DADGAD Fingering Help - "Fields Of Gold"

[Steve Berger]

As some may know, Pete Huttlinger does a great version of "Fields of Gold" in DADGAD. It is included on his "Naked Pop" recording and in one of his earlier songbooks.

I've been trying to work through this song for awhile and am finding it pretty challenging. Pete lays out a TAB version and includes the chords (but not the suggested fingerings.)

Without going into a lot of detail in this message, if anyone plays this version and would be willing to share your recommendations for the left-hand chord fingerings (I'm a righty and pick with my right hand) . . . I would be very appreciative.

PM me and I'll let you know which chords I'm struggling with, or we can do it in the thread . . . either way. Thanks in advance for any input.

[mmmaak]

I haven't tried this one yet, but I do have my guitar tuned to DADGAD at the moment. Sot tell me which bar numbers you're having trouble with and I'll figure out the fingerings for you

[Steve Berger]

I haven't tried this one yet, but I do have my guitar tuned to DADGAD at the moment. Sot tell me which bar numbers you're having trouble with and I'll figure out the fingerings for you

Pretty much any/every Bm or Bm9 and any/every G(add9).

In DADGAD, it seems to me the Bm7 at the second position is played pretty much like a F#m in Standard Tuning.

That is obviously an easy fingering in Standard, but using the same Standard type fingering for Bm (measure 16) in this song does not put you into a good position to play the next chord "G" (last 1/2 of measure 17) for example.

There are many other examples in the song.

The bottom line is that to make easier chord transitions requires you to play the Bm in DADGAD at the 2nd position using a two fret stretch between the 1st and 2nd fingers and that is not easy for me.

(Hope this makes sense. I just read it and I'm not certain it does.)

[mmmaak]

Like many of Pete's arrangements, you'll have to be a little stretchy to play this right - or risk it sounding choppy. I'm off to work now and will get back to you later

Maybe someone will chip in in the meantime. You should probably play the Bm7 with your first 3 fingers.

[Doug Young]

I took a quick look at this, I think the trick is to move a bit, don't get locked into chord shapes. I find it a pretty easy transition. Measure 15, I'd finger with fingers 1,3,4 like a power chord. Then in measure 16, lift your 4th finger and move it over to the 2nd string, keeping your 3rd finger on the F# on the 4th string. You can do this as the last note of measure 15, the open A, is being played.

Then for the G chord, just swing your 4th finger over to the bass note, and play the 2nd string B with your 1st finger. I'm guessing that Pete continues to hold the F# until you need the open D, but maybe not. That G chord may feel like a stretch if it's new to you, but it shouldn't be very hard, and you'll get used to it.


Now, on the other hand, at the beginning of the tune, he must be fingering the Bm9 with all 4 fingers, so he might indeed be using fingers 1,2,3 for the rest of the Bm9's to be consistent.

[ScottAllyn]

Lovely... the Pete Huttlinger Collection songbook has apparently been under my desk for quite some time and is now one of the bengal's chew toys. The tabs are intact, but the book just looks silly.

The only way that I can see to do that Bm9 at the beginning is with all four fingers, like Doug pointed out, and that 2 fret stretch between the 1st and 2nd fingers is indeed awkward! I can't actually do it without taking half a second to position my fingers but I bet with some repetition, we'll be able to nail it. It's definitely one of those chords where I need to have the thumb behind the fretboard - no choking up on the neck for this one!

[Steve Berger]

Like many of Pete's arrangements, you'll have to be a little stretchy to play this right - or risk it sounding choppy. I'm off to work now and will get back to you later

Maybe someone will chip in in the meantime. You should probably play the Bm7 with your first 3 fingers.

Thanks mmmaak

I took a quick look at this, I think the trick is to move a bit, don't get locked into chord shapes. I find it a pretty easy transition. Measure 15, I'd finger with fingers 1,3,4 like a power chord. Then in measure 16, lift your 4th finger and move it over to the 2nd string, keeping your 3rd finger on the F# on the 4th string. You can do this as the last note of measure 15, the open A, is being played.

Then for the G chord, just swing your 4th finger over to the bass note, and play the 2nd string B with your 1st finger. I'm guessing that Pete continues to hold the F# until you need the open D, but maybe not. That G chord may feel like a stretch if it's new to you, but it shouldn't be very hard, and you'll get used to it.


Now, on the other hand, at the beginning of the tune, he must be fingering the Bm9 with all 4 fingers, so he might indeed be using fingers 1,2,3 for the rest of the Bm9's to be consistent.
__________________
Doug Young

Thanks Doug . . . I'll give that a go!

[Steve Berger]

Lovely... the Pete Huttlinger Collection songbook has apparently been under my desk for quite some time and is now one of the bengal's chew toys. The tabs are intact, but the book just looks silly.

The only way that I can see to do that Bm9 at the beginning is with all four fingers, like Doug pointed out, and that 2 fret stretch between the 1st and 2nd fingers is indeed awkward! I can't actually do it without taking half a second to position my fingers but I bet with some repetition, we'll be able to nail it. It's definitely one of those chords where I need to have the thumb behind the fretboard - no choking up on the neck for this one!

