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What songs that are non acousticly based have you managed to convert to acoustic well? I feel like having a stab at a couple of songs. What songs have worked for you and how did you change it?
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Good acoustic conversions?
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#1
Eskimo Friend 
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Posted 14 December 2003 - 09:19 PM
MultiQuote
#2
pimp_vince
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Posted 14 December 2003 - 10:08 PM
In my Time of Dying - Led Zeppelin
great slide tune, you might wanna use a metal slide however, you get a little more volume, the piece sounds subdued as is, the glass won't help.
great slide tune, you might wanna use a metal slide however, you get a little more volume, the piece sounds subdued as is, the glass won't help.
#3
dadfad
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Posted 15 December 2003 - 10:42 AM
QUOTE (pimp_vince @ Dec 14 2003, 11:08 PM)
In my Time of Dying - Led Zeppelin
great slide tune, you might wanna use a metal slide however, you get a little more volume, the piece sounds subdued as is, the glass won't help.
great slide tune, you might wanna use a metal slide however, you get a little more volume, the piece sounds subdued as is, the glass won't help.
Vince is right about the slide, and don't use a thin chromed-steel one (made for electric slide only), use a softer thicker metal for acoustic slide.... brass, etc. Anyway......
I've done LOTS of tunes, from electric to acoustic guitar, from piano or from full-bands to solo acoustic, etc. From rock to jazz standards, whatever. A couple of Hendrix tunes that worked out pretty well for me are "Hey Joe" (relatively easy) and "And The Wind Cries Mary" (a little more complex) (actually a lot more complex I guess). I have my acoustic "Hey Joe" tabbed. I'lll find it and copy it......
Okay...
CODE
#----------------------------------PLEASE NOTE--------------------------------#
# This file is the author's own work and represents his interpretation of the #
# song. It is intended for private study, scholarship or research only. #
#-----------------------------------------------------------------------------#
Author/Artist: Traditional/Billy Roberts
Title: Hey Joe Acoustic Arrangement
Arranged and Transcribed by: John M. (Dadfad)
Email: duolian@msn.com or Dadfad@dadfad.com
HEY JOE (Traditional Western Folk -Billy Roberts credited with modern version
as recorded by The Byrds, The Leaves, Music Machine and Jimi Hendrix)
Arranged and Tabbed by Dadfad (John M) 06/13/02
This arrangement is slow to moderate, an old-time hammer-to-3rds-and-5ths style
of the old Appalachian blue-ballad form. Though the rhythm's a very simple 1-2
3-4, it's not easy to show in tablature because at times there may be several
open-to-hammer movements within a space of one actual beat. It's probably best
to approach this arrangement played very slowly to develop a feel of how to put
them together within the beats. This is a very improvisational style and these
hammer-flourishes should be played as felt, adding, ommitting or changing their
use at will. This tab is meant to be more of a suggestion toward the style than
a carved-in-stone note-for-note text.
The symbols used in the tab notation are as follows:
* XhX =hammer from a note (held or open) to the next as one tone, ex. 0h2 is
hammer from open to second fret quickly. A note played with a space before a
hammer will be shown as 0---h3, meaning play 0 distinctly then hammer a 3.
* (up) and ^ show direction of the strum. ^ is normal and (up) of course, is
up! Where not shown, like on partial-chord strums,etc it can be assumed to be
the normal down-strum (or as felt appropriate).
* The \ means slide down to (toward the nut), for example \2 means slide down
to 2. A suggested slide-from note is in (), like (4)\2 meaning slide to the
2 coming down from the 4 with the 4 being sounded slightly in the process.
* The ~~ means to use an obvious vibrato, maybe a little more than what might
normally be used on a single note.
* An XbXbX means bend from one note up to the next and relax the bend back to
the start-from note, like 2b3b2 is play 2 and bend to the tone of the 3 and
then let it relax back to the 2 note.
* These hammers are easiest played while holding a certain position, usually a
chord. This position will be shown at the beginning of a series of licks with
the notes in (). It doen't mean to play that chord or figure, just to hold
that position so as to be able to play the following series of licks easily.
* a few other simple notes - an (X) or X doesn't mean to mute that string, just
it is not played or held. I like the G chord 320033 with the added 5th, but
this is just my preference and of course is optional. To me, not only does it
sound better, it starts the fingers in a position that's easier to work the
hammering, etc from. A slow arpeggiated strum is shown across the tab-staff
with the notes slightly staggered diagonally toward the right.
