Leo Kottke: Little Martha
guitar tab
From JARRELLJ@N4.OPNAV.NAVY.MIL Wed Aug 23 10:51:19 1995
Received: from opnav-emh.navy.mil by raven.math.ubc.ca (911016.SGI/1.14)
id AA20247; Wed, 23 Aug 95 10:51:19 -0700
Received: from N4.OPNAV.NAVY.MIL by opnav-emh.navy.mil with SMTP
(1.37.109.11/16.2) id AA104870227; Wed, 23 Aug 1995 13:50:27 -0400
Received: from cc:Mail by N4.OPNAV.NAVY.MIL
id AA809211194; Wed, 23 Aug 95 13:49:38 EST
Date: Wed, 23 Aug 95 13:49:38 EST
From: "JARRELL_JIM"
Encoding: 2 Text, 183 Text
Message-Id: <9507238092.AA809211194@N4.OPNAV.NAVY.MIL>
To: dgaudet@math.ubc.ca
Return-Receipt-To: JARRELLJ@N4.OPNAV.NAVY.MIL
Subject: TAB:LeoKottke"Little_Martha"
Status: RO
Dean....second Kottke tab. Am real curious as to whether I'm putting this stuff
together correctly or not. Regards, Jim Jarrell
{\rtf1\ansi \deff3\deflang1033{\fonttbl{\f3\fmodern\fcharset0\fprq1 Courier{\*\falt Courier New};}{\f11\fmodern\fcharset0\fprq1 Courier New;}}{\colortbl;\red0\green0\blue0;\red0\green0\blue255;\red0\green255\blue255;
\red0\green255\blue0;\red255\green0\blue255;\red255\green0\blue0;\red255\green255\blue0;\red255\green255\blue255;\red0\green0\blue128;\red0\green128\blue128;\red0\green128\blue0;\red128\green0\blue128;\red128\green0\blue0;\red128\green128\blue0;
\red128\green128\blue128;\red192\green192\blue192;}{\stylesheet{\b\f3 \snext0 Normal;}{\*\cs10 \additive Default Paragraph Font;}}{\info{\author Standard}{\creatim\yr1995\mo8\dy9\hr7\min20}{\printim\yr1995\mo8\dy9\hr7\min46}{\version1}{\edmins2}
{\nofpages0}{\nofwords0}{\nofchars0}{\vern49203}}\ftnbj\aenddoc\hyphcaps0 \fet0\sectd \linex0\footery1080 {\*\pnseclvl1\pnucrm\pnstart1\pnindent720\pnhang{\pntxta .}}{\*\pnseclvl2\pnucltr\pnstart1\pnindent720\pnhang{\pntxta .}}{\*\pnseclvl3
\pndec\pnstart1\pnindent720\pnhang{\pntxta .}}{\*\pnseclvl4\pnlcltr\pnstart1\pnindent720\pnhang{\pntxta )}}{\*\pnseclvl5\pndec\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}{\*\pnseclvl6\pnlcltr\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}
{\*\pnseclvl7\pnlcrm\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}{\*\pnseclvl8\pnlcltr\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}{\*\pnseclvl9\pnlcrm\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}\pard\plain \b\f3 {\fs16
\par While already posted in OLGA under Allman Brothers,
\par this is my cut on Kottke's version (light years ahead
\par of good ol'boy Duane's). As a musical novice, I am unable
\par to add time values to the Tab. I break up measures very
\par hap-hazardly to say the least.
\par Bottom line...If you're not familiar with the tune
\par you're in big trouble. You gotta listen to it.
\par
\par
\par "Little Martha"
\par Duane Allman
\par
\par arrangement: Leo Kottke
\par From "Home and Away"
\par video and "A Shout Toward
\par Noon"
\par Tab: Jim Jarrell
\par
\par Open D tuning
\par
\par * Harmonic
\par h Hammer-on
\par p pull-off
\par s slide
\par x dampen or undetermined point
\par g ghost note or very insignificant note
\par primarily used to maintain beat or assist
\par in left hand movement. Should be played and
\par heard, but only in passing
\par ( ) indicates optional notes. See explanation below
\par
\par Section I
\par
\par d |--------------------12*--|------------------------|
\par a |-----------12*-----------|-----12*-------10s9-----|
\par f#|-----12*------12*--------|------------0--------0--|
\par D |--------12*------12*-----|--------12*---------0---|
\par A |--12*--------------------|--12*-------------------|
\par D |-------------------------|------------------------|
\par ^ g gg
\par |
\par accentuate harmonic!
\par
\par
\par |-----------------------------0----|
\par |------------12*--------7*---------| repeat section I
\par |------12*----------7*----7*------@| ?X's (til you get
\par |---------12*---------7*----7*----@| tired of it!)
\par |---12*-----------7*---------------| I think its 4Xs
\par |----------------------------------|
\par
\par
\par Note: the "10s9" is later on played "10s9s10s9"
\par with the 2nd string only struck once.
