Ox-Driving Song

Folk-Song aus den USA Alternativtitel: Ox-Driver Song • Text und Melodie: Jimmie Driftwood (*1907–†1998) Tonart: hexatonisch (natürliches Moll und / oder Dorisch) bearbeitet von Mjchael

Gitarre

Ukulele (gcea)

Am	G

$\version "2.20.0" \header { title = "The Ox-Driving Song" % subtitle = "MeinSubtitle" % poet = "Texter" % composer = "Komponist" % arranger = "arr: ccbysa: Wikibooks (mjchael)" } myKey = { \clef "treble" \time 4/4 \tempo 4 = 120 %%Tempo ausblenden \set Score.tempoHideNote = ##t \key a\minor } %% Akkorde %% 4/4-Schlag %% 1 . 2 . 3 . 4 . myG = \chordmode { g,,4 g, g,, g, } myAm = \chordmode { a,,4:m a,:m a,,:m a,:m } myChords = \chordmode { \set Staff.midiInstrument = #"acoustic guitar (nylon)" %% Akkorde nur beim Wechsel notieren \set chordChanges = ##t % \partial 4 s4 \myAm \myAm \myG \myG \myG \myAm \myAm \myG \myAm \myAm \myAm \myG \myG \myG \myAm \myAm \myG \myAm } myMelody = \relative c'' { \myKey \set Staff.midiInstrument = #"trombone" \relative c'{ a4 a a a8 b | a4 a a c | d d d4. 8 | e4 d d2~ | d4 d e g | a2. a8 8 | 8 e4 8 4 b8( c) | d4 4 4 e8 d | c4 a a a8 8 | c4 c8 8 4 8 d | c4 a a a8 c d4 8 8 4 8 8 | e4 d4 2~ | 4 8 8 e4 g | a2. 8 8 | 4 e e b8 c | d4 8 8 4 e8 d | c4 a a2 \bar "|." } } myLyrics = \lyricmode { \set stanza = "1." Pop my whip and I bring the blood. I make the lea -- ders take the mud; We grab the wheels and we turn them a -- round one long, long pull and we're on hard ground. To my rol, to me rol, to my ri -- de -- o. To me rol, to me rol, to my ri -- de -- o. To my ri -- de -- o, to my ru -- de -- o. To me rol, to me rol, to my ri -- de -- o } \score { << \new ChordNames { \myChords } \new Voice = "mySong" { \myMelody } \new Lyrics \lyricsto "mySong" { \myLyrics } % \new TabStaff { \myChords } %% Check >> \midi { } \layout { } } %% unterdrückt im raw="1"-Modus das DinA4-Format. \paper { indent=0\mm %% DinA4 0 210mm - 10mm Rand - 20mm Lochrand = 180mm line-width=180\mm oddFooterMarkup=##f oddHeaderMarkup=##f % bookTitleMarkup=##f scoreTitleMarkup=##f }$

Mit Tabs

$\version "2.20.0" \header { title = "The Ox-Driving Song" % subtitle = "MeinSubtitle" % poet = "Texter" % composer = "Komponist" % arranger = "arr: ccbysa: Wikibooks (mjchael)" } myKey = { \clef "treble" \time 4/4 \tempo 4 = 120 %%Tempo ausblenden \set Score.tempoHideNote = ##t \key a\minor } %% Akkorde %% 4/4-Schlag %% 1 . 2 . 3 . 4 . myG = \chordmode { g,,4 g, g,, g, } myAm = \chordmode { a,,4:m a,:m a,,:m a,:m } myChords = \chordmode { \set Staff.midiInstrument = #"acoustic guitar (nylon)" %% Akkorde nur beim Wechsel notieren \set chordChanges = ##t % \partial 4 s4 \myAm \myAm \myG \myG \myG \myAm \myAm \myG \myAm \myAm \myAm \myG \myG \myG \myAm \myAm \myG \myAm } myMelody = \relative c'' { \myKey \set Staff.midiInstrument = #"trombone" \relative c'{ a4 a a a8 b | a4 a a c | d d d4. 8 | e4 d d2~ | d4 d e g | a2. a8 8 | 8 e4 8 4 b8( c) | d4 4 4 e8 d | c4 a a a8 8 | c4 c8 8 4 8 d | c4 a a a8 c d4 8 8 4 8 8 | e4 d4 2~ | 4 8 8 e4 g | a2. 8 8 | 4 e e b8 c | d4 8 8 4 e8 d | c4 a a2 \bar "|." } } myLyrics = \lyricmode { \set stanza = "1." Pop my whip and I bring the blood. I make the lea -- ders take the mud; We grab the wheels and we turn them a -- round one long, long pull and we're on hard ground. To my rol, to me rol, to my ri -- de -- o. To me rol, to me rol, to my ri -- de -- o. To my ri -- de -- o, to my ru -- de -- o. To me rol, to me rol, to my ri -- de -- o } \score { << \new ChordNames { \myChords } \new Voice = "mySong" { \myMelody } \new Lyrics \lyricsto "mySong" { \myLyrics } \new TabStaff { \transpose c c, { \myMelody }} >> \layout { } } \score { << \new ChordNames { \myChords } \new Voice = "mySong" { \myMelody } \new Lyrics \lyricsto "mySong" { \myLyrics } % \new TabStaff { \myChords } %% Check >> \midi { } } %% unterdrückt im raw="1"-Modus das DinA4-Format. \paper { indent=0\mm %% DinA4 0 210mm - 10mm Rand - 20mm Lochrand = 180mm line-width=180\mm oddFooterMarkup=##f oddHeaderMarkup=##f % bookTitleMarkup=##f scoreTitleMarkup=##f }$

