2013, Sep
W

Fear

in Live Covers, Tablature, by jaman
Fear

Verse 1
D G
I pray for my child, for her mother
For what u ppl wanna do to one another
for the water, for the trees
man I'm scared of pollution, of disease

D A
And I'm scared that my child won't live a long time
G F#m
with your murder your rape and your drug moneys crime
Em F#m 
scared of the drugs stealing youth from the young 
G A
another life story, that'll never be sung

Chorus:

D A G F#m 
And I pray my child lives happy and long
Em F#m G A 
and I hope she never sings this song
D A G F#m 
And I pray my child lives happy and long
Em F#m G A 
and I hope she never sings this song

it's the same structure for the second verse
if you need the words, check out paddycasey.com
you should be able to find it off of that

this is from memory, so listen to the music to get the timing  

--Ian
 
2013, Sep
W

Babylon

in Live Covers, Tablature, by jaman
- babylon [david gray] -
- howie day -

sexual clamp....i mean capo on 1st. 
realtive to capo.

- verse -
   c                f                 em
e -0-0--0-----------0-0--0----------|-0---2--0-|
b -0-0--0h1p0-------1-1--0h1p0------|-0---0--0-|
g -0-0--0-----0-----2-2--2------2---|-0---0--0-|
d -2-2--2-------2---3-3--3--------3-|-2---2--2-|
a -3-3--3---------------------------|-2---2--2-|
e ----------------------------------|-0---0--0-|
  "friday night..."

- chorus -
   c     g  em f        c     g  am g
e -0--0--3--0--1--0---|-0--0--3--0--3--|
b -1--3--3--0--1--0---|-1--3--3--1--3--|
g -0--0--0--0--2--2---|-0--0--0--2--0--|
d -2--2--0--2--3--3---|-2--2--0--2--0--|
a -3--3--x--2--3------|-3--3--x--0--x--|
e -------3--0--1------|-------3-----3--|
  "if you want it..."   "let go of your heart..."

transcribed - anthony page - 044287p@acadiau.ca
 
2013, Sep
W

At the Stars

in Live Covers, Tablature, by jaman
at the stars (better than ezra)
howie day
transcribed by brendan o'rourke (daivmatthewsband@yahoo.com)

verse
   A   E       F#m  A   B
e--0---0-----|--2---5---7---
b--2---0-----|--2---5---7---
g--2---1h2---|--2---6---8---
d--2---2-----|--4---7---9---
a--0---2-----|--4---7---9---
E------0-----|--2---5---7---

chorus
   A   E  F#m          A   E   F#m   A   B
e--0---0---2---2/4--|--0---0----2----5---7--- 
b--2---0---2---2/4--|--2---0----2----5---7---
g--2---1---2---2/4--|--2---1----4----6---8---
d--2---2---4---4/6--|--2---2----4----7---9---
a--0---2---4---4/6--|--0---2----2----7---9---
E------0---2---2/4--|------0----2----5---7---

bridge
   D   A   E      F#m  A   B
e--0---0---0----|--2---5---7----
b--3---2---0----|--2---5---7----
g--2---2---1h2--|--2---6---8----
d--0---2---2----|--4---7---9----
a------0---2----|--4---7---9----
E----------0----|--2---5---7----
 
2013, Sep
W

Africa (jam)

in Live Originals, Tablature, by jaman
africa jam 
howie day
transcribed by brendan o'rourke (daivmatthewsband@yahoo.com)
   A   A   C#m   F#m  F#m  A   G  G*  Bm  F#m   G  Bm
e--0--/12---4-----2---9----5---3--10---2---2-|--3---2---- *very quick and
b--2--/14---4/5---2---10---5---3--12---3---2-|--3---2/3--  not always played
g--2--/14---4/6---2---11---6---4--12---4---2-|--4---2/4--
d--2--/14---4/6---4---11---7---5--12---4---4-|--5---2/4--
a--0--/12---4-----4---9----7---5--10---2---4-|--5---2----
E-----------------2--------5---3-----------2-|--3--------
 
2013, Sep
W

Africa

in Live Covers, Tablature, by jaman
africa [toto]
howie day
based on 03.18.01 zigs bar
transcribed: anthony g page <044287p@acadiau.ca>
03.27.01

verse/intro
    G            Bm               A  C#m F#m  A   G   Bm F#m   G            Bm
e |-3-3-3-3---2--2----2--0-0-0--|-0---4---2---5---3---0---2----3-3-3-3---2--2----2--0-0-0--|
b |-3-3-3-3---2--2h3--3--3-3-3--|-2---3---2---5---3---3---2----3-3-3-3---2--2h3--3--3-3-3--|
g |-4-4-4-4---2--2h4--4--4-4-4--|-2---6---2---6---0---4---2----4-4-4-4---2--2h4--4--4-4-4--|
d |-5-5-5-5---2--2h4--4--4-4-4--|-2---6---4---7---0---4---4----5-5-5-5---2--2h4--4--4-4-4--|
a |-5-5-5-5------2----2--2-2-2--|-0---4---4---7---2---2---4----5-5-5-5------2----2--2-2-2--|
E |-3-3-3-3---------------------|---------2---5---3-------2----3-3-3-3---------------------|
                                 "i hear the drums..."