\par
\par Section II
\par
\par |----------------0------------------------|
\par |---------0-----(0)----0------------------|
\par |--0h1---(0)----------(0)-------1p0-------|
\par |--0h2--------0--------------0--2p0----0--|
\par |-------0-----------0----------------0----|
\par |--0--------0----0--------0-----0---------|
\par g g
\par
\par ^see note at end of section
\par
\par 1st ending
\par |----------------|--------------------|
\par |---------0------|--------------------|
\par |--0h1---(0)-----|-------1-----0------|
\par |--0h2--------0--|--2----2--0------0--|
\par |-------0--------|--4-------------0---|
\par |--0--------0----|-----2-------0------|
\par | gg
\par vibrato the "4"
\par on both endings
\par
\par 2nd time
\par
\par |--------------------|
\par |--------------------|
\par |--------1-----------| repeat section II ?Xs
\par |--2-----2-----0-----| I think 2Xs
\par |--4--------0--------|
\par |-----2--------0-----|
\par
\par
\par
\par ^ Note: The third string open note here (in combination
\par with the second string open note) is optional. The two
\par notes played together give a fuller sound. This idea
\par holds true for sections II and III when adjacent string
\par notes are played (eg. 5,s below and 0,s in section I.
\par 5 0
\par
\par
\par Section III
\par
\par
\par |-------------------5---------------|
\par |----------5-------(5)----5---------|
\par |--5h6----(5)------------(5)--------|
\par |--5h7-----------5--------------5---|
\par |-------5--------------5------------|
\par |--5----------5-----5--------5------|
\par
\par
\par
\par |--------------------------|-----------------|
\par |------------------5-------|-------------5---|
\par |--6p5-------5h6--(5)------|-----------5-----|
\par |--7p5----5--5h7--------5--|--7-----6--------|
\par |-------5--------5---------|--9-----7--------|
\par |--5---------5--------5----|-----0-------5sX-|
\par
\par subtle slide
\par
\par
\par Repeat Section II, then everything from the top
\par I think..:)
\par
\par
\par Section IV
\par
\par 1/2 barre
\par |--5s7---5--------------------------------------|
\par |--5s7---5--5s7---8p7----5------3h4p3h4p3h4p3h4-|
\par |--5s7---5--5s7---7------5----3-----------------|
\par |--7s9------5s7---9p7--5--------3h5p3h5p3h5p3h5-|
\par |-----------7s9-------------0-------------------|
\par |-----------------------------------------------|
\par
\par
\par Not to worry...above measure not nearly as hard
\par as it appears. If you don't use right hand ring
\par finger to play, leave out "7s9"s. Last hammer/pull-
\par offs done with only one, initial right hand movement.
\par Just keep hammer/pulloff going til you run out of
\par sustain......
\par
\par
\par (start Sec II)
\par |------------------0---------------|------------
\par |-----4p3------------0-------------|------------
\par |--3-------5p3---0-----1-0---------|-0h1---etc..
\par |--------------5-----------2-0-----|-0h2--------
\par |------------------------------2-0-|------------
\par |----------------------------------|-0----------
\par
\par
\par Leo slightly muffles above measure with heel of
\par right hand. Somewhat of a staccato effect. Note
\par that "1 0" and rest of measure played with alter-
\par nating right thumb and index finger (I think! :)
\par
\par
\par If previous measure doesn't work for you try it
\par this way.....
\par
\par |------------------0---------------|
\par |--0--4s3--2p0-------0-------------|
\par |--------------1-0-----1-0---------|
\par |--------------------------2-0-----|
\par |------------------------------2-0-|
\par |----------------------------------|
\par
\par Same notes but maybe alittle easier?
\par
\par
\par Corrections, comments etc. welcome!
\par
\par Jim Jarrell work- JarrellJ@N4.OPNAV.NAVY.MIL
\par home- KQTJ46A@prodigy.com
\par
\par
\par }{\f11\fs16
\par }}
From JARRELLJ@N4.OPNAV.NAVY.MIL Mon Sep 11 10:55:10 1995
Received: from pascal.math.ubc.ca by raven.math.ubc.ca (911016.SGI/1.14)
id AA16696; Mon, 11 Sep 95 10:55:10 -0700
Received: by pascal.math.ubc.ca id AA28800; Mon, 11 Sep 95 10:54:58 PDT
Received: from N4.OPNAV.NAVY.MIL by opnav-emh.navy.mil with SMTP
(1.37.109.11/16.2) id AA206311808; Mon, 11 Sep 1995 13:50:08 -0400
Received: from cc:Mail by N4.OPNAV.NAVY.MIL
id AA810852004; Mon, 11 Sep 95 13:36:14 EST
Date: Mon, 11 Sep 95 13:36:14 EST
From: "JARRELL_JIM"
Encoding: 1 Text, 178 Text
Message-Id: <9508118108.AA810852004@N4.OPNAV.NAVY.MIL>
To: dgaudet@math.ubc.ca
Return-Receipt-To: JARRELLJ@N4.OPNAV.NAVY.MIL
Subject: TAB:LeoKottke"Little_Martha"txt.format
Status: RO
Dean.....Here's Little Martha in text format.....Jim
While already posted in OLGA under Allman Brothers,
this is my cut on Kottke's version (light years ahead
of good ol'boy Duane's). As a musical novice, I am unable
to add time values to the Tab. I break up measures very
hap-hazardly to say the least.
