Sometimes it’s also fun to play a normally fast song slow, and vice-versa. You should not change the tempo in the middle of a song, but sometimes you can begin or end the song at a different tempo. Use the relative minor to the major chord, and make sure your accompanists know what you are doing.Ĭhange the tempo. This does not work on every song, but sometimes you can throw in a minor. Substitute a minor chord for a major chord. As you pluck the string, lift up your finger, and it should sound like a chime.
To play a harmonic, lay your finger directly on top of the fret, but don’t press down. The easiest harmonics are at the 4th and 7th frets, although you can find them all over the instrument. Harmonics are generally best on slow songs. Make sure you bend the string all the way down & then back up to get the best tone.Īdd harmonics. This generally works best on the bass string. On long notes, you can sometimes bend the string. Also try flat-picking or finger picking instead of just strumming.īend Strings. Change your dominate strum direction (if you usually strum out, try strumming in) or strum less often (works especially well when playing on the bass string). If you have 2 quarter notes on the 2nd and 4th frets, for example, you can add a note at the 3rd fret to fill in the time.Ĭhange your strum patterns. If it is a long way to the next note, try using a slide.Īdd in-between notes. If you’re going down a note or to 0, use a pull-off. If you’re going up a note, use a hammer-on. The exception to this rule is that if a standard, 6-string guitar tuning has been set, TablEdit assumes that a 12-string guitar is, in fact, being used and the octave is not added to the top two string pairs. A simple rule of thumb for dynamics is to get louder as you go up the scale & softer as you come back down.Īdd hammer-ons, pull-offs, & slides. The notes entered are doubled an octave higher. Varying your volume throughout a tune can add a lot of flavor. Note that after transposing the notes, TablEdit recalculates the key of the transposed portion. The 7th fret is the same note as an open string, so you can play the song an octave higher by simply moving up 7 frets.Īdd dynamics. Tabledit's transposer would then build the chord starting at the 5th position using only use frets up to the number you entered into the 'From Fret' field. Because the melody & bass strings are the same note an octave apart, you can play the same exact melody on the bass. Something like this actually works better within a sequencing program rather than Finale.Play the melody on the bass string. If you were in fact switching from dreads to sticks. You would place the controller message either at the beginning of the score or prior to the change. Midi controller #77 is undefined/pitch transpose. I don't know if TEFView does the same thing. If you print the score or if you look at the print preview, the key change is shown as it should be. Using the MIDI edit tool, send a midi controller message. One of the 'features' of TablEdit is that when you change the key in the middle of a score, it doesn't show the new key signature on-screen. This in effect transposes things up 2 octaves. However, using 'plus one octave' could be the problem. It looks as though you are doing everything correct for the transposition. The notes stay as dreadlock hits, even though they should have been transposed up.Īs for the MIDI controller - it doesn't have an onboard function for switching octaves.(it's a cheapy $50 keyboard). So, I highlight the measure afterwards, go to MassEdit, then Transpose, then I make sure that it's set to "Diatonically" and "Up." The interval is set to "Octave," and I have "Plus 1 Octave." I have "Preserve original notes" unchecked. I'm entering F sharp and G sharp on the 4th octave.
They are placed on F sharp and G sharp of the fifth octave. Let me be more specific: I'm entering gigasample sounds - and I want to enter left and right hits for the snare.