Gambling school manga. - - - - - { Click here for the Baritone Guitar Page } - - - - -
Guitar Capo, Bee-life Professional Zinc Metal Capo for 6 String Acoustic Guitar, Electric Guitar, Ukulele, Bass, Banjo, Mandolin with Free 3 PCS Guitar Picks(Rose Gold) 4.8 out of 5 stars 866 $6.99 $ 6. Verse 1 C If you've been walking the same F/C C Old road for miles and miles Am7 If you've been hearing the same old Gsus G Voice tell the same old lies G If you're trying to fill the Gsus G Same old holes inside F F/C Gsus G There's a better life, there's a better life Chorus C F/C C If you've got pain, He's a pain taker G C If you feel lost.
Note 1: I've deliberately elected to go with more commonly used keys avoiding obscure, awkward keys like A#, C#, D# and Gb. This chart is also set up for major keys so it may have discrepancies in minor keys which you can correct by finding the root note of your minor chord under the 6 column and getting numbers of your chords from that row then find the new minor key in the 6 column and use numbers from that row to convert back to chords.Note 2: If the composer uses natural sequence chords (all notes remaining within the scale of the key) the 1, 4, and 5 chords will be major, while the 2, 3, and 6 chords will be minor.
Note 3: The 7 chord is based on a flat 7th rather than the actual 7th note of the scale.
Note 4: Composers aren't restricted to any particular structure, they can use any chord they like, anywhere they like so this chart won't work for every piece of music but it should be effective for most songs. If you encounter a song which gives you difficulties, for any reason, and would like help, send us a message (from our Contact page) and I'll be glad to help you out.
Gambling school manga. - - - - - { Click here for the Baritone Guitar Page } - - - - -
Guitar Capo, Bee-life Professional Zinc Metal Capo for 6 String Acoustic Guitar, Electric Guitar, Ukulele, Bass, Banjo, Mandolin with Free 3 PCS Guitar Picks(Rose Gold) 4.8 out of 5 stars 866 $6.99 $ 6. Verse 1 C If you've been walking the same F/C C Old road for miles and miles Am7 If you've been hearing the same old Gsus G Voice tell the same old lies G If you're trying to fill the Gsus G Same old holes inside F F/C Gsus G There's a better life, there's a better life Chorus C F/C C If you've got pain, He's a pain taker G C If you feel lost.
Note 1: I've deliberately elected to go with more commonly used keys avoiding obscure, awkward keys like A#, C#, D# and Gb. This chart is also set up for major keys so it may have discrepancies in minor keys which you can correct by finding the root note of your minor chord under the 6 column and getting numbers of your chords from that row then find the new minor key in the 6 column and use numbers from that row to convert back to chords.Note 2: If the composer uses natural sequence chords (all notes remaining within the scale of the key) the 1, 4, and 5 chords will be major, while the 2, 3, and 6 chords will be minor.
Note 3: The 7 chord is based on a flat 7th rather than the actual 7th note of the scale.
Note 4: Composers aren't restricted to any particular structure, they can use any chord they like, anywhere they like so this chart won't work for every piece of music but it should be effective for most songs. If you encounter a song which gives you difficulties, for any reason, and would like help, send us a message (from our Contact page) and I'll be glad to help you out.
Find the root key in the left column and proceed to your right, finding each of the chords in the piece and joting down their numbers (chords are shown by the number system, based on the key and the root key becomes 1). Now move to the key to which you wish to transpose and convert the numbers back to chords. Add modifications to the chord (such as minor, 7th, 9th, etc.) to match your source chords.
| Chord Transposing Chart | ||||||
| Key (1) | 2 | 3 | 4 | 5 | 6 | 7 |
| A | B | C# | D | E | F# | G |
| Bb | C | D | Eb | F | G | Ab |
| B | C# | D# | E | F# | G# | A |
| C | D | E | F | G | A | Bb |
| Db | Eb | F | Gb | Ab | Bb | Cb (B) |
| D | E | F# | G | A | B | C |
| Eb | F | G | Ab | Bb | C | Db |
| E | F# | G# | A | B | C# | D |
| F | G | A | Bb | C | D | Eb |
| F# | G# | A# | B | C# | D# | E |
| G | A | B | C | D | E | F |
| Ab | Bb | C | Db | Eb | F | Gb |
Would you like to learn more about music theory for self-taught musicians and get a better understanding of the Nashville Number System? This simple tutorial may be helpful.
