#---------------------------------PLEASE_NOTE--------------------------------#
#_This_transcription_is_the_authors_own_work_and_represents_his_interpret-__#
#_tation_of_the_song._It_is_intended_for_private_study,_scholarship_and______#
#_research_purposes_only_and_is_not_intended_for_publication_or_distribution.#
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Hard_Time_Killing_Floor_-by_Nehemiah_"Skip"_James,_1930
Tabbed_by_Dadfad_(John_M.)_
[email protected]_or_[email protected]_August_1,_2002
Done_on_Microsoft_Notepad_using:_Courier_New,_10_font.
If_youre_looking_for_a_note-for-note_tab_from_the_movie_"O_Brother_Where_Art
Thou",_this_isnt_it._This_is_in_the_style_it_was_played_originally_by_Skip
James._Very_similar_to_the_movie,_but_not_exactly._Thats_how_these_styles_of
tunes_were_done_back_in_the_20s_and_30s_as_traditional_country_blues_tunes.
Its_difficult_to_really_explain_how_to_play_a_tune_like_this_from_tab,_but
there_have_been_so_many_requests_that_Ill_try_my_best._Skip_James_style_in
open_D-Minor_is_largely_composed_of_several_"signature_licks"_that_when_added
to_the_general_progression_of_the_tune_make_it_very_recognizeable_as_a_Skip
James_piece._I_think_the_best_way_to_start_is_by_first_tabbing_his_most_dis-
tinguishable_lick_with_both_tab_and_describing_how_it_is_played,_and_then
in_the_body_of_the_main_tab_I_can_just_say_"add_sig_lick_here"._I_learned_to
play_Skips_tunes_in_his_style_many_years_ago_from_Bowling_Green_John_Cephas,
(probably_the_foremost_living_expert_on_Skip_James-Bentonia_Style_D-min_blues)
who_knew_him_personally_and_learned_from_Skip_himself._This_will_be_a_simpli-
fied_version_at_best._The_only_way_to_play_it_properly_is_to_become_familiar
with_the_tuning_and_finger-style_playing_in_this_style_and_add_and_improvise
as_you_go,_which_is_how_both_Skip_and_Bowling_Green_played_it._I_guess_the
best_way_to_start_is_by_giving_the_open_D-minor_tuning_(Open_E-minor_can_also
be_used_but_is_harder_on_your_strings_and_guitar_neck)._Tab_would_be_identical
for_either_open_D-minor_(DADFAD)_or_open_E-minor_(EBEGBE)._Put_down_your_pick.
This_must_be_played_with_your_fingers.
Skips_main_signature_lick_is_as_follows:
D|--------------------------||-------------------------|
A|--------------------------||-------------------------|
F|----3>4----4<2---1--------||-----4----2----1---------|
D|---------------------0----||--------------------0----|
A|--------------------------||-------------------------|
D|--------------------------||-------------------------|
This_is_the_actual_lick,____and_these_are_the_finish_notes_only.
This_lick_is_done_by_sliding_from_the_3rd_to_the_4th_fret_and_then_back_up_to
the_2nd_fret._It_can_be_done_as_two_separate_picks_or_as_only_one_pick_with_a
smooth_up_and_back_down_the_neck_motion._Then_finger_and_play_the_first_fret,
then_the_open_four_string._All_of_this_should_be_done_as_a_very_flowing,_smooth
lick._The_note_on_the_3rd_string_first_fret_can_also_be_a_pull-off_from_the_2nd
fret_note._Above_I_also_showed_the_finish_notes._These_are_just_the_notes_them-
selves_without_the_slides,_so_you_can_see_which_ones_youre_aiming_for_within
the_lick._There_are_several_variations_on_this_lick,_both_with_timing_or_with
additional_notes,_but_this_is_the_basic_figure_as_used_in_this,_and_several
other_of_Skips_D-minor_tunes_(ei._Cherry_Ball_Blues,_Devil_Got_My_Woman,_etc).
Skip_and_John_both_frequently_used_a_John_Lee_Hooker-ish_multiple_hammer-on
on_that_3rd_string/first_fret_note_repeated_after_the_open_4th_string_that
ends_the_lick_above,_and_then_adding_one_of_the_"rhythmic_figures"_shown_down
below_after_the_tab_for_the_first_verse.
Now_Ill_start_on_the_first_verse._This_verse,_with_or_without_improvised
changes,_can_also_be_used_as_an_intro_to_the_piece.
