Froms Tab to Notation

[psann]

I am slowly trying to make the transition to playing from notation instead of tab. I do okay as long as I think in terms of fret numbers. I look at the staff and know where to put my fingers but do not immediately think in terms of thats a "b" note. When learning new songs my brains is going threw something like 3 2 0 2 0 5 4 instead of thinking about the notes. I think in terms of notes when working out the chord forms (I know if my first finger is on E the B will be one string over and one fret down) but can't make my thought process work that way in reading notation. I am sure this is a drawback from playing from tab too long. I hope not incurable. Does it really matter as long as the fingers get to the right place.

[Bruce Evans]

I have been working on (and continue to develop) a method for mandolin players with a bit of experience to learn standard notation. It is not finished and I am looking for a Beta tester or two. If you would like to give it a try, contact me by private message.

Bruce

[Rroyd]

Try practicing without the mandolin; look a page of notation and identify each note as to name, string and fret. #(B, 2nd string, 2nd fret) If you are not comfortable with the rhythm aspect of notation either, that should also be dealt with now, but separately.# (Identify the notes, and then count the rhythms.) Then go on to another tune, rather than doing the same one over again several times. #The goal is to learn to read notes comfortably, and if you do the same song several times you will start memorizing it. #Often it works best to actually say this information aloud. #Your comment about fingers and brain is very appropriate; your fingers can play faster than you can read, and therein lies the problem. #So by just doing the reading part, you eliminate the problem of the two different rates of functioning. #Then when you can look at notation and read it fluently, add the mandolin again. #You don't need to spend hours at a time doing the note reading. #Five or ten minutes at a time over a couple of weeks should help you become comfortable enough to read easily.
There isn't really much need to sight read up to tempo unless your goal is to do studio work; usually we just use notation (or tablature) to teach us a song that we then develop and perfect once we know how it goes, so read at a tempo you are comfortable with. # Then as you memorize it, start bringing it up to tempo.

[mandocrucian]

It's the pitch names you need in your head, automatically. #That's the interface between tab and notation. #

Sing the note names of scales, or tunes, as you play them. To get around the problem of the 2-syllable accidentals, use the Euro system. #
F# is "fis" (feese),
G# = "gis" geese or jeese,
C# = "cis" (cease)
# and so on.

For flats, the suffice attached to the consonent is "ess" #
Bb = "bes" (bess);
Db = "des" (dess),
Eb = "es" (ess),
Gb = "ges" (guess)
#etc.

NH

[August Watters]

One of the biggest advantages to standard notation over tablature is that notation shows you how the pitch sounds, not just where to put your fingers. Try putting down the mandolin, like someone said, and see if you can find the pitches without it. Almost everyone knows how this major scale sounds:

do re mi fa sol la ti do

If "do" is the key you're in, write out the major scale beginning on that note -- then notice where the 3rd ("mi") of the scale is -- two positions above "do". The 5th ("sol") is two notes higher again. Now go back to your written melody and see if you can figure out the pitches by their position (number of steps above "do").

It's best to try this process with a melody that you already know -- so you can see how a familiar melody is notated. Once you understand that, then you can try an unfamiliar melody.

Hope this helps!

August W

[Michael H Geimer]

I certainly can't add anything of more value than what's up so far, other than to comment on your ending quote ...

"Does it really matter as long as the fingers get to the right place."

It's my experience that people who have learned mostly from TAB tend to think more about where to put their fingers, and that people who have learned mostly from notation tend to concern themselves more with the overall phrase or melody.

All the advice above is all great stuff, and should get you started in no time.

The key factor for me in reading notation was to forget about the names of the actual notes, and to deal with them by the interval names ... do re mi, etc.

Later on, when becomes clear how notation is linked to each key signature, you can let your fingers follow the scales upwards or downwards visually without having to ask yourself "What note is this?" all the time. No matter where you put your fingers, a fifth always looks the same in standard notation ... just at it always sounds the same.

Total = ¢2

- Benignus

[psann]

Lots of good answers, I will get to work.

Pat

[Martin Jonas]

Sing the note names of scales, or tunes, as you play them. To get around the problem of the 2-syllable accidentals, use the Euro system. #
...

For flats, the suffice attached to the consonent is
...
Bb = "bes"[/b] (bess);
...
A good way of memorising, but not strictly speaking the Continental European (or at least German) system. There is no such note as "Bes". The German name for the US/UK note "B" is "H". The German name for the US/UK note "B flat" is "B". It's not logical, but that's the way it is.

Martin
(as a disclaimer: I don't know whether any other European countries use a naming system that includes the name "Bes". If so, I have never seen it before.)

[babymedic]

I would highly recommend a book--the Bickford mandolin method--it was first published in the 20s and is still in print--great for weaning yourself off of tab.

[August Watters]

There's also a good book by John McGann called "The Tab Reader's Guide to Standard Notation," or something similar. If you don't know John, he's one of the great mandolin players and teachers of our time.

August W

[Bruce Evans]

Thanks to those who responded to my request for beta testers. I have enough volunteers, now.

Bruce Evans