]] playing. |
For guitar playing, some styles such as [[flamenco]] and British/American [[folk music]] make extensive use of the capo, while it is used very rarely, if at all, in other styles such as [[classical guitar|classical]] and [[jazz]] playing. |
||
Variations in the design of capos allow a range of advantages to players. A capo with two rollers, one over the neck and one under, facilitates quick key changes in the middle of tunes or sets. This is a particular advantage in playing Irish music on the guitar, as it enables the player to move quickly between keys without sacrificing drone strings. Clamp-style capos fitted from the side of the neck (as distinct from those which encircle it) can be placed so as to leave one or two strings open. This gives some of the advantages of variant tunings (such as a capoed [[Drop D tuning|dropped D]]), without requiring a change in fingering of chords above the capo. Capos with fine adjustment of the clamping force have the advantage of being less likely to upset the tuning of the instrument. As well as the Shubb capo, the newer [http://www.g7th.com/ G7th capo design |
Variations in the design of capos allow a range of advantages to players. A capo with two rollers, one over the neck and one under, facilitates quick key changes in the middle of tunes or sets. This is a particular advantage in playing Irish music on the guitar, as it enables the player to move quickly between keys without sacrificing drone strings. Clamp-style capos fitted from the side of the neck (as distinct from those which encircle it) can be placed so as to leave one or two strings open. This gives some of the advantages of variant tunings (such as a capoed [[Drop D tuning|dropped D]]), without requiring a change in fingering of chords above the capo. Capos with fine adjustment of the clamping force have the advantage of being less likely to upset the tuning of the instrument. As well as the Shubb capo, the newer [http://www.g7th.com/ G7th capo] design has this feature and is simply squeezed to provide the required clamping force. |
||
One of the more radical developments in capo design in recent years is the partial capo made by the [http://www.thirdhandcapo.com/ Third Hand Capo Company]. This model allows each string to be stopped individually, and can be used in conjunction with other capos, either of the same type or of conventional design. In theory this puts a vast number of variant tunings at the player's disposal. In practice it is most often placed either on the 2nd fret of the 3rd, 4th and 5th strings (producing the effect of [[DADGAD]] tuning raised two [[semitone]]s), or on the 2nd fret of the 2nd, 3rd and 4th strings (open A major). Again, this requires no change of fingering above the capo. A little experimentation with the two methods of producing variant tunings (partial capo or actual retuning) will show that each has its own advantages. |
One of the more radical developments in capo design in recent years is the partial capo made by the [http://www.thirdhandcapo.com/ Third Hand Capo Company]. This model allows each string to be stopped individually, and can be used in conjunction with other capos, either of the same type or of conventional design. In theory this puts a vast number of variant tunings at the player's disposal. In practice it is most often placed either on the 2nd fret of the 3rd, 4th and 5th strings (producing the effect of [[DADGAD]] tuning raised two [[semitone]]s), or on the 2nd fret of the 2nd, 3rd and 4th strings (open A major). Again, this requires no change of fingering above the capo. A little experimentation with the two methods of producing variant tunings (partial capo or actual retuning) will show that each has its own advantages. |
||
Revision as of 18:09, 16 November 2006
- This article is about the device for stringed instruments. For the Mafia term, see caporegime.
A capo (short for capotasto, Italian for "head of fretboard") is a device used for shortening the strings, and hence raising the pitch, of a stringed instrument such as a guitar, mandolin or banjo. There are several different styles of capo available, utilizing a range of mechanisms, but most use a rubber-covered bar to hold down the strings, fastened with a strip of elastic or nylon, a cam-operated metal clamp, or another device. Alternative terms are capo d'astro and capodastro, also Italian.
A simple version can be made with a pencil and a rubber band. Lay the pencil across the strings at the desired fret, and holding it in place by wrapping the rubber band around both ends and underneath the fretboard.
Explanation
Capos are used to change the key and pitch of a guitar sound without having to adjust the strings with the tuning keys.
With 12-string guitars a capo used to be necessary to play in tune with a six-string because manufacturers would strongly recommend that the instrument not be tuned above a tone below standard guitar tuning to reduce stresses on the neck. Modern 12-strings can be tuned up to pitch with ultra light gauge strings, but many players still prefer to tune a tone lower and use a capo to play in tune with six-string or bass guitars.
-KayEss-1.jpeg)
Because of the different techniques and chord voicings available in different keys, the same piece may sound very different played in D or played in C with a capo at the second fret (at the same actual pitch). Additionally, the timbre of the strings changes as the scale length is shortened, suggesting other short-scaled stringed instruments such as the mandolin. Therefore the use of a capo is as much a matter of artistic expression as of technical expediency.
The use of a capo also obviates the need to learn a song in several different keys if accompanying singers sing at different pitches.
For guitar playing, some styles such as flamenco and British/American folk music make extensive use of the capo, while it is used very rarely, if at all, in other styles such as classical and jazz playing.
Variations in the design of capos allow a range of advantages to players. A capo with two rollers, one over the neck and one under, facilitates quick key changes in the middle of tunes or sets. This is a particular advantage in playing Irish music on the guitar, as it enables the player to move quickly between keys without sacrificing drone strings. Clamp-style capos fitted from the side of the neck (as distinct from those which encircle it) can be placed so as to leave one or two strings open. This gives some of the advantages of variant tunings (such as a capoed dropped D), without requiring a change in fingering of chords above the capo. Capos with fine adjustment of the clamping force have the advantage of being less likely to upset the tuning of the instrument. As well as the Shubb capo, the newer G7th capo design has this feature and is simply squeezed to provide the required clamping force.
One of the more radical developments in capo design in recent years is the partial capo made by the Third Hand Capo Company. This model allows each string to be stopped individually, and can be used in conjunction with other capos, either of the same type or of conventional design. In theory this puts a vast number of variant tunings at the player's disposal. In practice it is most often placed either on the 2nd fret of the 3rd, 4th and 5th strings (producing the effect of DADGAD tuning raised two semitones), or on the 2nd fret of the 2nd, 3rd and 4th strings (open A major). Again, this requires no change of fingering above the capo. A little experimentation with the two methods of producing variant tunings (partial capo or actual retuning) will show that each has its own advantages.
The five-string banjo, with its short fifth string, poses a particular problem for using the capo. For many years now it has been possible to buy a specialised fifth-string capo, consisting of a narrow metal strip fixed to the side of the neck of the instrument, with a sliding stopper for the string.