D|-------------------------0-----------0------------0-----------|
A|-----------------------0-----------0------------0-------------|
F|---------------------0-----------0------------0---------------|
D|-------------0-----3--------3--2----------0-3----------3---0--|
A|----0h3-------------------------------------------------------|
D|--------------------------------------------------------------|
___You_know_that__hard_times_r_here__and___everywhere_you_go
D|--------------------------------------------------------------------------|
A|------0-------------------------------------------------------------------|
F|----0--------0------0-------------------0---------------------------------|
D|--0--------0------0---------0---------0------------(insert_sig_lick_now)--|
A|---------3------0---------0---------0-------------------------------------|
D|------------------------0---------3--------3--0---------------------------|
___Times__is__harder__than__they__been_____before
D|------------------------------------------------------------------|
A|------------------------------------------------------------------|
F|------1------(sig_lick)----------1---------(sig_lick)-------------|
D|------0--------------------------0--------------------------------|
A|---------0---------------------------0----------------------------|
D|--0--------------------------0------------------------------------|
___Whoa-o-o.....______________oh-o........
D|----------------------------------------0-------------------------|
A|--------------------------------------0------0--------------------|
F|------1-------(sig_lick)------------2-----------------------------|
D|------0---------------------------2-------------------------------|
A|----------0---------------------0---------------------------------|
D|--0------------------------------------------------0--------------|
____Whoa-o-o___________________oh-o__________________oh
D|-----3----------2--------1--------------0----------------------|
A|---4---4------3---3----2---2---------0-------------------------|
F|--------------------------------0h1----------------------------|
D|---------------------------------------------------------------|
A|---------------------------------------------------------------|
D|-------------------------------------------0-------------------|
__________(turnaround_line_to_next_verse_or_ending)
This_is_it,_in_its_most_basic_form._Note_the_0h1_(O_to_1_fret_hammer-ons.
These_are_pretty_important_to_the_style)._These_and_other_phrases_often_are
followed_by_arpegiated_downward_slow_strums._I_improv_around_these_basic_lines
with_changes_in_each_verse,_different_turnarounds,_changes_to_the_sig_lick,
etc._Thats_how_Skip_did_it,_thats_how_John_Cephas_did_it_and_he_taught_me.
If_you_familiarize_yourself_with_how_the_tuning_works_and_its_intricacies,
you_will_be_able_to_do_them_soon_also._Ill_show_a_couple_of_variations,_a
different_turnaround_and_a_guitar_solo_verse_to_start_off_with._A_tip._While
its_played_in_D_minor,_its_actually_probably_in_the_key_of_D_major._Its_the
inter-play_between_the_minor_and_major_that_give_this_tune_(and_others_of
Skips_Bentonia_Open_Minor_Blues)_their_distinctive_feel._The_third-string
fingered_on_the_first_fret_changes_it_from_minor_to_major._Hammering_into_the
major_was_a_frequent_addition_in_these_tunes._It_sometimes_helps_to_play_a
line_while_the_first_finger_is_kept_on_the_third-string/first_fret_or_ready_to
quickly_go_back_to_it._Skips_signature_lick,_and_variations_of_it,_were_fre-
quenly_injected_into_the_tune_wherever_they_fit_appropriately.
D|-----------4p0--------------3p0--------------2p0--------------0------|
A|------3--------3--------2--------2-------1-------1----------0--------|
F|---4----4-------------3---3------------2---2------------0h1----------|
D|---------------------------------------------------------------------|
A|---------------------------------------------------------------------|
D|---------------------------------------------------------0-----------|
___(this_is_another_variation_turnaround_to_next_verse_or_an_ending)
The_above_is_done_using_a_pull-off_to_the_open_note_from_the_picked_note._Other
notes_in_the_open_strings_can_be_added_as_well_if_desired.
D|--------0---3---3---3---0---2---0---3---3---3---0----0-------------------------|
A|--0h3----------------------------------------------------3----0----------------|
F|------------4---4---4---0---2---0---4---4---4-------------------------0--2p0---|
D|---0----0--------------------------------------------0---0----0---0---0------0-|
A|--------------------------------------------------0-----------------------0----|
D|------------------------------------------------0-----------------0----------0-|
_(This_is_a_semi-melody_line_guitar_instrumental_for_between_two_verses)
The_sequence_above_is_a_series_of_thumb_and_first-finger_pinches_with_a_few
rolling_slow_arpeggiations_added._Follow_it_with_the_"signature_lick"_(with
or_without_one_of_the_rhythmic_figures_that_are_shown_in_the_example_below).
