The chords are a big part, especially with a Monroe tune. Even more importantly, when you learn a tune like this, you are not just learning the melody, you are learning the whole thing. With a tune such as "Southern Flavor," you are going to have to teach the chords to most people you play with-it's not one that everybody knows. I have made the mistake of concentrating so much on the melody that I couldn't show the chords to somebody else so we can play it together. It's really important not to skip this! Most elementally, you will eventually be playing chords on this, so you need to know them. Do that until you really know the chords. Rather than start playing the tune, play the chords along with the tune. But even if you are, you want to get this version in your head firmly. (Go ahead and set it on repeat-you're going to be playing this thing over and over!) Especially good if it is a tune you are not familiar with. Listen to the tune a few times, looking at the music/tab and chords. These are a few things I've discovered about using the program-I bet other people have some good ideas too! I haven't read a reference to him in 45 years or so - but I would recognise his name if it came up - and I know it is not Walter Piston although what I've heard of his music also sounds like exercises to me.I wanted to talk a bit about some ways to use TablEdit (or whatever program or method) to learn a tune. He was rather popular in the 60s but his music all sounded like exercises to me - and a lot of people. I wish I could remember the composer's name. The bass clef became the G (treble) clef and vice versa. You did have to imagine the proper clefs in the proper orientation. I do believe the same piece sounded exactly the same if you flipped the music upside down and read it as if it were still right side up. You could read to the halfway point, then read it backwards to the beginning if you wished. From there teh piece proceeded backwards to the end. I've forgotten the name of the composer but one classical writer wrote a piece that started out with very lush chords but by the middle of the piece had worked it down to a long held A in both the bass and treble clefs. And I know more than one person who can sight read music backwards as fast as he can forwards. I've watched a left handed Lutenist sight read 17th Century polyphony on tab written for right handed players. to those playing left handed it is both musically and physically on the bottom. To those of us playing right handed the short string is on the top musically, but on the bottom physically. I also have to admit I can see no difference in the Reversed and the All Key tabs, if the 2nd fret to 7th fret error is corrected.īy the way I do know a couple guys who play left handed, and they both read standard tab without a problem. I haven't really tried to proof the tabs but that jumped out at me with just a brief glance. The note is an E (2nd fret 1st string) that is shown as the 7th fret 1st string - which would be an A. There is one note wrong (but it is repeated several times) in the Reverse Tab. I 'd be curious to hear your comments and suggestions. I wonder whether it would be better to display the "Reverse Tab" button and change the name of the module automatically. To prevent the first string be treated as a fifth, go to the "Module" tab. Restore the banjo Tuning from the drop down list. Change the tuning to five string bass from the drop down list. However, since the 5th string is fretted rarely, it would be possible in most cases to carry out this conversion. Indeed, to the extent that TablEdit would not be able to properly handle the 5th string (now first ), I decided to hide this button. That's when I remembered that this option was not available for a banjo tablature. I told him it was very easy to achieve with the button " Reverse Tab " from the dialog Score- > Instrument-> Tuning. A new user asked whether it was possible to convert standard tablature into tablature for lefties.
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