The tutorial is also available as a public document on my google drive as either a Libre Office ODT document or a PDF document.
Capo 3 3 6 10
To use the capo chart, below, find the actual chord in the left column. The open chord pattern (which results in your chosen chord) is shown under fret number for capo placement. The letters 'n/a' (not applicable) are shown where there is no open chord equivalent for the chosen chord. Capo 1 is the first fret, Capo 2 is the second fret, etc.
| Capo Chart | |||||||
| Chord | Capo 1 | Capo 2 | Capo 3 | Capo 4 | Capo 5 | Capo 6 | Capo 7 |
| A | n/a | G | F# (Gb) | F | E | n/a | D |
| A# (Bb) | A | n/a | G | F# (Gb) | F | E | n/a |
| B | A# (Bb) | A | n/a | G | F# (Gb) | F | E |
| C | B | A# (Bb) | A | n/a | G | F# (Gb) | F |
| C# (Db) | C | B | A# (Bb) | A | n/a | G | F# (Gb) |
| D | n/a | C | B | A# (Bb) | A | n/a | G |
| D# (Eb) | D | n/a | C | B | A# (Bb) | A | n/a |
| E | n/a | D | n/a | C | B | A# (Bb) | A |
| F | E | n/a | D | n/a | C | B | A# (Bb) |
| F# (Gb) | F | E | n/a | D | n/a | C | B |
| G | F# (Gb) | F | E | n/a | D | n/a | C |
| G# (Ab) | G | F# (Gb) | F | E | n/a | D | n/a |
Every once in a while I get an email from someone who finds my capo chart totally confusing and asks something like 'If I put the capo on the 4th fret and play a G chord, what it it?'. For you folks I've provided the following chart. Find the open chord pattern on the left. The'C' in the pink box stands for 'Capo' and the number following it is the fret number, so 'C1' means the capo is on the first fret, 'C2' means the capo is on the second fret, and so on. In the box where the pattern intersects with the capo placement is the name of the chord you're thereby making. For example, the pattern for an open A chord, with the capo on the first fret (C1), becomes an A# (or Bb) chord. With the capo on the fourth fret (C4) the pattern for an open G chord becomes a B chord. In this chart I'm only referring to the small family of Open Chords. Specifically A, B7, C, D, E, F and G (Note: there is no open B chord, B7 is as close as you can get). In most cases modifiers can 'tag along', for example, an A minor chord pattern, with the capo on the second fret, is a B minor chord. The same would be true of the patterns for A7 or Amaj7 chord i.e. an A7 chord pattern, with the capo on the second fret, is a B7 chord and an Amaj7 chord pattern, with the capo on the second fret, would be a Bmaj7 chord. The following are the open chord patterns specifically referred to by this chart:
| Capo Chart (the other way around) | |||||||||||||||||||||
| Pattern | C1 | C2 | C3 | C 4 | C5 | C6 | C7 | C8 | C9 | C10 | C11 | ||||||||||
| open A | A# Bb | B | C | C# Db | D | D# Eb | E | F | F# Gb | G | G# Ab | ||||||||||
| open B7 | C7 | C#7 Db7 | D7 | D#7 Eb7 | E7 | F7 | F#7 Gb7 | G7 | G#7 Ab7 | A7 | A#7 Bb7 | ||||||||||
| open C | C# Db | D | D# Eb | E | F | F# Gb | G | G# Ab | A | A# Bb | B | ||||||||||
| open D | D# Eb | E | F | F# Gb | G | G# Ab | A | B | C | open E | F | F# Gb | G | G# Ab | A | A# Bb | B | C | C# Db | D | D# Eb |
| open F | F# Gb | G | G# Ab | A | A# Bb | B | C | C# Db | D | D# Eb | E | ||||||||||
| open G | G# Ab | A | A# Bb | B | C | C# Db | D | D# Eb | E | F | F# Gb |
On this page I published the ultimate table of guitar tab notation and symbols for both graphic tablatures that mostly used in guitar magazines, books, software editors, as well as the ASCII (plain text) tabs that often can be found on web pages.
