Most brands offer a range of options, so if you see a capo you like, there’ll probably be one designed to fit your guitar. Ultimately your first consideration when choosing one of the best capos should be to choose one that fits your guitar. Generally, capos can be divided into radiused capos for rounder fretboards flatter designs, typically for shreddy SuperStrats and classical guitars and all-in-ones – capos that either accommodate different radiuses (such as the G7th) or incorporate both a flat surface and a rounded one into their design. In a perfect world every capo would apply even force across all six strings (and at every fret position), in order to prevent these problems. While each has its own benefits, suffice to say that different fretboard designs represent a compromise in capo design.įix a rounded capo on a flat fretboard (or vice versa) and you’ll end up with unwanted string buzz (the noise made where strings aren’t fully clamped) and poor tuning (where strings are pushed sharp from over-tightening the capo). Some guitars (like certain vintage Fenders) feature rounded boards, where others are near flat. Radius refers to the curvature of this vital part of your guitar. You might be confused by all this talk of fretboard radiuses, but you needn't be. (Image credit: Future) What is the fretboard radius? It’ll likely suit technically adept acoustic fingerstylists but we’d recommend it for any player seeking fresh inspiration. Still, if a capo can fuel new creative ideas, that alone makes it worth the price of entry. Also, unclamped strings can’t be fretted at the capo’d position which is a weird quirk above or below the capo is all gravy though. The SpiderCapo is suitable for any fretboard radius, but you’ll be adjusting pressure on each individual string – which is a relatively slow process. You can only capo one fret however, so more complex chordal tunings are not an option. You could, for instance, place a SpiderCapo at 2nd position, clamp the fretted strings of an open A chord and leave the others open – that’s open A tuning. The cimbalom solo was inspired by the performance of Hungarian cimbalom player Miklós Lukács.Unclamped strings can’t easily be played at capo’d fretĪ creative take on a humble device, the SpiderCapo allows you to clamp each string individually, in turn offering up a world of alternate tunings – many that you might not have otherwise tried. The work was composed in winter 2013-2014 at the invitation of Porto’s Casa da Musica, the Salzburg Internationale Stiftung Mozarteum and New World Symphony, America’s Orchestral Academy (Miami). Mozart’s themes are almost immediately remodelled in the chamber ensemble, the instruments of which were still unknown in the 18th century, and the musical journey is made especially adventurous in that the solo (whether played on the cimbalom or the marimba) is presented by a musical instrument which cannot have been used in the 18th century. Péter Eötvös presents these tunes to listeners in a clearly recognisable way but he immediately develops and transforms them. They are fragments, ideas for themes, which in their majority or not in the outlined form did not result in finished compositions. The initial tunes come from Mozart’s notebooks. A musical process, which reaches somewhere but does not end, beginning again and again in a different way, from different basic material throughout nine stages, evolves from the starting tune. The meaning of “da capo” is to return to the beginning and start again.
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