* On the instrumental closing, the chords are extended. For example a G to C
extension will take up approximately the same space and beats as the normal
full progession to allow for more expression within the extension.
These hammers work well within this tune because of the dual relationships of
of the notes. Notes hammered into the C pentatonic is also the blues pent scale
of the A, the G pent notes are the blues pent notes of the E, which is the key
of the tune. These relationships add the blues-feel to a typically country and
western progression, which gives the traditional blue-ballad style its feeling.
(Instrumental Lead-In)
1)-(0)---------------------------(3)---------3---3(up)--(2)--2----------------
2)-(1)---------------------------(3)---------3---3------(3)--3---3----3----3--
3)-(0)----------0--0h2--0--------(0)------0--0---0------(2)--2--2h4---2----0--
4)-(2)------0h2------------0h2-0-(0)---0--0--0---0------(0)--0----------------
5)-(3)----3----------------------(2)--0h2---------------(0)--0----------------
6)-(X)---------------------------(3)--------------------(X)-------------------
1)-(0)---------------------(0)--------0--0--0--0--0--0---0---0---0--0--0--0--|
2)-(2)----------2---2------(0)--------0--3--0--2--0--0--0h2-----0h2----2--0--|
3)-(2)--2---2---2--2h4--2--(1)--1--1-----------------------------------------|
4)-(2)--2--2h4----------2--(2)--2--2-----------------------------------------|
5)-(0)--0---------------3--(2)--2--2-----------------------------------------|
6)-------------------------(0)--0--0-----------------------------------------|
(First Vocal-Line)
1)-(0)-----------------------(3)--3-----------(2)---------------(0)-----------
2)-(1)-----------------------(3)--------------(3)---------------(2)-----------
3)-(0)-----------0-----0--0--(0)--0-------0---(2)--2--2h4--2--2-(2)--2--2--2-0
4)-(2)------2---0h2----2--0--(0)--0---0---0---(0)--0---0---0--0-(2)--2--2--2-0
5)-(3)--3---3----------3-----(2)--2--0h2------(0)--0------------(0)--0--0--0-0
6)-(X)-----------------------(3)--3-----------(X)---------------(X)-----------
......................Hey........ Joe,..........................where ya goin'
1)-----(0)------------------------0--0--0--0--0--0-|(0)--0---0----------------|
2)-----(0)------------------------0--3--0--2--0--0-|(3)-3h5--3----------------|
3)-----(1)-------------3---------------------------|(4)--------(4)\2--0-------|
4)-----(2)--2----------2-------2-------------------|---------------------2--0-|
5)-----(2)--2----------2-------2-------------------|--------------------------|
6)-----(0)--0------------------0-------------------|--------------------------|
.with that gun in your hand? (turnaround back to the C)
(repeat the vocal-line licks, starting from the C chord thru E chord positions
for each vocal-line, using that C-G-D-A-E progression)
Hey, Joe. Where you goin' with that gun in your hand.
Goin' down an' shoot my ol' lady. Caught her messin' round with another man.
Hey Joe, can you tell me where you gonna go?
Hey Joe, won't ya tell me where you gonna go?
I'm runnin' down to Mexico, find a place where I can be free.
Find a place where there ain't no hangman tryin' to put his noose around me.
1)-(0)------------------------------------------3--3---3(up)--3---------3---|
2)-(1)---------1-----1-----1----1--1------------3--3---3------3---------3---|
3)-(0)---------0----0h2---2h3---2--0--0---0--0--0--0---0------0---------0---|
4)-(2)----0h2------------------------0h2--2--0--0--0---0------0---------0---|
5)-(3)--3---------------------------------------2--2---2------2---------2---|
6)-(X)------------------------------------------3^-3-^-3------3^--------3^--|
(Play this C through G formation as a two chord extension)
1)-(0)-0-----------------------0--0---------------------------------|
2)-(3)-3--------3------3---3---3--3--3------------------------------|
3)-(2)-2-------2h4-----2---0---2--2--0---2---2---2--0--2---2----0---|
4)-(0)-0-----------------------0--0--0---2--2h4--2--0--2---2----0---|
5)-(0)-0---------------------------------0-------------0---0----3---|
6)-(X)--------------------------------------------------------------|
(let ring)(Play this extended D through A formation two chord extension
1)--0-------0--------------------------------------------
2)--0-------0----(repeat---------------------------------
3)--1-------1----------chord-----------------------------
4)--2-------2--------------fading..)---------------------
5)--2-------2--------------------------------------------
6)--0-------0--------------------------------------------
...into a repeated E chord that fades out. Pause. And then play this...
