My mandolin tablature - I call it "Howzatgo"
I learn and play by ear, but I often needed something to jog my memory as to how a tune might start. I developed a simple (I think) tablature system to help. After a while, instead of just tabbing the first few measures, I figured I might as well transcribe entire tunes. I now have over 800 tabs, mostly Old Time with a few Celtic and a few miscellany. I carry my “cheat sheets” in my mandolin case.
Howzatgo is in Microsoft Access so I can alphabetize, sort, etc. I can put it in Word for folks who don't have Access.
Maybe you'll find Howzatgo useful. I believe it has the advantage of requiring less music theory, and it is more compact than other systems. It's all text, so there's no need for musical staffs. I can get a dozen or so full tunes to a page, and several dozens if I just abbreviate them to the first few measures.
Here’s how a simple “Angeline the Baker” looks, and then a detailed (sometimes redundant) explanation of how Howzatgo works. You should be able to play Angeline by reference to Section 1 - The Basics. Section 2 - Beyond the Basics is for more complicated tunes and arrangements. Hopefully, my turgid prose will not prevent you from appreciating the system.
A part:
2x2 2(2x2 / 2(5x2 2(5 2 / 2(2x2 2(5x2 / 2(5xx4 / 2(5xx4 / 2x2 2(2x2 / 2(5x2 2(5 2 / 2(2xx4 / 2(2xx4 / 2x2 2(2x2 / 2(5x2 1x2 / 1(2x2 1x2 / 2(5x2 2(5 1 / 1(2x2 1x2 / 2(5x2 2(2x2 / 2xx4 / 2xx4 /
B part:
1(5x2 1(2x2 / 1x2 2(5 1 / 1(2x2 1x2 / 2(5xx4 / 1(5x2 1(2x2 / 1x2 2(5x2 / 2(2xx4 / 2(2xx4 / 1(5x2 1(2x2 / 1x2 2(5 1 / 1(2x2 1x2 / 2(5x2 2(5 1 / 1(2x2 1x2 / 2(5x2 2(2x2 / 2xx4 / 2xx4 /
SECTION 1 - THE BASICS
FIGURES - The four strings from low to high - GDAE =4321. I show fret numbers by a left parentheses followed by the fret number: (1 = first fret; (2 = second fret; (3 = third fret, etc. So, fretting the first string at the second fret = 1(2; the fourth string at the fifth fret = 4(5. All the figures, such as 2, 1(2, and 4(5, are quarter notes by default. When a beat is longer (half note, whole note), the figures are followed by x2, xx3, xx4, or xx6 (waltz) such as 1(2x2 or 4(5xx4.
Each individual figure (open string; fretted string; or either, with beats indicated) is separated from the next figure by a space.
OPEN STRING FIGURES - An open string note is shown by a single number - without a left parentheses. You play the string without fretting it. “1” means play the 1st string without fretting it. “3” means play the 3rd string without fretting it, and so on.
FRETTED STRING FIGURES - To denote a fretted note, the first number will indicate the string, followed by a left parentheses, followed by the fret position. 1(2 means play the lst string fretted at the 2nd fret. 2(5 means play the 2nd string fretted at the 5th fret. 4(4 means play the 4th string at the 4th fret.
FIGURES WITH BEATS - Each figure represents one strike of the pick. A simple figure (a single number indicating an open string; or a number followed by parentheses & a fret number) is to be held for one beat. To denote that the note is to be held for a longer period (i.e. before the next strike of the pick) the figure will be followed by lower case x and the number of additional beats to hold the note. For example, 1 or1(2 should be held for one beat. 1x2 or 1(2x2 should be held for two beats. 1xx4 or 1(2xx4 should be held for 4 beats.
MEASURES - Slashes enclose a 4-beat or 6-beat (waltz) measure: / / So far, almost all of the transcriptions are based on 4 or 6 beat measures. The few jigs I’ve tabbed will be either 3 or 6 beat measures depending on how much coffee I’ve had that morning.
LETTERS
Lower case x – followed by a beat indication – x2, xx4. (I don’t know why I’ve used xx4 or xx6 when I could use just x4 or x6, but my writing has morphed into that way and I haven’t changed it.)
SECTION 2 - BEYOND THE BASICS. ADVANCED
Capital X, in brackets, as in [2X] – indicating how many times you would play a passage (or the part, as in "A part"), rather than a note.
I will note different structures after the title: aabb, aab, abac, etc. If there's no note, assume aabb.
Lower case h - HAMMER ONS – Occasionally, I have included hammer-ons (Pete Seeger’s term) in the transcriptions. They are two beats long. They look like this: 1h1(5 or 2(2h2(5. You play the figure before the h, and then slam your finger down at the indicated fret so hard that it sounds the second note – you don’t strike the 2nd note with the pick. I find that they are useful especially when playing fast and are stylistically pleasing to my ear. However, any “h” can be ignored and replaced by a space, if you choose, so that 1h1(5 equals 1 1(5; or 2(2h2(5 equals 2(2 2(5.
OTHER FIGURES
Lower case s - SLIDE – From one fret to another - for instance, a one beat slide: 2(2s2(3. I don’t naturally use slides, unlike some other mandolin players, but if I think I hear a slide in my source recording, then I try to include it in the transcription
DOUBLE STOPS – 2 notes within brackets, usually resulting in a chord. For instance, [2(2 + 1(3] is a 2-finger G chord; [2(5 + 1(2] is a 2-finger D. Bracketed figures can have beats: [2(2 + 1(3]x2; [2(5 + 1(2]xx4.
TRIPLETS - For instance, 2t2(2t2(4. This equals 2 2(4 or any note x2, and usually done with a pluck followed by 2 hammer-ons.
SPECIAL RHYTHMIC FIGURES – My tablature has been developed over several years, and it’s still a work in progress. I have adopted another figure with a note followed by xx4, such as 2(2xx4. This is the “bump ditty” or “bump a ditty” rhythm (equal to a “potato” at the beginning of a tune), which could have been written out as 2(2x2 2(2 2(2. It appears in almost every tune. You might see something like "2 1xx3" in which the 2 is your bump, and the 1xx3 is "aditty." For waltzes you'll see xx6, so 4xx6 is a bumpa ditty ditty.
REPEATS - rt*t - Sometimes, you’ll see an asterisk and later on “rt*t” - This translates as “Repeat to asterisk, then. . . .” (i.e. “Go back to the beginning of the part, and repeat it until you reach the asterisk, then jump to whatever follows “rt*t.”) It will apply to a section of the a or b part, rather than the entire a or b part.
I rarely include an instruction to repeat an “a” or “b” part of the tune, but when I do, it can appear as [2X] or however many. Most Old Time tunes have a structure of aabb, so repeating the part is assumed. It can also be the subject of heated controversy, depending on the tune. Occasionally I will indicate whether I believe a tune should be aabb or aab or aab or abac or whatever, in the title field. I also will occasionally indicate my source for the version that I’ve tabbed.
If you have any questions, please let me know: 805-368-8115; matchbookholder@yahoo.com
Good luck,
Andy
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Originally Posted by Pittsburgh Bill
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