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Thread: Notation Question

  1. #1
    bitter old fool Jed's Avatar
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    Notation Question

    Hi guys,

    I'm working on notating some Robben Ford songs and have come upon a bunch of questions that I hope you guys can help with.

    "Ain't Got Nuthin' But The Blues" . . .

    1) . . . performed in a 12/8 feel but I'd like to write it in 4/4 (swing eighths) to simplify the notation. Is there a way to notate a short-long coupling of swing eight notes (the reverse of swing eighths) without resorting to a triplet notation? Currently my lead sheet is done as triplets but the whole thing looks busier that it needs to. Re-writing as swing eighths would add more white-space.

    2) For an important bass line can I notate something like this:

    | Bb7 F+7 | F-/Bb /A /Ab | G-7 |

    I want to show that the bass line moves while the upper chord structure remains. Is there a better shorthand notation for this or must I include the chord upper structure over each changing bass note to be understood.

    3) Diminished chords with a half-step resolution are best written with the bass note spelled as an alteration of the adjacent diatonic note? For example a 7 chord resolving down to a C-7 would be more clearly written as a Db7 rather than a C#7, similarly a diminished chord resolving up a half-step as in E7 resolving to an F7?

    4) Would posting a lead sheet of the song (my interpretation) for the purpose of having others review for accuracy / interpretation / clarity of notation violate the site's copyright protection policy? I have not adapted the written work of others but rather have transcribed directly from a legally purchased audio source.

    Thanks in advance for you assistance,

    Jed

  2. #2
    Did I say that out loud ? joeyd929's Avatar
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    Music

    Why not use musical notation?
    Joey D




  3. #3
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    not sure about the reverse swing 8ths. Maybe 16ths, or just a good demonstration in rehearsal.

    For the Fminor business, if you are writing it just for yourself it doesn't really matter what you do as long as you know what's going on. If you are writing out parts for individual players, I'm a big fan of giving as little information as needed. The guitarist doesn't need to know every note the bass player is going to play, all he needs is the Fm and you can write out the individual notes for the bass player and stick an Fm overtop of the bar. The piano player could have something similar to the bass, or the whole Fm/Bb Fm/A Fm/Ab business.

    For the diminished stuff, technically #'s resolve up and b's resolve down, but anyone will be able to pick up the fact that it's moving by half step.

  4. #4
    Jazzman Poparad's Avatar
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    Quote Originally Posted by Jed
    1) . . . performed in a 12/8 feel but I'd like to write it in 4/4 (swing eighths) to simplify the notation. Is there a way to notate a short-long coupling of swing eight notes (the reverse of swing eighths) without resorting to a triplet notation? Currently my lead sheet is done as triplets but the whole thing looks busier that it needs to. Re-writing as swing eighths would add more white-space.

    Anymore, swing is almost always notated as even eighths with a note at the beginning of the piece that it is to be swung. Using 12/8 is more of an outdated method used to get people who don't know how to swing, to swing.

    For the reverse thing, just notate it as a sixteenth and a dotted eighth.

    2) For an important bass line can I notate something like this:

    | Bb7 F+7 | F-/Bb /A /Ab | G-7 |

    I want to show that the bass line moves while the upper chord structure remains. Is there a better shorthand notation for this or must I include the chord upper structure over each changing bass note to be understood.
    It would be clearer to notate the chord over all the bass notes, though if you wrote it like you did above, I would understand what you're trying to say without much confusion.

    3) Diminished chords with a half-step resolution are best written with the bass note spelled as an alteration of the adjacent diatonic note? For example a 7 chord resolving down to a C-7 would be more clearly written as a Db7 rather than a C#7, similarly a diminished chord resolving up a half-step as in E7 resolving to an F7?
    Definately. This helps show the direction of the resolution better.

    4) Would posting a lead sheet of the song (my interpretation) for the purpose of having others review for accuracy / interpretation / clarity of notation violate the site's copyright protection policy? I have not adapted the written work of others but rather have transcribed directly from a legally purchased audio source.

    Thanks in advance for you assistance,

    Jed
    Not sure about this one. We do have power tabs, which also include notation, so I don't really see why this would be any different. It is your interpretation of the recording, and not a direct copy of a published arrangement, so it should be ok. (Though that is up for debate now with the music publisher's suing all the tab sites, but that has yet to be ruled on. I think they'll lose, personally.)

  5. #5
    bitter old fool Jed's Avatar
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    Thanks for the assistance

    Here's the transciption. I've written this in the form of a lead sheet with minimal information relative to how to play it but some of the tensions are a hint to voice-leading on the comping. Likewise I made no attempt to capture RF's melodic phrasing but rather tried to distill a reasonable version of the melody from his example.

    For the most part I'm doing these for myself as part of my musical (composition / theory / progrssions) training and secondly as a reference for months down the line. I guess it doesn't hurt to have something to toss in front of another player at some point in the future.

    Poparad, I used your advise for the 12/8 and reversed swing eights but I'm not sure if I love the notation. But it's probably better than seeing triplets everywhere . . .

    When I grow up I hope to start transcibing his solo's but for now I'm happy to be developing a repertiore. As a side note, I'm pleased and surprised how much my ears are opening up presumably due to the fretboard / triad work that I'm doing. When I was performing I never could have sorted out a song like this but I worked out most of the progression for this in about 3 minutes. It took me a bit longer to work-out exactly how to play it (comping / voice-leading) and decide between the various versions of dom7 chords but the majority of the chords came suprisingly quickly. (big smile)

    as always I look forward to your comments.

    cheers,

    Jed
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    Last edited by Jed; 10-10-2006 at 08:47 PM.

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