There’s also the trick for fast songs.
3 finger G. Leave the 3rd finger anchored on the 6th string. Rock the 2nd finger up and down between the 5th and 4th strings. Making a very fast G to C switch.
The 5th string gets muted when playing the fast C.
Speedball Tucker is a good example. A lot of that song is back and forth, G,C. Very fast.
No one had shown that guy this technique either. 
I expanded his playing a bit. LOL
The short answer is that I do what works for the song. It’s a combo of the transitions I have to make, the harmony voicings I think fit the song, etc.
I probably focus too much on my transitions and fingers that can be anchored. It helps me play with more confidence and cleaner.
I don’t think much about the chord voicing. I know that I should. Even if it makes the song much harder to play.
I was just surprised this guy in church hadn’t been taught the pinky G and how it helps the change to C. A lot of artists in the sixties and seventies used it.
He seemed interested in what I showed him. Hopefully it’ll help his playing down the line.
I started learning Adele’ Rolling in the Deep last night.
Starts with palm muted power chords. Then open Barre chords. The dynamics are a bit tricky. Work with the singer to build up the volume slowly to get the right effect.
The rhythm is a bit unusual. All the chord changes come a half beat late. On the “1 and beat”. Gives it that edgy groove we associate with Adele’s version.
I’m using Justin Guitar’s lesson on YouTube.
A friend of my wife’s is the vocalist.
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I’ll also use a barred G depending on the song and what chord is next in the progression. I like the cheat G/C for songs like Back In Black ( on acoustic), or Goodbye Earl. Hmm, never thought of trying Adele…
“Open barre” seems like an oxymoron to me. Do you mean something like this?
Yes regular Barre chords based on standard open chord shapes (E & A) .
The song starts with power chords. I had to look them up. I so rarely use them in the styles that I play.
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My GK MB115 Bass came in yesterday. 200 W with a 15" speaker and treble horn.
Never thought I’d own a amp with this much power. I’m taking bass lessons and was told this much wattage is needed to get a rich & full bass tone.
It’s not volume I’m interested in. I have no desire to rattle the windows.
I plan to use it as my primary practice amp. Electric guitar, bass and maybe my Casio keyboard.
It’s not as portable as the Yamaha Acoustic amp I bought a few months ago. I take it to church regularly. Love that tiny lunchbox amp.
One question. Is it ok to leave the cable in the amp’s jack? Will that damage the spring lever in the jack over time? i.e. loose tension.
I normally unplug the cable. But I’ll be using this GK amp practicing daily. I always unplug the cable from the instrument. I wasn’t sure about the amp.
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Well, I have a couple of amps that I leave the cable plugged into, but I don’t really advise it. On a lot of newer amps, the jack is soldered into the board. The wear and tear of people stepping on the cable can make it break its solder joints. On top of that, a lot of the jacks are plastic, and can get broken easily. I’ve got one combo with a broken input jack from stepping on the cable.
Ok. I can unplug the cable and coil it up easily enough.
Just wanted to check.
It’s the nicest amp that I’ve ever owned. Got to baby it a bit. I got it plugged into a Tripp Lite voltage regulator/conditioner. It’s got a heavy transformer inside. I wanted to be sure the Amp got clean voltage.
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I keep my electric guitar and bass out on stands. I practice, for a short time, several times a day and need fast access. I try to practice anytime I have 15 or 20 mins free.
I’ve been draping a beach towel over the guitars. Trying to keep the dust out of the controls and pickups.
I found a interesting substitute for a towel on eBay. It’s called the Stand Bag. It’s a loose fitting bag designed to quickly slip over a electric guitar in a stand.
My wife is happy. 
It looks better in our living room then a beach towel draped over the guitar.
YMMV about it. But for $20 each, I figured it was worth trying. They have a bigger one for a full size bass. I have a short scale bass and the regular bag fits it.
I wish the neck was just a little bigger. So I could more quickly drop it over the guitar. But the bag does fit ok.
It can be tricky searching for it on eBay. Stand Bag brings up a bunch of golfing crap.
Otherwise I wouldn’t have provided a link. I’m not encouraging anyone to buy it. It does what I need. Other people may want to save money and make one of these. It would be a simple sewing project using maybe $5 in fabric.
There’s another seller that has a similar bag for Acoustic guitars on stands. It hasn’t come in yet. I’m hoping it fits as well as the bags for electric guitars.
As I always say, whatever keeps you playing! If you are a “keep them out” sorta person it sounds like a solid approach. Lots of folks like wall hooks and displaying them while keeping them accessible.
I keep mine cased. I grab them often, so needing them at hand has not been an issue for me. And with lightly-built, 80+ year old guitars, the case keeps the temp and humidity more stable.
After three years of lessons on technique, I’ve finally settled on blues as my genre of choice. There’s something deeply elemental and expressive about the music, and many different styles to look into. So far we’ve worked on SRV’s Pride and Joy, with that distinctive Texas strumming technique (muted down stroke; think of the riffs on ZZ Top’s La Grange), and some Chuck Berry riffs. It also gives my little Roland Cube a good workout playing with the gain and tone controls.
Yay. Nice to hear. Yah, the infamous Texas Shuffle. A great groove to have in the lexicon.
I was jamming with my drummer friend - we bang out big dumb rock grooves, with me filling in the sound, White Stripes style. I went to a Dropped D tuning and started slamming out Slither by Velvet Revolver. Just a fun, durable groove. But you know what? Playing in Dropped D is kinda linear and boring. You get a great low end growl that is so damn cool, but you then want to have your groove chords anchored on that sound. So you are moving you fingers up and down the neck in more of an up-and-down approach than a bluesier, anchor your hand and deliver type of groove. It kinda locks me in and makes it hard to drop in lead fills. Gotta see if I can break it open more.
Check out this exhibit of funky custom guitars: Not the kind of guitars that you see every day! (Pic heavy) | The Gear Page
They are a hoot, but nothing I’d ever have interest in, as a stereotypically traditional player who can’t think past a Telecaster.
Some interesting concepts there and I kind of liked the look of the inside out headstock. Structurally, I wonder how durable the would be unless you re-enforced it with cf or steel. Some of those paint jobs are unpretty.
Kinda blues related, some local teachers here have a blues band they put together and I saw them play about two weeks ago. I bought their first album and have been playing the snot out of it. State of Empire if you want a listen. I’m waiting for them to release their next album and heard a few tracks from it already; these guys are pretty damn good.
I’m trying mightily to not buy an Epi Wildkat Koa. I’m jonesing for this guitar in a bad way. If my tax return is what I think it will be, I may have to bring it home…
And lest you have any thought that fingerpicks are “training wheels,” and “real” finger picking players should go bare, Robby Krieger played bare-fingered throughout The Doors’
heyday, but adopted fingerpicks later and has been using them for 30 years now. (He’s never used a straight pick.)
Fingerstyle guys don’t mention the pain when a nail lifts up or breaks off into the quick. 
Alaska Picks or Fred Kelly’s freedom picks are a nice alternative. Especially for the occasional fingerstyle player.
I prefer flatpicking but a few songs call for finger picking.
I play fingerstyle but only use flesh, no nails or f-picks. Same with Mark Knopfler (because yeah, I can totally be mentioned in the same breath as him - stop laughing!!!)