into chorus/chorus
    A  C#m F#m  A   G   Bm    Em  C   G   D     Em C  G  D  Bm Em
e |-0---4---2---0---3---0--|--0---0---3---2--|--0--0--3--2--0--0-----|
b |-2---3---2---2---3---3--|--0---0---3---3--|--0--0--3--3--3--0-----|
g |-2---6---2---2---0---4--|--0---0---0---0--|--0--0--0--0--4--0-----|
d |-2---6---4---2---0---4--|--2---2---0---0--|--2--2--0--0--4--2-----|
a |-0---4---4---0---2---2--|--2---3---2---0--|--2--3--2--0--2--2-----|
E |---------2-------3------|--0-------3------|--0-----3--------0--2--|
   "hurry boy..."                              "it's gonna take some time..."
 
2013, Sep
W

#41

in Live Covers, Tablature, by jaman
#41 [dmb]
howie day
transcribed: jack pelletier

the only difference between the dave version of this song and the howie
day version is the way that hosie voices the chords, particularly the 
Em7 chord
            dave's pattern  
          c5/a                         
chords  e--3----2----0----0-----0-----------------
	b--3----3----3----3-----3------------------
        g--5----2----0----0-or--2------------------
	d--5----4----2----4-----0------------------
	a-------2----2----5-----0------------------
	e------------0-------------------------

daves version-intro(howie usually does not include this, but it sounds
	really nice if you play it)
e---0----------------------------------------------------------------
b---0-------3-------3----------3-------3--------3------3-------------
g---5-----2---2----2-2-------2---2----2-2-----0---0---0-0------------
d---5---------------------------------------4-------4----------------
a-------2-------2------2--------------------5-------5----------------
E-------------------------0---------0--------------------------------

this is howies chord progression for the verse...he plays slight
variations of this through out the song...but this is generally the 
idea
          c5/a        bm7           em7            d6
e----3-3-3-3-3-3-3--2---2-5-5-2---7---7-10-10-7---0-0-5-5-0-
b----3-3-3-3-3-3-3--2h3-3-3-3-3---7h8-8-8--8--8---3-3-3-3-5-
g----5-5-5-5-5-5-5--2---2-2-2-2---7---7-7--7--7---0-0-0-0-0-
d----5-5-5-5-5-5-5--4---4-4-4-4---7h9-9-9--9--9---4-4-4-4-4-
a--0----------------2---2-----2---7---7-7--7--7---5-5-5-5-5-
E-----------------------------------------------------------

these are the chords for the chorus...listen for the rhythm
   g     d    cm?
e--3-----2----0-------------------------------------------------------
b--3-----3----0------------------------------------------------------
g--0-----2----0------------------------------------------------------
d--0-----0----2------------------------------------------------------
a--2----------3------------------------------------------------------
E--3----------------------------------------------------------------

the solo!- basically this improvisation on what dave plays during the 
sax solos in the real song.  howie plays the basic chord progression 
but, again uses different chord voicings. 
 here aree the chords..the rhythm is not there but..jsut listem to the part
and you should be able to get it. use alot of muting.
e--2-/-3-5--------7--------7---10-7-6-5-------------
b--2-/-3-5--------7--------7h8-8--8-7-7-------------
g--4-/-5-5-strum--7--strum-7---7--7-6-5-strum-------
d--4-/-5-5--------9--------7h9-9--9-8-7-------------
a---------------------------------------------------
E---------------------------------------------------

e--5-5-5-5--5-5-5-5-6-6/7-7-7-7--7-7-7-7--7--------7-6-5---------
b--5-5-5-5--5-5-5-5-6-6-7-7-7-7--7-7-7-7--8--------8-7-7---------
g--5-5-5-5--5-5-5-5-6-6-7-7-7-7--7-7-7-7--7-strum--7-6-5---strum-
d--5-5-5-5--5-5-5-5-----------------------9--------9-8-7---------
a----------------------------------------------------------------
E----------------------------------------------------------------
you get the idea...just use lots of muting and do a little improv!

