Originally Posted by musiclover
Originally Posted by Matt Finley
Haven’t heard anything. Haven’t looked either.

A quick question about playing tablature, if you don’t mind. I understand the theory and always wondered if there could be some mathematical analysis of playing a passage that would result in the least finger movement. My question is, are there cases where this is not what you want? Where finger patterns are better even if there is more total ‘reaching’?

For example, you might look at a trumpet player and assume any of the three valves is equally easy to play. Any pro trumpet player who says they are is lying. The first and second are far easier than the third, and it’s a good thing the third is used less. However, I often use alternate fingerings in quick passages where the total movement is easier. Hard to explain unless you play. Woodwinds are a better example, with all the two pinky fingers are expected to do. Fourth finger is the worst.

Anything like that in the string world?

I don't know if there is any software that will do a mathematical analysis of the best position to play a solo note piece on the guitar for example, but when I do look at tab, I am always trying to figure out where it will fall more naturally under the fingers without jumping around the fretboard like a demented spider.

Then there is the added thing to take into consideration where it will sound the best, as the same note but on different strings will sound somewhat different in tone Musical Timbre maybe.

+1.
Stringed instruments afford the ability to find a certain note (pitch) in more than one spot. Each selection provides a different timbre to the note and often different harmony options. On a guitar finding where a melody (and harmonization) lies "best" is both a great exploration and sometimes frustration. Learning to play an arrangement (especially with harmonies) in 2 or 3 different places is a capability on guitar that definitely separates the men from the boys.

Sometimes when learning a guitar cover, you may have to fiddle with where you play it to more closely approximate how a particular artist played it. Just playing the notes correctly is, at some level, not enough. It's got to feel like Carlos Santana, albeit with your personal sauce.

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