1)--------------------3--5--5b6b5--p3-----------------------------------------
2)--------0---h3---5--------------------5--3----------------------------------
3)---------------------------------------------4---\2--0--2b3b2---0-----------
4)-------------------------------------------------------------------2--0-----
5)-------------------------------------------------------------------------2--
6)----------------------------------------------------------------------------
...single-string closing figure.
1)--------------------0--------------------0--0---||
2)-------------------0---------------------0--3---||
3)------------------1-----------------------------||
4)-----------------2------------------------------||
5)---0------------2-------------------------------||
6)-------3~~~----0--------------------------------||
into a slowly strummed full E chord....then.... End.
# This file is the author's own work and represents his interpretation of the #
# song. It is intended for private study, scholarship or research only. #
#-----------------------------------------------------------------------------#
Author/Artist: Traditional/Billy Roberts
Title: Hey Joe Acoustic Arrangement
Arranged and Transcribed by: John M. (Dadfad)
Email: duolian@msn.com or Dadfad@dadfad.com
HEY JOE (Traditional Western Folk -Billy Roberts credited with modern version
as recorded by The Byrds, The Leaves, Music Machine and Jimi Hendrix)
Arranged and Tabbed by Dadfad (John M) 06/13/02
This arrangement is slow to moderate, an old-time hammer-to-3rds-and-5ths style
of the old Appalachian blue-ballad form. Though the rhythm's a very simple 1-2
3-4, it's not easy to show in tablature because at times there may be several
open-to-hammer movements within a space of one actual beat. It's probably best
to approach this arrangement played very slowly to develop a feel of how to put
them together within the beats. This is a very improvisational style and these
hammer-flourishes should be played as felt, adding, ommitting or changing their
use at will. This tab is meant to be more of a suggestion toward the style than
a carved-in-stone note-for-note text.
The symbols used in the tab notation are as follows:
* XhX =hammer from a note (held or open) to the next as one tone, ex. 0h2 is
hammer from open to second fret quickly. A note played with a space before a
hammer will be shown as 0---h3, meaning play 0 distinctly then hammer a 3.
* (up) and ^ show direction of the strum. ^ is normal and (up) of course, is
up! Where not shown, like on partial-chord strums,etc it can be assumed to be
the normal down-strum (or as felt appropriate).
* The \ means slide down to (toward the nut), for example \2 means slide down
to 2. A suggested slide-from note is in (), like (4)\2 meaning slide to the
2 coming down from the 4 with the 4 being sounded slightly in the process.
* The ~~ means to use an obvious vibrato, maybe a little more than what might
normally be used on a single note.
* An XbXbX means bend from one note up to the next and relax the bend back to
the start-from note, like 2b3b2 is play 2 and bend to the tone of the 3 and
then let it relax back to the 2 note.
* These hammers are easiest played while holding a certain position, usually a
chord. This position will be shown at the beginning of a series of licks with
the notes in (). It doen't mean to play that chord or figure, just to hold
that position so as to be able to play the following series of licks easily.
* a few other simple notes - an (X) or X doesn't mean to mute that string, just
it is not played or held. I like the G chord 320033 with the added 5th, but
this is just my preference and of course is optional. To me, not only does it
sound better, it starts the fingers in a position that's easier to work the
hammering, etc from. A slow arpeggiated strum is shown across the tab-staff
with the notes slightly staggered diagonally toward the right.
* On the instrumental closing, the chords are extended. For example a G to C
extension will take up approximately the same space and beats as the normal
full progession to allow for more expression within the extension.
These hammers work well within this tune because of the dual relationships of
of the notes. Notes hammered into the C pentatonic is also the blues pent scale
of the A, the G pent notes are the blues pent notes of the E, which is the key
of the tune. These relationships add the blues-feel to a typically country and
western progression, which gives the traditional blue-ballad style its feeling.
