THE TABLATURE SYSTEM
THE TABLATURE SYSTEM ·... Learning from listening is unquestionably the best way, the only way that suits this kind of music. You're setting the notes down for a record of what happened, a record that can be studied, preserved and so on - a necessary and useful companion to the recordings of the actual sounds. I keep thinking of this as I transcribe; if you could do it, it would be good to have a legend across each page reading: Listen to the record ifyou want to learn the song.' Hally Wood taken from the Publisher's Foreword to the New Lost City Ramblers Song Book These words are most suitable for introducing the tablature system. The basic idea to remember in using the tab is that it must be used in conjunction with the recordings. The tablature is just a guide. It is not like music notation which is a complete language in itself. Our tab system does not attempt to show rhythms or accenting. There are no indications for speed or feeL All these points are left to the student to hear and discover in the original recordings. Music notation can tackle this to a certain degree but the overall sensation of music, the feel or soul, can never really be captured on a written page. If yo u keep those words in mind, then the teaching method that is used in this album will be successfuL The large portion of work lies in your hands. You must get involved in the music. I am reminded of the words of the great Sufi Hazrat Inayat Khan: '... The traditional ancient songs of India composed by great Masters have been handed down from father to son. The way music is taught is differen t from the Western Way. It is not always written, but it is taught by imitation. The teacher sings and the pupil imitates, and all intricacies and subtleties are learned by imitation.' It is this theme that I have tried to transpose
into tablature system. Now to the tablature: Each space indicates a string.
iii~----Each space indicates a string, i.e. I means the high E 2 means the B or second string 3 means the G string 4 means the D string 5 means the A string and 6 means the low E string A number on this space indicates the fretted position. A zero would mean open string. A one indicates the first fret of that string. Take for instance the diagram below. The zero is on the second string and thus means the open second string is played. The one is placed on the third string's space and thus means first fret on the third string. Likewise the four is on the fourth fret of the fourth string.
4 In this album we are concerning ourselves with fingerpicking guitar styles. This is generally done by playing with our thumb and index and middle fingers of the right hand (this presumes that you are right-handed). To show this we use stems going up and down from the numbers showing fretted positions. A stem down means that the thumb strikes the note. If the stem is up your index or middle finger strikes the note. In this case I leave it to your comfort. Use either finger. This clarifies itself when playing a song up to tempo. The diagram below shows an open sixth string played with the thumb and then the second fret of the third string played with the index finger.
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In most cases the thumb will play an alternating bass usually on the top three bass strings. The index and middle finger will play notes on the first, second and third string. But again there aren't rules and there are many exceptions. In fingerpicking we have two choices. Either we can pinch two notes together or we don't. A pinch is also called a pluck in some books. A pinch is shown by connecting the two notes with a line. A variation of this comes when two treble notes are pinched with a bass note. I II 1l 231 II 31 I I :il I 31 l Ul II II
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In the first case the thumb hits the open sixth string but the second fret on the fifth string also sounds. This is done simply by playing harder on the sixth string. The force will make the fifth string vibrate. This t echnique is done in the bass as well as treble section of a song. Next we see an arrow. This indicates a brush. The direction is found in the arrowhead. If pointed down the hand brushes up towards the sixth string. If up the hand brushes down to the first string. The amount of strings to be affected are shown by the length of the arrow. For instance the next group of notes shows a brush down towards the sixth string of the open first, open second and first fret third string. Next is the bass open sixth string with the vibrating fifth. Next is an arrow down. Again we brush up towards the sixth string but this time the second fret of the fourth string vibrates and sounds. It is not hit but is affected by the other three notes. This effect is go tten by dampening the strings with your right hand palm or by an upward stroke of the right hand. This sound is difficult to explain. But in many pieces you can h ear notes sounding yet you know distinctly that they are not being hit. This is in the nature of the guitar. By hitting one note it will set other notes to sound. The last notes in this example are a brush up to the first string of the open first, open second, and fust fret third string.
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In the above example we have from left to right the following: first the open six string is played by the thumb. Next the first fret of the sixth string is pinched together with the third fret of the third string. The sixth string is plucked by the thumb and the third by the index finger. Next the thumb strikes the third fret of the fourth string. This is similar to an alternating bass pattern. The next notes are the first fret sixth string played by the thumb. This is pinched with two notes in the treble. The index and middle finger strike the first fret first string and the third fret second string. The next note is the index fingering hitting the first fret second string. Lastly we have the bass note played with the thumb o n the third fret fourth string. In blues and Ragtime Guitar styles many times the notes are not decisively played. The tablature points this out.