Slides,_especially_to_the_3/4_pairs,_can_be_added_for_more_expression.
Again,_this_can_be_improvised_as_seen_fit.
D|--------------------0-----________----------0---------------0-------|
A|--------------------------________---0h2----------------------------|
F|--------------0h1---------________-------------------0h1------------|
D|-------0------------------___or___--------------0-------------------|
A|--0h2---------------------________----------------------------------|
D|----------0-------------0-________--------------0----------------0--|
(Here_are_"rhythmic_figures"_that_can_be_used_with_or_in_place_of_the_signature
_lick_shown_at_the_beginning._Skip_frequently_added_one_of_these._He_sometimes
_would_vamp_between_these_and_his_sig_lick_several_times_before_the_next_verse
_and_used_them_frequently_as_fills_when_they_might_fit_in_a_given_time-space.
_Again,_he_frequently_used_multiple_hammers_on_the_0-hammer-1_note_above.)
The_final_ending_chord_to_one_of_his_D-minor_tunes_would_frequently_be_000130
which_is_a_D7_chord,_or_a_single_note_on_the_open_second_string_followed_by
this_d7_chord.
"Hard_Time_Killin_Floor"_by_Nehemiah_"Skip"_James,_1930
You_know_that_hard_times_are_here_an_everywhere_you_go.
Times_is_harder_than_they__been_before.
Whoa-o-o,_Oh-o._Whoa-o-o,_Oh-o_Oh._(Sung,_moaned_or_hummed_between_verses)
And_the_people_are_driftin_from_door_to_door
Cant_find_no_heaven,_dont_care_where_they_go.
You_hear_me_singing_my_lonesome_song
These_hard_times_can_last_so_very_long.
If_I_ever_get_off_of_this_killin_floor,
Ill_never_get_down_this_low_no_more.
You_say_you_have_money,_you_better_be_sure.
These_hard_times_will_drive_you_from_door_to_door.
Gonna_sing_this_song,_aint_gonna_sing_no_more.
These_hard_times_will_drive_you_from_door_to_door.
(The_"killin_floor"_was_the_nickname_for_the_worst_part_of_the_stockyards_in
Chicago,_where_the_actual_slaughter_took_place._It_was_hot,_filthy,_gruelling,
bloody_work._Many_who_came_north_looking_for_a_better_life_found_depression-
era_Chicago_very_little_better,_if_not_worse,_than_the_lumber_camps_and_cotton
fields_they_left_behind_in_Mississippi._This_tune,_and_Skips_tune_"Illinois
Blues"_are_about_the_disappointment_he_found_in_the_north._In_"Illinois_Blues"
he_asks_that_a_friend_lie_about_how_well_Skips_done_since_moving_to_Chicago.
Skips_D-minor_style_was_a_style_peculiar_to_the_Bentonia_County,_Mississippi
area_in_the_20s_and_30s._Others_from_the_same_area_used_the_same_tuning_for
many_blues_tunes,_the_only_other_recorded_one_being_Jack_Owens,_but_Skip_is_by
far_the_most_recorded_and_most_well-known._Others_by_Skip_include_"Im_So
Glad",_"Devil_Got_My_Woman"_and,_probably_his_most_famous_before_the_release
of_the_movie_"O_Brother_Where_Art_Thou",_"Cherry_Ball_Blues".)
One_final_word._Let_me_stress_again_how_improvisational_this_style_is._I_have
three_versions_of_Skip_doing_this_tune,_each_one_different._The_same_with
Bowling_Green_John_Cephas._He_recorded_it_for_albums_twice._I_recorded_several
other_versions_by_him_as_well._None_of_these_versions_is_identical_to_another.
It_would_be_a_good_idea_to_listen_to_as_many_versions_as_possible_by_both.
I_dont_mind_helping_with_any_questions_e-mailed_to_me_(no_files_or_frames).
My_best_advice_is_to_just_learn_the_style,_learn_the_tuning_and_then_play_it
the_way_you_feel_it_should_be_played._Hopefully_this_will_get_you_started.
Good_Luck._-_Dadfad
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|_h__Hammer-on
|_p__Pull-off
|_>__Accented_note
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