Is there a standard way to tab?

richard burton · From: Britain

I fear that I may have caused some confusion with my recent efforts at tabbing.
I have a standard 3 pedals 4 levers E9 PSG, and have always tabbed as follows:

A...raises strings 5 and 10 a tone, from B to C#

B...raises strings 3 and 6 a half tone, from G# to A

C...raises strings 4 and 5 a tone (E to F#, and B to C# respectively)

D...lowers string 2 a half tone, from D# to D, then another half tone, down to C#.
It also lowers string 9 a half tone, from D to C#

E...lowers strings 4 and 8 a half tone, from E to D#

F...raises strings 4 and 8 a half tone, from E to F#

G...lowers string 6 a tone, from G# to F#, and also raises string 1 a half tone, from F# to G.

Is this standard tabbing?

Is there another way that I should be doing it, to minimise confusion?

[This message was edited by richard burton on 16 November 2005 at 12:26 PM.]

Gary Shepherd · From: Fox, Oklahoma, USA

Most everyone agrees on the A, B, and C pedals. Beyond that, it gets a little crazy. I like the My first pedal steel tab was Newman material. That's what I'm used to and that's what I use when I write tab. D lowers the Es and F raises the Es. X is the B to Bb lower.

But it doesn't matter what conventions you use as long as there's a key somewhere to explain what lever does what.

------------------
Gary Shepherd

Carter D-10

www.16tracks.com

Archie Nicol R.I.P. · From: Ayrshire, Scotland

The most easily understood tab, in my opinion, is the MUSYM-TAB used in `A Manual Of Style`. As long as you know what each pedal and lever on your guitar does, it's easy to follow.
Cheers, Arch.

Joey Ace · From: Hamilton, Ontario, Canada

Since no one will agree on standards for KLs, I think tabbers should put a note somewhere on their pages defining what letters D and above do, which is what Gary said above.

I sometimes use arrows for KL moves, as seen here: http://steelguitarforum.com/Forum8/HTML/002197.html

Two arrows indicate a whole tone.

richard burton · From: Britain

That's a good idea, Joey.
I will have to re-tab the intro and solo on the Look At Us topic.
I am still unfamiliar with the proper technique of posting tab, that's why it's hand written and scanned.
Perhaps Ricky could post it in the correct forum format, when he has time?

Peter · Posted 16 Nov 2005 10:29 pm

Richard, if you use plusses and minuses, it does not matter where the pedals and levers are.
One plus is a half tone raise, two plusses is a whole tone raise, etc.



3___3__3+__3__3+__3_____


4___3__3___3__3-__3+____


5___3__3++_3__3___3++___


6_______________________


7_______________________

Click on my EDIT button to see how it is done with Notepad.

richard burton · From: Britain

Thanks Peter,
I'll give it a go over on the 'testing' category.

Larry Bell · From: Englewood, Florida

The answer is a resounding NO -- there is as little standardization in notation as there is in physical pedal/lever setup.

I'll underscore what Archie said.
Here's why:
MySymTab is an established method that is at least 25 years old. Created by Jimmie Crawford and others, it was employed in the landmark book 'Pedal Steel Guitar: A Manual of Style' where the styles of Crawford, Hughey, Bethel, and Myrick were analyzed.

In the book, standard notation allowed the exact note duration to be specified and tablature allowed the pedal / string / fret positions to be notated. The std notation was displayed above the tab.

When John McGann did the excellent Joaquin Murphey transcriptions he employed this 'tab below the standard' method and it worked well. It was written for non-pedal C6 tuning, so no pedal changes were shown, but the principle is very similar.

The # and b symbols are more musically relevant than + or -.

I have my own twist on it that uses graph/grid paper to notate timing, but I do use the # and b notation for pedal pulls.

Why is it better?
1. Can show timing
2. Forces the player to learn pedal FUNCTION above pedal LOCATION. You quickly learn which pedal moves which strings by what interval.
3. Avoids all the 'D E F G' confusion

It is by far the most musically complete and least confusing tab method I have ever seen (and I've seen most of them).

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

richard burton · From: Britain

Well, I failed (see Testing)

My Right Honourable Friend Larry

, where can I see an example of the tab you are advocating?

R B

Larry Bell · From: Englewood, Florida

Sir Richard
The aforementioned book is the best example. I have a bunch of stuff I got from Jimmie Crawford back in the late 70s - early 80s photocopied on individual sheets.

click here: http://www.scottysmusic.com/miscinst.htm
and scroll to the third entry

quote:
A Manual Of Style By Jimmie Crawford

Compiled and Edited by Winnie Winston
E9th By Jimmie Crawford, Terry Bethel, Weldon Myrick, John Hughey

Book and Records

ITEM #I00165 $29.95

(not exactly an accurate description -- there is some C6 as well)

well worth the money

ALSO SEE http://steelguitarforum.com/Forum5/HTML/009499.html

------------------
Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S/D-12 6x6, 1984 Sho-Bud S/D-12 7x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 18 November 2005 at 02:54 PM.]

richard burton · From: Britain

I've written this tab out using sharps and flats.
To add a bit of excitement to this topic, and also to make sure that my tab is not incomprehesible, I have not put a title to this popular intro.
Who's first to tell me what the tune is??

Peter · Posted 19 Nov 2005 4:47 am

Enigma

richard burton · From: Britain

David Doggett · Posted 19 Nov 2005 8:18 am

I see Larry's point, that the sharps and flats (or pluses and minuses) force you to learn the musical function of the pedals and levers. And they are universally interpretable, with no key required. Nevertheless, they require an extra mental step. You are constantly having to translate sharps and flats to your mental symbol for each pedal and lever. Tab is not supposed to be musical. It is supposed to direct you to the physical spot on the instrument. To be musical, why not just write the notes instead of the fret number and string number? That's what the musical notation above the tab is for (and I really like that, because I read music). The tab is supposed to direct me to a string, a fret, and a pedal or lever. And I prefer that to be done directly.

Richard's first post gives the most standard symbols. But they always need to be defined in a key. When methods like Newman's use different symbols, I find it fairly easy to adjust to their unique symbols, as long as they are clearly defined. Sometimes I even write over them with my own symbols (the same as Richard's). The symbols are just easier and faster to read than the sharps and flats.

I can see how the sharps and flats are preferred by those with copedents that stray far from the standard. They don't necessarily have the common changes, no matter what you call them. But with the sharps and flats, they might be able to figure out how to get the same thing.

I guess we are doomed to having to learn to read all the different styles.

[This message was edited by David Doggett on 19 November 2005 at 08:24 AM.]

Joey Ace · From: Hamilton, Ontario, Canada

richard burton · From: Britain

Obviously, my last effort at tabbing is a non-starter.
I'll stick to my original method, with an explanatory note attached re pedals and levers.

Herb Steiner · From: Spicewood TX 78669

Your tab makes sense to me, Richard; that's the tab style I use personally for my courses.

I read your tab perfectly, it's a basic 4151 turnaround, useable in approximately 17,854 songs.

richard burton · From: Britain

But especially applicable to the Ray Price version of 'Healing Hands Of Time'

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