In the tablature for this booklet we have also indicated chord positions. The above example illustrates this: First the third fret of the sixth string is played by your thumb. This is followed by a Chord (the third fret, fifth string and first fret, second string are pinched together). Above this is indicated the name of the chord. To the side of this is a number which relates to the chord position diagrams at the bottom of each tab sheet. These diagrams should be able to read. The black dots indicate where the strings are fretted. Above the diagrams there is either an "o" or an "x"'s. These show whether those strings are left open to be played (in the case of an " o"), or are not played (this is shown by the "x").
I have illustrated two other chord diagram examples above. The notation ~ used in the third diagrams means that you bar across the number of frets indicated. This can vary depending on the chord position.
The vertical lines in the tab system are those places wher I want the student to stop. These are indications of musical phrases. It is at these points that the student should go over the previous phrases and try to slowly build up the tune.
The "T" on the side of diagrame 3 means that your left hand thumb will fret the third fret, sixth string. In ragtime and blues fingerpicking styles, your thumb will hook over the guitar neck to fret positions in many cases. At first you might find these positions difficult but practice will develop your thumb muscles so that you should eventually find these chord positions very convenient.
Tablature shows no accenting, bar indications or rhythm. All of these points hopefully will be discovered by your ears. The tab is a guide to help·your ears and fmgers figure out how to play the various tunes.
There are certain effects used in playing guitar that are also symbolized in the tablature. Here are some examples; explanations follow.
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d The slide. This is shown by a dash ( ). This reads: second fret sixth string slides to fourth fret sixth string. These notes are struck by the thumb. e The pull off This shows the note pulled off and what remains. The letter 'P' designates this effect. The last note reads: ninth fret second string is pulled off against the seventh fret second string. Also we are pinching the open fourth string with our thumb. Many students ask me how to hold the right hand while finger-picking. The Classical and Flamenco styles have rigid rules in this context. Our only guide is comfort. What is comfortable is usually the best position. I would like to point out one similarity that many great guitarists have in this respect. From such artists as Reverend Gary Davis, John Hurt, Son House and Skip James to Dave Laibman, Martin Carthy, Bert Jansch and Ton Van Berseyk, all rest their third and fourt h fingers on the guitar face. This technique will reinforce your sound and gjve you a freedom to accent heavily when necessary. I suggest you experiment with it. The tablature system might sound wordy and complicated but I have found that students can usually end up sight reading it within a few hours. Please always remember that the tab notation has nothing at all to do with ordinary music notation. Tab and music are two totally different languages that can be used to describe the same thing.
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In general, I play with the balls of my right hand fmger-tips. I found this the most enjoyable style. S~me people play with their finger-nails. Fingernails are usful for certain sounds. Especially when playing bottleneck styles or Rev Gary Davis type tunes, I use fmger picks. The fingerpicks help to accent the sound. There are many different types and brands of finger-picks to choose from and this is an adventure in itself.
Section One
RAGTIME BLUES GUITAR
ASALTY DOC RAG key: C capo: second fret tuning: normal
a ragtime guitarist though he uses many techniques that can be associated with ragtime playing. I suggest you try to hear some of Chet's albums. (One of my favorite Chet Atkin's arrangements is his Black Mountain Rag.) Another guitarist who is using this style and exploring its possibilities is a French artist named Marcel Dadi. I recommend that you also try to hear some of his albums.
Another variation of the chord progression presented in Twelve Sticks can also be studied in A Salty Dog Rag. Here we are playing in the key of C. The texture and sou nd of this performance is meant to imitate the great Nashville guitarist Chet Atkins. Chet is not
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melody line is played in a somewhat different manner. The second sectio n has the spirit o f Rev Davis while the third section is somewhat complex and re miniscent of Dave Laibman's arrangement for Dallas Rag that I have recorded o n my LP Yazoo Basin Boogie. Yo u sho uld find this arrangement enjoyable and easy t o play.
