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Introduction to Guitar Pro
A problem with Power Tab is that it's very old and it's showing it's age and
limitations in a large number of ways. Being free gives the authors no impetus
to improve it! Guitar Pro is a hundred times better! You can select any
instruments from the midi pallet and basically do most things that Sibelius and
Finale can do for a small fraction of the cost! I also use it to create choral
practice midi files for choirs I sing in and to practice classical music.
Last year I went to the International Gypsy Guitar Festival and was
completely blown away by Gary Potter's Troublant Bolero! I couldn't match
that speed in 1000 years of practice and so I content myself with pumping
out the chords. The above two powertab Troublant Bolero files were
transcribed by Ross Hetherington. The lead tracks are pretty good but the
rhythm chords are completely wrong! On the Serge Krief version he also
seems to have missed out a bar at the end, and the intro is a single note on
the double bass. I have fixed both versions as far as the chords are
concerned but I find Guitar Pro so much easier to use. Guitar Pro can
import Powertab and it can also turn midi files back into music score, and
so it's what I use all the time (and for any other sort of music). - Tom
Scharf
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Guitar-Pro
Trial Download
Troublant Bolero - Serge Krief. Author:
Ross Hetherington
Troublant
Bolero Rhythm - Serge Krief Tom Scharf
Troublant Bolero Midi -
Serge Krief
Tom Scharf
Troublant Bolero - Rosenberg Trio. Author: Ross Hetherington
Troublant Bolero Midi -
Rosenberg
Tom Scharf
Troublant Bolero
Rhythm-Rosenberg
Tom Scharf
"Use these pdfs to play the backing along with the midi files. Alternatively
play along to the original PowerTab files, but with the rhythm guitar turned
off. The only way to do this which I found is to click the red guitar icon
(Guitar Properties), select the rhythm guitar tab and set Initial Vol: to OFF. I
hate to keep on about how much better Guitar Pro is but.....!"
Faced with the normal score and tab, most guitarists
will use the score to get the note lengths, and will look at the tab for actual
finger placement. I switched off the musical score line to leave only the tab.
But you notice that the note lengths are still indicated. So this is the best of
both worlds and is one of the ways that GP produces a helpful output. One
of the miseries of trying to play from pdfs or other text files is that you have
to keep stopping to scroll onto the next page, or you have to print out all the
sheets and arrange them across your lap, and hope they don't fall off as you're
playing! By doing this I've got twice the playing time out of each page.
Troublant Bolero Rosenberg
" On the Rosenberg version I played around with the grille from
http://www.grilles-manouches.net/Html/troublant_bolero.html. They seem to
add an extra bar in at bar 15 which means that you have to hold the B7 for
longer than you expect. With minor variations this is of AABA form with ie, bar
16 being the link between A1 and A2, and so the bolero strum finishes on a nice
B7. As the lead runs up into A2 there is 1|3|3, a nice F5 powerchord. On bar 15
I like to substitute the last 2 quaver-semiquaver pairs with cut-off crotchets
where I move the shape up 1 to C7 and then down 2 to Bb7 - same in bar 31, 47
etc. But listen to what the lead is doing to ensure that it fits! The first time
through the B section at bar 28 I feel that for the 2nd half that G#dim should
slide up 3 frets to Bdim. It does this at bar 60. What do you think? At bar 35
on the last beat I like to slide the Em7 down 1 fret to Ebm7 to link into the
following A7. Again make sure it works with the lead."
Troublant Bolero Krief
"No messing with intro here. Hit that play button and retrieve your
pick from between your teeth quickly! For this one I used my interpretation of
the Colin Cosimini grille. (His Gypsy Jazz chord books are available on eBay
from Colin himself) I like his substitutions. That F5 in bar may have come from
somewhere else though. He starts with E7M9, passing through Em7M9 into Em9. For
the final A section (AABA) bar 26, he goes for the brighter E7M (Emaj7) / E6add9
/ Em7 progression which was used throughout in the Rosenberg version, and that
makes an interesting contrast.
Of note though is the F9 chord in bar 25 starting that section. It is a lovely
chord which could do with a rit (in both parts) so that it has time to ring out
cleanly on a nice slow downstroke, a kind of musical comma. There's no outro
either and the lead seems to finish a bar early (although it works!)"
"A note on adding gypsy rhythm section in PowerTab or Guitar Pro: The punch of
gypsy rhythm relies on cut-off chords. This also allows space for the lead to
shine through. Trying to transcribe 'La pompe' definitely requires hefty
cut-off. Initially, after the two bolero semiquavers, I had scored this with
quavers. The result was soft and boring, but also tended to overpower the lead,
so on the 2nd, 3rd and 4th beats I've turned the second quaver into a semiquaver
with semiquaver rest. The effect is much more lively and rhythmic!"
Grilles Manouches Tabs
Tony
Oreshko - Jazz Guitar
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PAUL
VERNON CHESTER