Thanks ScottAllyn. I hear you. That two fret stretch is tough for me and really tires my hands out quick. I've been working on it for awhile and not showing much improvement.

On a different subject. I see that you have a PM20 that is refinished. I've got a PR12 myself that I don't play much for the (probably) silly reason that it has a gloss top and satin back and sides. Asa result I've been thinking about getting the back and sides refinished and glossed up.

[ScottAllyn]

Originally Posted by GoodGuy

On a different subject. I see that you have a PM20 that is refinished. I've got a PR12 myself that I don't play much for the (probably) silly reason that it has a gloss top and satin back and sides. Asa result I've been thinking about getting the back and sides refinished and glossed up.

The PM20 had a case of the notorious Tacoma Finish Blisters and was completely refinished by Fender, under warranty. They apparently pulled the neck and bridge off, stripped off all of the old finish, sanded and filled, and then applied the new finish. The end result is rather impressive - it looks like a brand new guitar!

Going that route just to gloss up your back & sides seems like major overkill and won't be cheap. You could try "Orsinoizing" the back and sides - the gloss won't be show room quality but it'll still look nice and won't be "swishy" (if that's the reason for your dislike of the satin finish). I think someone started a thread here recently about buffing out their satin finish...

[mmmaak]

Hi Steve,

I'd gladly send you a digital copy of the tab with my suggested fingerings, but I don't have a tab editor on my office computer. So let me see if I can explain it adequately in words.

These fingerings are based on what he plays (or rather, the dynamics and note durations) in the actual recording:

Bar 1:
Play the Bm7 (24400) using fingers 123 so that you can add your pinky in Bar 5 to make it a Bm9 (24440)

Bar 9:
Play the Bm7 (24400) using fingers 123. At the end of the bar, quickly release the chord and fret the 2nd string, 4th fret with your middle, 2 (you can hear the release on the recording)

Bar 10:
Fret the 54 with fingers 13.

Bar 11:
The 2^4 is actually a slide, not a hammer-on (probably applies to some of the rest as well). Play it with your ring, 3, so that you're in position for the next bar.

Bar 12:
Fret 42 with fingers 31 (from the previous slide).

Bar 14:
I believe the 2 should be played as an open 2nd string (same note, different string) since it rings out in the recording.

Bar 15:
Fret 24 with fingers 13, but make sure you release your index, 1 before playing the next two notes; otherwise, the implied chord would sound wrong (minorish).

Well, that's all for now. Let me know if you need any help figuring out the rest

[gordee]

I don't know the song so I can't say how close this is but it may be of some help.

http://www.youtube.com/watch?v=D0IyP...eature=related

[mmmaak]

Originally Posted by gordee

I don't know the song so I can't say how close this is but it may be of some help.

http://www.youtube.com/watch?v=D0IyP...eature=related

While the notes are in place, that rendition suffers from some of the "choppiness" I mentioned earlier that results from non-optimal fingerings (no offence to the guy in the video, just my observation!)

Not that my suggested fingerings are "correct" but they allow me smooth transitions that keep arrangement intact. You might have to tweak them based on your own style, of course

[Steve Berger]

Hi Steve,

I'd gladly send you a digital copy of the tab with my suggested fingerings, but I don't have a tab editor on my office computer. So let me see if I can explain it adequately in words.

These fingerings are based on what he plays (or rather, the dynamics and note durations) in the actual recording:

Bar 1:
Play the Bm7 (24400) using fingers 123 so that you can add your pinky in Bar 5 to make it a Bm9 (24440)

Bar 9:
Play the Bm7 (24400) using fingers 123. At the end of the bar, quickly release the chord and fret the 2nd string, 4th fret with your middle, 2 (you can hear the release on the recording)

Bar 10:
Fret the 54 with fingers 13.

Bar 11:
The 2^4 is actually a slide, not a hammer-on (probably applies to some of the rest as well). Play it with your ring, 3, so that you're in position for the next bar.

Bar 12:
Fret 42 with fingers 31 (from the previous slide).

Bar 14:
I believe the 2 should be played as an open 2nd string (same note, different string) since it rings out in the recording.

Bar 15:
Fret 24 with fingers 13, but make sure you release your index, 1 before playing the next two notes; otherwise, the implied chord would sound wrong (minorish).

Well, that's all for now. Let me know if you need any help figuring out the rest
__________________

HI mmmaak, first of all thanks for helping me with this song. I've been a little under the weather so I am finally getting around to giving it a go.

When you get a chance, PLEASE give me your input on Bar 16 and Bar 17. That transition is one of very hardest for me.

Here is my take on your input so far:

Bar 1 - I play it the same

Bar 9 - I use my pinky (4) to play the 2nd string, 4th fret at the end.

Bar 10 - I use 4 & 3

Bar 11 - I play it the same

Bar 12 - I play it the same

Bar 14 - I use 1 to play 3rd string at the 2nd fret but I think your way (open 2) sounds better.

Bar 15 - I play it the same

THANKS AGAIN!

Steve

[smilinjack]

Greetings,
Anyone willing to share this tab with Me or swap for some good arrangements?

Jack