Bottom line...If you're not familiar with the tune
you're in big trouble. You gotta listen to it.
"Little Martha"
Duane Allman
arrangement: Leo Kottke
From "Home and Away"
video and "A Shout Toward
Noon"
Tab: Jim Jarrell
Open D tuning
* Harmonic
h Hammer-on
p pull-off
s slide
x dampen or undetermined point
g ghost note or very insignificant note
primarily used to maintain beat or assist
in left hand movement. Should be played and
heard, but only in passing
( ) indicates optional notes. See explanation below
Section I
d |--------------------12*--|------------------------|
a |-----------12*-----------|-----12*-------10s9-----|
f#|-----12*------12*--------|------------0--------0--|
D |--------12*------12*-----|--------12*---------0---|
A |--12*--------------------|--12*-------------------|
D |-------------------------|------------------------|
^ g gg
|
accentuate harmonic!
|-----------------------------0----|
|------------12*--------7*---------| repeat section I
|------12*----------7*----7*------@| ?X's (til you get
|---------12*---------7*----7*----@| tired of it!)
|---12*-----------7*---------------| I think its 4Xs
|----------------------------------|
Note: the "10s9" is later on played "10s9s10s9"
with the 2nd string only struck once.
Section II
|----------------0------------------------|
|---------0-----(0)----0------------------|
|--0h1---(0)----------(0)-------1p0-------|
|--0h2--------0--------------0--2p0----0--|
|-------0-----------0----------------0----|
|--0--------0----0--------0-----0---------|
g g
^see note at end of section
1st ending
|----------------|--------------------|
|---------0------|--------------------|
|--0h1---(0)-----|-------1-----0------|
|--0h2--------0--|--2----2--0------0--|
|-------0--------|--4-------------0---|
|--0--------0----|-----2-------0------|
| gg
vibrato the "4"
on both endings
2nd time
|--------------------|
|--------------------|
|--------1-----------| repeat section II ?Xs
|--2-----2-----0-----| I think 2Xs
|--4--------0--------|
|-----2--------0-----|
^ Note: The third string open note here (in combination
with the second string open note) is optional. The two
notes played together give a fuller sound. This idea
holds true for sections II and III when adjacent string
notes are played (eg. 5,s below and 0,s in section I.
5 0
Section III
|-------------------5---------------|
|----------5-------(5)----5---------|
|--5h6----(5)------------(5)--------|
|--5h7-----------5--------------5---|
|-------5--------------5------------|
|--5----------5-----5--------5------|
|--------------------------|-----------------|
|------------------5-------|-------------5---|
|--6p5-------5h6--(5)------|-----------5-----|
|--7p5----5--5h7--------5--|--7-----6--------|
|-------5--------5---------|--9-----7--------|
|--5---------5--------5----|-----0-------5sX-|
subtle slide
Repeat Section II, then everything from the top
I think..:)
Section IV
1/2 barre
|--5s7---5--------------------------------------|
|--5s7---5--5s7---8p7----5------3h4p3h4p3h4p3h4-|
|--5s7---5--5s7---7------5----3-----------------|
|--7s9------5s7---9p7--5--------3h5p3h5p3h5p3h5-|
|-----------7s9-------------0-------------------|
|-----------------------------------------------|
Not to worry...above measure not nearly as hard
as it appears. If you don't use right hand ring
finger to play, leave out "7s9"s. Last hammer/pull-
offs done with only one, initial right hand movement.
Just keep hammer/pulloff going til you run out of
sustain......
(start Sec II)
|------------------0---------------|------------
|-----4p3------------0-------------|------------
|--3-------5p3---0-----1-0---------|-0h1---etc..
|--------------5-----------2-0-----|-0h2--------
|------------------------------2-0-|------------
|----------------------------------|-0----------
Leo slightly muffles above measure with heel of
right hand. Somewhat of a staccato effect. Note
that "1 0" and rest of measure played with alter-
nating right thumb and index finger (I think! :)
If previous measure doesn't work for you try it
this way.....
|------------------0---------------|
|--0--4s3--2p0-------0-------------|
|--------------1-0-----1-0---------|
|--------------------------2-0-----|
|------------------------------2-0-|
|----------------------------------|
Same notes but maybe alittle easier?
Corrections, comments etc. welcome!
Jim Jarrell work- JarrellJ@N4.OPNAV.NAVY.MIL
home- KQTJ46A@prodigy.com
A legnagyobb magyar gitár kotta oldal
Kommentek
Á, hagyjuk... Beküldöm!