(Instrumental Lead-In)
1)-(0)---------------------------(3)---------3---3(up)--(2)--2----------------
2)-(1)---------------------------(3)---------3---3------(3)--3---3----3----3--
3)-(0)----------0--0h2--0--------(0)------0--0---0------(2)--2--2h4---2----0--
4)-(2)------0h2------------0h2-0-(0)---0--0--0---0------(0)--0----------------
5)-(3)----3----------------------(2)--0h2---------------(0)--0----------------
6)-(X)---------------------------(3)--------------------(X)-------------------
1)-(0)---------------------(0)--------0--0--0--0--0--0---0---0---0--0--0--0--|
2)-(2)----------2---2------(0)--------0--3--0--2--0--0--0h2-----0h2----2--0--|
3)-(2)--2---2---2--2h4--2--(1)--1--1-----------------------------------------|
4)-(2)--2--2h4----------2--(2)--2--2-----------------------------------------|
5)-(0)--0---------------3--(2)--2--2-----------------------------------------|
6)-------------------------(0)--0--0-----------------------------------------|
(First Vocal-Line)
1)-(0)-----------------------(3)--3-----------(2)---------------(0)-----------
2)-(1)-----------------------(3)--------------(3)---------------(2)-----------
3)-(0)-----------0-----0--0--(0)--0-------0---(2)--2--2h4--2--2-(2)--2--2--2-0
4)-(2)------2---0h2----2--0--(0)--0---0---0---(0)--0---0---0--0-(2)--2--2--2-0
5)-(3)--3---3----------3-----(2)--2--0h2------(0)--0------------(0)--0--0--0-0
6)-(X)-----------------------(3)--3-----------(X)---------------(X)-----------
......................Hey........ Joe,..........................where ya goin'
1)-----(0)------------------------0--0--0--0--0--0-|(0)--0---0----------------|
2)-----(0)------------------------0--3--0--2--0--0-|(3)-3h5--3----------------|
3)-----(1)-------------3---------------------------|(4)--------(4)\2--0-------|
4)-----(2)--2----------2-------2-------------------|---------------------2--0-|
5)-----(2)--2----------2-------2-------------------|--------------------------|
6)-----(0)--0------------------0-------------------|--------------------------|
.with that gun in your hand? (turnaround back to the C)
(repeat the vocal-line licks, starting from the C chord thru E chord positions
for each vocal-line, using that C-G-D-A-E progression)
Hey, Joe. Where you goin' with that gun in your hand.
Goin' down an' shoot my ol' lady. Caught her messin' round with another man.
Hey Joe, can you tell me where you gonna go?
Hey Joe, won't ya tell me where you gonna go?
I'm runnin' down to Mexico, find a place where I can be free.
Find a place where there ain't no hangman tryin' to put his noose around me.
1)-(0)------------------------------------------3--3---3(up)--3---------3---|
2)-(1)---------1-----1-----1----1--1------------3--3---3------3---------3---|
3)-(0)---------0----0h2---2h3---2--0--0---0--0--0--0---0------0---------0---|
4)-(2)----0h2------------------------0h2--2--0--0--0---0------0---------0---|
5)-(3)--3---------------------------------------2--2---2------2---------2---|
6)-(X)------------------------------------------3^-3-^-3------3^--------3^--|
(Play this C through G formation as a two chord extension)
1)-(0)-0-----------------------0--0---------------------------------|
2)-(3)-3--------3------3---3---3--3--3------------------------------|
3)-(2)-2-------2h4-----2---0---2--2--0---2---2---2--0--2---2----0---|
4)-(0)-0-----------------------0--0--0---2--2h4--2--0--2---2----0---|
5)-(0)-0---------------------------------0-------------0---0----3---|
6)-(X)--------------------------------------------------------------|
(let ring)(Play this extended D through A formation two chord extension
1)--0-------0--------------------------------------------
2)--0-------0----(repeat---------------------------------
3)--1-------1----------chord-----------------------------
4)--2-------2--------------fading..)---------------------
5)--2-------2--------------------------------------------
6)--0-------0--------------------------------------------
...into a repeated E chord that fades out. Pause. And then play this...
1)--------------------3--5--5b6b5--p3-----------------------------------------
2)--------0---h3---5--------------------5--3----------------------------------
3)---------------------------------------------4---\2--0--2b3b2---0-----------
4)-------------------------------------------------------------------2--0-----
5)-------------------------------------------------------------------------2--
6)----------------------------------------------------------------------------
...single-string closing figure.
1)--------------------0--------------------0--0---||
2)-------------------0---------------------0--3---||
3)------------------1-----------------------------||
4)-----------------2------------------------------||
5)---0------------2-------------------------------||
6)-------3~~~----0--------------------------------||
into a slowly strummed full E chord....then.... End.
It's a little jacked around format-wise here, but it'll copy to Notepad okay if you like this one.
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#4
lespauladdict
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- Joined: 27-January 03
- Location:Indiana
Posted 15 December 2003 - 04:30 PM
i've heard a kick a$$ version of "black dog" by zeppelin, although, i've never tried tabbing it out. as far as acoustic versions, i think ANY song can be redone on an acoustic and it gives the feeling/mood of the song a more intimate feel. so, that being said, just basically pick a song you like/know and make it your own.