Die eingeklammerte 0 besagt nur, dass der Ton vom vorherigen Takt (die Silbe "mud") weiter ausgehalten wird.

1: [Am]Pop my whip and I bring the blood; I[G]make the leaders take the mud;; We grab the[Am]wheels and we turn them around; One[G]long, long pull and we're[Am]on hard ground.

Chorus

To me[Am]rol, to me rol, to my rideo

To me[G]rol, to me rol, to my rideo

To my ride-[Am]o, to my rudeo

To me[G]rol, to me rol, to my[Am]rideo

2: On the[Am]fourteenth day of October-o; I[G]hitched my team in order-o; To drive the[Am]hills of Saludio; To me[G]rol, to me rol, to my[Am]rideo

3: When[Am]I got there the hills were steep,; 'Twould[G]make any tender-hearted person weep; To hear me[Am]cuss and pop my whip; And[G]see my oxen[Am]pull and slip.

4: When I[Am]get home I'll have revenge,; I'll[G]land my family among my friends.; I'll bid ad-[Am]ieu to the whip and line; And[G]drive no more in the[Am]wintertime.

Versuche mal ein Hammer-On mit dem Am.

$\version "2.20.0" \header { encoder="mjchael" } myChords = \new ChordNames { \chordmode { a:m }} myAm = { < a,( d( g( b) >8 \downbow \glissando < a,) e) a) c') >8 <a c' e'> \downbow <a c' e'>4 \upbow <a c' e'>8 \upbow <a c' e'>4 \downbow } myRhythm = { \repeat volta 4 { \myAm \mark "4x" }} \score { << %layout \myChords \new Voice \with { \consists "Pitch_squash_engraver" }{ \set Staff.midiInstrument = "acoustic guitar (nylon)" \improvisationOn \override NoteHead.X-offset = 0 \myRhythm } \new TabStaff { \myRhythm } >> \layout{} } \score { << % midi \unfoldRepeats { \tempo 4 = 90 \time 4/4 \key d \major \set Staff.midiInstrument = #"acoustic guitar (nylon)" \myRhythm <a, d a d' fis'>1 } >> \midi{} } \paper { indent=0\mm line-width=180\mm oddFooterMarkup=##f oddHeaderMarkup=##f bookTitleMarkup=##f scoreTitleMarkup=##f }$

To-Do:

Herausfinden, wie man mit Lilypond den Hammer On ganzer Akkorde richtig darstellen kann.

Harmonielehre

Dem Lied fehlt der Ton F oder Fis, welcher darüber entscheidet, ob die Tonart natürliches A-Moll oder A-Dorisch ist. Auch in der Akkordbegleitung kommt weder F noch F# vor. Die Tonleiter hat sechs Töne und wird demnach hexatonisch genannt. Einen Ton weniger, und es wäre pentatonisch. Einen Ton weniger, und es wäre pentatonisch (5 Töne). Einen Ton mehr, und es wäre heptatonisch (7 Töne).