Hello,

I had a quick play around today but didn't get very far into the picked section
before I
found something more pressing and less draining to be getting on with. The fast
picked
section that makes up the bulk of the piece sounds complex and muddled,
wonderfully so,
but is actually I imagine quite linear and sensible in shape. To me it just
sounds wickedly
complex because of the 'fire' of his playing, big yelps and belches of
12-string, to put it
one way.

I must also swiftly correct my long-standing mistake with regards to the tuning
of this
piece, clair de lune, and probably a few others. I had hesitantly settled on
open G as the
tunings of these pieces, but am now at last quite sure that they are now (as
seems
obvious) in open C, tuned down to around A or Ab, making, for Scottish Rites,
AEAEACsharp.

My deference in particular to Andy 'acoustic' Miller who in late 2006 told me
so, only to
have me cogently and ignorantly argue against him (search Clair de Lune on this
forum to
see!)

So, Robin, a bit of non-news I'm afraid, and a week late at that. Still, I'll
keep trying.

Robbie




--- In robbiebasho_forum@yahoogroups.com, "Robbie Dawson" <robbie.dawson@...>
wrote:
>
> Sure, I'd love to have a go! I'll try and do something over the
> weekend. It will be interesting to see whether we agree.
>
>
>
> --- In robbiebasho_forum@yahoogroups.com, robin_ward@ wrote:
> >
> > Hello Robbie,
> >
> > Re. requests for future transcriptions: would you fancy having a go
> at "Scottish Rites" some time? I can play something like half of it
> but get a bit lost around the middle when the sections including (as
> far as I can decipher) barre chords on the 6th and 9th frets come up.
> (The whole tune seems in fact to be based on various series of
> ascending and descending barre chords.)
> >
> > I don't own a 12-string either, but it is possible - as I seem to
> have discovered - to work it out on a 6-string!
> >
> > Bye,
> > Robin
> >
> >
> > > -----Ursprüngliche Nachricht-----
> > > Von: "dropsonde2" <dropsonde2@>
> > > Gesendet: 02.10.08 05:53:11
> > > An: robbiebasho_forum@yahoogroups.com
> > > Betreff: [robbiebasho_forum] Re: The Golden Shamrock Tab & Babs &
> any requests for future transcriptions?
> >
> >
> > >
> > >
> > >
> > >
> > > --- In robbiebasho_forum@yahoogroups.com, "Robbie Dawson"
> > > <robbie.dawson@> wrote:
> > > >
> > > > Dear All,
> > > >
> > > > I've just uploaded a recently finished transcription of Babs
> to the
> > > > files section. The format is pretty much the same as the Golden
> > > > Shamrock effort that went up in January (and which is still to
> be
> > > > completed). It's in pencil, with fairly strict spacing to
> indicate
> > > the
> > > > beat and offbeat. I have also added bar lines which are useful
> at
> > > > times, maybe not so at others. There is also the odd symbol
> that
> > > may
> > > > need explanation:
> > > >
> > > > a forward slash for a slide up, and a backward slash for a
> slide
> > > down.
> > > > A slash on the beat (i.e. on the beat line) to indicate a slide
> > > > executed on the beat, and a slash before the beat line to
> indicate
> > > a
> > > > less emphasised or off-beat slide. A 'T' here and there is
> used to
> > > > suggest the use of the thumb where it may not be obvious. And
> > > perhaps
> > > > the most ambiguous/frustrating/important of all- the brackets.
> > > These
> > > > variously indicate a quiet, secondary, or accidentally struck
> note,
> > > > or, most crucially, a note that follows a slide (for example)
> and
> > > > which is not struck. Normal slides/slashes don't indicate a
> struck
> > > > note either of course, but when a slide is delayed or
> otherwise I
> > > have
> > > > found it useful to emphasise the fact that the the newly
> arrived at
> > > > note is definitely not struck. Lastly, bracketed notes may
> even be
> > > > included if the note is very faint, but nevertheless shed
> important
> > > > light on the wider chord shape.
> > > >
> > > > The piece is constructed largely out of different barre chords-
>
> > > using
> > > > from just the two top strings (i.e. 1 and 2) to a whole barre.
> The
> > > > extent of the barre should be apparent from the notes (or
> numbers)
> > > > present in the tab itself- I have not indicated it elsewhere.
> > > >
> > > > I welcome any and all comments and criticisms on the
> transcription,
> > > > and invite everyone to have a go at playing, if so inclined.
> I'm
> > > going
> > > > to keep on practicing Babs and hope to get some kind of rough
> > > > recording up here at some point, just for fun of course!
> > > >
> > > > All of my pencil transcriptions are drafts of varying
> roughness. I
> > > > ultimately hope to find a decent computer programme to make
> them
> > > look
> > > > a bit smarter (any suggestions?), but for the time being I
> find the
> > > > pencil/jpeg approach the easiest.
> > > >
> > > > After finishing The Golden Shamrock I'll hopefully be starting
> on
> > > > another, but can't quite decide which one- any suggestions or
> > > > requests? Bearing in mind that I don't yet own a 12-string and
> I'm
> > > > still having trouble with his wild tremolo technique- which
> kind of
> > > > narrows down the choice!
> > > >
> > > >
> > > > Best wishes to all,
> > > >
> > > > Robbie
> > > >
> > > I have been trying to decipher Lost Lagoon Suite but it's a
> tough
> > > one.
> > > It is pretty hard to get the same sitar-esque sound with a 6
> string.
> > > Any tips for a new Basho lover?
> > >
> > > ps. does the title of the piece have anything to do with the Lost
> > > Lagoon here in Vancouver?
> > >
> > >
> >
>