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 mehr, und es wäre heptatonisch.