#6
dadfad
- dadfad
- Group: Moderator
- Posts: 27,066
- Joined: 30-July 01
- Location:USA
Posted 15 December 2003 - 07:15 PM
Thanks! I tried to make it sort of old-timey and still a little bluesy.
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#7
pimp_vince
- Laws, as effective a deterrant as broken condoms for birth contr
- Group: GZ Regular
- Posts: 6,698
- Joined: 24-October 02
- Location:Canada.... Eh?
Posted 15 December 2003 - 07:17 PM
i heard a live cut of stevie ray vaughan's pride and joy done on a 12 string (or a REALLY bright sounding 6) and it knocked my socks off. now i just gotta find a tab.
#8
_brad_
- Group: GZ Regular
- Posts: 10,981
- Joined: 17-March 03
- Location:melbourne oz
Posted 15 December 2003 - 07:40 PM
i done bridge over troubled water on acoustic last nite converted from the piano, it sounded great
u can change just about any song to acoustic and make it sound good with the right feel
the way you play it on acoustic makes or breaks it so be careful exactly how you play it
u can change just about any song to acoustic and make it sound good with the right feel
the way you play it on acoustic makes or breaks it so be careful exactly how you play it
Quotes about myself...
"Brad Marr, best frontman on the local scene I've seen in years"
"Entertaining, professional, did I say entertaining?"
"Their live shows are enhanced by frontman Brad Marr's explosive performance"
"Remember the Name Brad Marr, in time you won't be able to forget it"
"Brad Marr, best frontman on the local scene I've seen in years"
"Entertaining, professional, did I say entertaining?"
"Their live shows are enhanced by frontman Brad Marr's explosive performance"
"Remember the Name Brad Marr, in time you won't be able to forget it"
#9
dadfad
- dadfad
- Group: Moderator
- Posts: 27,066
- Joined: 30-July 01
- Location:USA
Posted 15 December 2003 - 07:49 PM
QUOTE (_brad_ @ Dec 15 2003, 08:40 PM)
i done bridge over troubled water on acoustic last nite converted from the piano, it sounded great
u can change just about any song to acoustic and make it sound good with the right feel
the way you play it on acoustic makes or breaks it so be careful exactly how you play it
u can change just about any song to acoustic and make it sound good with the right feel
the way you play it on acoustic makes or breaks it so be careful exactly how you play it
Yeah, I like doing piano-tunes too. It's a great starting-point for nice fingerstyle arrangements.
Un-plugged is not the same as
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
never-was-plugged-in-to-begin-with.
John Jackson -My Teacher and My Old Friend
When the roll is called up yonder he'll be there
#10
_brad_
- Group: GZ Regular
- Posts: 10,981
- Joined: 17-March 03
- Location:melbourne oz
Posted 15 December 2003 - 08:04 PM
QUOTE (dadfad @ Dec 16 2003, 10:49 AM)
QUOTE (_brad_ @ Dec 15 2003, 08:40 PM)
i done bridge over troubled water on acoustic last nite converted from the piano, it sounded great
u can change just about any song to acoustic and make it sound good with the right feel
the way you play it on acoustic makes or breaks it so be careful exactly how you play it
u can change just about any song to acoustic and make it sound good with the right feel
the way you play it on acoustic makes or breaks it so be careful exactly how you play it
Yeah, I like doing piano-tunes too. It's a great starting-point for nice fingerstyle arrangements.
if i had any way of recording my gig last night i would have let you hear it, bridge over trouble water is probably the hardest song me and my band have ever played not becoz it is difficult but becoz when playing originals u can make mistakes and no one would know but with a classic song like bridge over trouble water you have to really play it as close to perfect as you can, it sounded pretty good i liked it how we played it
ill try and get a way to record it with me and te other guitarist
Quotes about myself...
"Brad Marr, best frontman on the local scene I've seen in years"
"Entertaining, professional, did I say entertaining?"
"Their live shows are enhanced by frontman Brad Marr's explosive performance"
"Remember the Name Brad Marr, in time you won't be able to forget it"
"Brad Marr, best frontman on the local scene I've seen in years"
"Entertaining, professional, did I say entertaining?"
"Their live shows are enhanced by frontman Brad Marr's explosive performance"
"Remember the Name Brad Marr, in time you won't be able to forget it"
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