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And miss the opportunity to tie it into the music reading theme in this thread?
That would have been a shame. Luckily I saved you from that embarrassment.
And miss the opportunity to tie it into the music reading theme in this thread?
That would have been a shame. Luckily I saved you from that embarrassment.
My credibility in this thread has been shot since the very first post
My credibility in this thread has been shot since the very first post
Nothing a little sight reading couldn't cure.
The formatting is lost, but this is my music for a "new" chart we will be performing tonight without rehearsal. I suspect a good number of folks here wouldn't need any more either. It's not tab or sheet music and I will be reading it with instrument in hand for the first time in front of a paid audience, and they won't know or care that before today I'd never even heard of this chart. It's one sheet of paper and large enough print to read in low light and contains everything I need to know.
Tab would be a horrible way to do this.
Big City
Tab would be a horrible way to do this.
Big City
Written by Merle Haggard and Dean Holloway
c1981 Shade Tree Music
Performed by Merle Haggard
Verse 1:
E E A A
I'm tired of this dirty old city.
E E E B B
Entirely too much work and never enough play.
E E A A
And I'm tired of these dirty old sidewalks.
E B E E
Think I'll walk off my steady job today.
Chorus:
E A A E E
Turn me loose, set me free, somewhere in the middle of Montana.
E E B B
And gimme all I got comin' to me,
E E A A E E
And keep your retirement and your so called social security.
E B E E
Big City turn me loose and set me free.
Verse 2:
Been working everyday since I was twenty.
Haven't got a thing to show for anything I've done.
There's folks who never work and they've got plenty.
Think it's time some guys like me had some fun.
Chorus
c1981 Shade Tree Music
Performed by Merle Haggard
Verse 1:
E E A A
I'm tired of this dirty old city.
E E E B B
Entirely too much work and never enough play.
E E A A
And I'm tired of these dirty old sidewalks.
E B E E
Think I'll walk off my steady job today.
Chorus:
E A A E E
Turn me loose, set me free, somewhere in the middle of Montana.
E E B B
And gimme all I got comin' to me,
E E A A E E
And keep your retirement and your so called social security.
E B E E
Big City turn me loose and set me free.
Verse 2:
Been working everyday since I was twenty.
Haven't got a thing to show for anything I've done.
There's folks who never work and they've got plenty.
Think it's time some guys like me had some fun.
Chorus
It goes into a 3 ring binder, not my Ipad.
I didn't check, but I've probably got it in Guitartapp already*. This is for a specific band that doesn't do high or any other sort of tech.
*Just checked, it's there.
I didn't check, but I've probably got it in Guitartapp already*. This is for a specific band that doesn't do high or any other sort of tech.
*Just checked, it's there.
Well lucky for you that you play bass. So when you're working on those beginning reading exercises you'll mostly be down in the lower register where it's safe!
Ever notice which register is physically lower? Maybe he needs to read the upper range of the bass to stay down low.
I've got a question for those that believe tablature has no place at all........
I'm not trolling, i am genuinely interested how standard notation could tell you how to play this chord properly.
I'd also be interested to see how standard notation can show you how to properly play songs on guitar that are tuned to open tuning with many chords being 5 frets or higher but with open notes as well. Honky Tonk Woman would be a good enough example.
I'm not trolling, i am genuinely interested how standard notation could tell you how to play this chord properly.
I'd also be interested to see how standard notation can show you how to properly play songs on guitar that are tuned to open tuning with many chords being 5 frets or higher but with open notes as well. Honky Tonk Woman would be a good enough example.
Well, just speaking for classical guitar, if the e,b,e is suggested by the arranger or composer to be played in a specific place a circle with the string number would be under the notated e which would imply the other notes are taken at that position too. So in this case, it would be 5 in the circle to indicate the a string. This is quite typical of the instrument I grew up with. I'll say usually as one phrase may be repeated, it is often contrasted for a different color by playing it somewhere else on the fingerboard. Using a circle for bass in this case then, a 3 in a circle to indicate the lowest note e is to be played at the 7th fret of the a string would be the clarifier.
I think what he's asking is that with tablature you're given the location of pitches (notes) on the fretboard, but how is that accomplished with notation? The way I've used and seen it in classical guitar scores is by referring to string number. I've also seen it in violin music that way. No reason to think that using string number wouldn't be an effective way of making it clear what location to play a given note on bass as well.
I understand that. I am a violinist by training and trade and have used alternate tunings and various forms of notation to indicate how to play within the nonstandard tuning for years. Transposing fingerings are fun, but highly awkward for most string players to use as they , for the most part, don't do any transposing past octave displacements. It makes it difficult to speak to sounding note names when reading transposed notation.
As to the specific chord used in the example above, I don't believe there is more than 1 way to possibly produce those notes in standard tuning using standard notation OR tab. So string names and finger positions are really redundant.
Exactly what I was thinking--but then I took classical lessons for a couple of years when I started playing guitar, then took a couple more years of classical lessons as an adult.
Well he's got a so-called power chord absent any modality , an octave with a fifth in between . On the bass that e could be taken on the 12th fret of the e, lowest string. Then the the fifth b on the 14th fret of the a string and the octave e 14th fret d string no? So if one wished to have the player play them somewhere other than at the CVII position he would mark that low e on a 4 string bass on string 4 or with a 4 in a circle as I've suggested. Or it could be marked string 6 in a circle as per the example the poster has given. As far as alternate tunings, I have a score as an example of a piece for guitar by Carlo Domeniconi entitled Koyunbaba. The tuning on guitar is odd to say the least with the lowest string tuned down to c sharp, but the pitches indicated are not the ones that will be heard. This is a standard scordatura practice. Even Paganini did it.
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