This is a three part rag that combines many aspects o f ragtime arranging. The first sectio n has a melody line that appears in St. Louis Tickle (also o n this LP) as well as Jelly Ro ll Mo rton's Buddy Bo lden's Blues. Ho wever, in See That Girl Sitting On The Fence this FIRST SECTION
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LP (Transatla ntic Reco rds) as this introduces this technique in easy tunes. The third section changes the fee l of the tune by presenting a quick progression of cho rds. This gives the feeling of a wa lking bass and is also influenced by the playing of Merle Travis and his a rra ngeme nt s for " Watkin' The Strings" and "Nine Pound Hammer". Strut tin' Rag is not a c lassic rag b ut rather an origina l compositio n that t ries to capt ure the feel of the o ld barrelhouse ragtime piano.
from the fifth to sixt h strings. The A chord that fo llows has your index finger fretting the third fret, first string and fourth finger fretting the fifth fret, second string. The texture that these two c hord positions gives is quite interesting. The seco nd section is reminiscent of the playing of Merle Travis. Here the alternating bass becomes ve ry prominent. The alternating bass is a fundamenta l technique need ed in playing ragtime sty les. If you find this difficult I suggest you study my Finger-Picking Guitar Tech niques
capo : second fret tuning: normal (EADGBE) This is an original instru mental in three sections. The first sectio n co mes from an o ld piano record I heard many years ago . It is a straight forward blues. The o pening chord is interest ing. In this the index finger frets the fourth fret o f the fifth string while your third finger frets the fourth fret, first string and fourth finger frets the fifth fret, second string. The bass alternates FIRST SECTION
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o ne for ragtime selections as it allows us to alternate o ur bass easily while playing in t he keys of G and D. Ton uses this tuning for ma ny of his classic rag arrangements. T hese can be heard on h is Famous Ragtime Guitar Solos album.
T his is an original tune played by Ton Van Bergeyk. Here Ton combines t he guitar sounds of Lonnie Johnson and Eddie Lang while using an alternating bass. T he tune used is the same as we employed for Hilarity Rag. This quasi-G Tuning is a very convenient INTRODUCTION I
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THE RAGTIME GUITAR OF BLIND BLAKE AND REV. GARY DAVIS
TON OF BLUES key: C ca po: second f ret tuning: normal This is ano ther origin al p iece by Ton Van Bergeyk. It is a blues in C t hat captures the fee ling of Blake, Lonnie Johnson, and Eddie Lang. FIRST SECTION
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Bergeyk. To n has helped out o n this project and has contributed five select io ns. In this tune he has created the sound of Blind Blake. Blake's style is quite complex. Many students find it difficult to
One of the fin est all ro und ragtime guitarist s I have met is Ton Van FIRST SECTION
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LP's, Children Of Zion o r Lo' I Be With You Always. Rev. Davis would always vary his playing of Twelve Sticks. I have tried to transcribe many o f his "tricks" and techniques in my versio n. I have written o ut the first t wo verses which sho w two different approaches to playing this tune. T his song uses a very po pular ragt ime ty pe progression . In this the cho rds used are G E7 A 7 D7 G. Many ragtime songs use this chord
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SISTER KATE'S SYNCOPATED DANCE key : G
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capo: fourth fret tuning: normal This is another standard ragtime song progression. I have tried to present several variations o n the theme. It is a simple piece to play and the only difficulty might be to play it up to speed. The feding of this song can change radically depending on where you capo your FIRST VERSE
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What can be sa id about this so ng! It is probably the widest known ragtime tune ever written. I play it in the key of C co mbining ragtime techniques of Rev. Gary Davis and Big Bill Broo nzy. I have transcribed the first verse. I was always fascinated by the feel of this verse FIRST VERSE
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BARD HEARTED HANNAH key: D capo: second fret tuning: dro pped D-DADGBE This is another popular ragtime song. I have transcribed only the chorus. I arranged this with the patient help of a piano p layer from Kalamazoo , Michigan. This arrangement shows how chords can be used to introduce a counterpoint line as well as present the
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GEORGIA CAMP MEETING key: C capo: none tuning: normal
" bouncier" quality. A different arrangement of this famous rag can be heard on the Contemporary Ragtime Guitar album or in the book o f the sa me name.
This is the complete four section Georgie Ca mp Meeting tha t I first heard o n a n o ld piano roll. The arrangement is quite complex and uses severa l techniques, i.e. counterpoint , alternat ing bass a nd single string run s. I use finger-picks to play this tune inorder to give it a INTRODUCTION
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ragtime arrangements in that t hey take t he liberty to adapt and change sect ions. In this performances o nly two sections of t he rag are played. The playing of this piece is co mparatively easy. T he tuning ; DGDG BE, allows us to use an alternating bass while playing t he desired melod y line. The difficult
This is a Dave Laibman arrangement that I learnt several years ago. The tune varies fro m the original Hilarity Rag. This in fa ct , is a characterist ic of many cont empo rary
part comes at the end of the second sect ion. This is a very complex piece of guitar playing to master.
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