Capo 3 3 6 12
- • Chart of Tab Symbols
It is one of the most complete references out there, so you might bookmark this page for future use, rarer notation symbols I've put closer to the bottom.
You'll see that in the ASCII column there's a lot of blank cells, it's because ASCII tabs do not have some equivalent notation and symbols, this presumes that you know the song and can figure out additional playing techniques on your own.
Capo 3 3 6 1 X 4
Graphic tablatures often include lines of staff notation along with tab lines, that's why I created diverse examples in order to get you used to different tab formats.
Show more information|Show less information| Magazine/software guitar tab examples | ASCII tab examples | Abbreviations and extra info | Whole name |
|---|---|---|---|
Downstroke(down picking) | |||
Upstroke(up picking) | |||
Finger Numberingfor the fretting hand | |||
| character 'x' before notes: and sometimes as PM: | P.M. | Palm Mute | |
Rake | |||
Arpeggiated ChordStrumming across the strings in the direction of the arrow. | |||
| p i m a | Fingerstyle Guitarfingering system for the plucking hand: | ||
| A.H. | Artificial Harmonics | ||
| N.H. | Natural Harmonicsin ASCII tabs it can also be marked as N.H.and sometimes as '+' symbol above the tab. | ||
| T.H. | Tapped Harmonics | ||
| fret numbers inside triangles used with graphic tabs | Pinched Harmonics | ||
| TCH | Touch Harmonicsa ringing note is touched above the fret, indicated by the TCH abbreviation. | ||
| BU or b | Bend Up | ||
| BD or r | Bend DownorRelease | ||
| PB | Pre-bend | ||
| v or ~~~ | Vibrato | ||
| H.O. | Hammer On(legato ) | ||
| P.O. | Pull Off(legato ) | ||
| s | Sliding(glissando)
| ||
| T, + or | Tapping | ||
| x | Fret-Hand Muting | ||
| sometimes as tr (confusing with the trill notation right below) | TP | Tremolo Picking | |
| a smaller digit or a tiny note with a line across | Grace Note(Acciaccatura)A very brief note, as though brushedon the way to the master note. A grace note takes its small amountof duration from the master note. Edgeview 2 1 980 – cutting edge image viewer file. | ||
| tr | Trill | ||
DipSlightly pushing and releasing a whammy bar. The number near the symbol means amountof pitch to lower. Lucky dice game. | |||
Inverted DipThe number is an amount of pitch to raise. | |||
DiveDiving a whammy bar. | |||
Dive and Return | |||
ScoopDepressing the bar before stroking a note,and releasing it on stroking. | |||
Whammy Bar Bends | |||
Gargle(with a whammy bar) | |||
| Capo | CapoFret numbering begins from the capo. | ||
Pick Scrape | |||
3 5 6 | Tupleto:triplet fiveplet sixplet | ||
| > | Accented note | ||
FermataFreely increase note duration. | |||
Dotted NoteDot placed to the right of the corresponding notelengthens the note by one-half its value. Filesalvage 8 1 0 3 0 download free. examples: | |||
Repeat SignsNotes between these symbolsare played repeatedly. | |||
StaccatoDot over or under the note. Staccato means playing notes sharply by means of shortening ringing duration of a marked noteand leaving a silent gap before the next note, | |||
| 8va | Ottava AltaNotes on the staff along the dashed line are played one octave higher. The reason to use 8va is to avoidthe staff to look too complex witha lot of highly located notes. NOTE | ||
| 8rb | Ottava BassaNotes on the staff along the dashed line are played one octave lower than notated. The tab numbers remain unchanged as with 8vanext above. |