outro of solo-goes back into chorus
e--2/(3)-3-3-5-5---2---2-5-5-2----7---7-10-10-7---0-0-5-5-0--
b--2/(3)-3-5-5-5---2h3-3-3-3-2h3--7h8-8-8--8--8---3-3-3-3-5--
g--4/(5)-5-5-5-5---2---2-2-2-2----7---7-7--7--7---0-0-0-0-0--
d--4/(5)-5-5-5-5---4---4-4-4-4----7h9-9-9--9--9---4-4-4-4-4--
a------------------2---2-----2----7---7-7--7--7---5-5-5-5-5--
E------------------------------------------------------------
 
2013, Sep
W

Sweet (6/23/2001)

in Live Originals, Tablature, by jaman
------------------------------------------------------------------------------------
Howie Day - Sweet
(As performed by Howie, on june 23, 2001. With "Optimistic jam" and
"Give your self away outro".  Tab also explains use of Line 6 Delay Modelers, etc.)

Tabbed by rba
rob_anand@hotmail.com
www.vanmega.com

Last revision: April 17th, 2002.
------------------------------------------------------------------------------------

Unlike the "Sorry, so sorry" tab I previously wrote.  This tab of "Sweet"
will try to explain how Howie performed it on June 23rd, 2001, at the 
Metro Cafe in Washington, DC.  As far as I'm concerned, his performance 
of this song was the most intense thing I've ever heard!  Seriously.

This version of Sweet is much slower than versions past.  If you've down-
loaded a version of Sweet from Napster/Morpheus/Kazza etc, (most likey)
the version you are listening to is much older... and much faster.  The
version I've tabbed has a differnet musical focus, and may only partially
translate (ie: match) the old version of the song.

I didn't actually see this show live, so I am working off my CD.  I'm 
fairly knowledgeable about playing guitar and use of the Line 6 Delay
Modeler.  I am not excessivly familiar with the Boss DD-5 delay pedal,
The explainations I offer about setting up vocal delay may need minor
corretion or clarification.

Remember:

Howie never plays the song the same way twice.  That's what makes him so
good.  Start with the peramiters I lay out for you, and go from there.
The key to a good cover is honoring the spirit of the song, but offering
your own interpretation.

This tab document is long, but detailed.  I've built it into 4 sections:

- section 1: Main Guitar Tab
- section 2: 'Optimistic' Jam Guitar Tab
- section 3: 'Give Yourself Away' Outro Guitar Tab
- section 4: Live Lyrics (as of June 23, 2001)

-- SECTION 1: Main Guitar Tab --

There are 3 parts:

Part 1 - Verse ("Bittersweet you're too complete...")

   g      d         c
e -3------2h3p2----(3)-|
b -3------3---------1--|
g -0------2---------0--|
d -0------0---------2--|
a -x------0---------3--|
e -3-------------------|

Part 2 - Pre-Chorus ("You got nowhere to run...")

   emin g    d    a7      c
e -3----3----2----0----|--3--|
b -0----3----3----2----|--0--|
g -0----0----2----0----|--0--|
d -2----0----0----2----|--2--|
a -2----x----0----0----|--3--|
e -0----3---(2)--------|-----|

Part 3 - Chorus ("You think you're so...")

   em   g    d        a7      c
e -3----3----2h3p2----0----|--3--|
b -0----3----3--------2----|--1--|
g -0----0----2--------0----|--0--|
d -2----0----0--------2----|--2--|
a -2----x----0--------0----|--3--|
e -0----3------------------|-----|

-- SECTION 2: 'Optimistic' Jam Guitar Tab --

Yup, this is the Radiohead cover part.  The real version of Optimistic,
as performed by Radiohead is done so in the key of D (with drop D tuning).
Since Howie is playing Sweet in standard tuning, he's shifted the Optimistic
jam to the key of E.  Keep in mind Howie's jam is not exactly the same as
the way Radiohead performs it.  Things might seem a little off at first, but
listen to Howie play it, and you'll see it matches.

The jam is fairly straight forward.  Only play the notes/strings indicated.
All other strings should be muted.  I find that playing all the notes on the
"a" string with my index finger, and playing all notes on the "g" string with
my ring finger seems to work, and naturally mute the other strings.

You should let your low E string ring out with every strum.  Since your only
playing a few strings at any given time, adding the low E creates depth.

"Flies are buzzing around my head..."

e ---------------------------|
b ---------------------------|
g --9-9--9-7--11-11--11-9----|
d ---------------------------|
a --7-7--7-5---9--9---9-7----|
E --0-0--0-0---0--0---0-0----|

"You can try the best you can..."

e -------------------------------------|
b -------------------------------------|
g --16-15--14-13--12-11----9-9-7-/9----|
d -------------------------------------|
a --14-13--12-11--10--9----7-7-5-/7----|
E ---0--0---0--0---0--0----0-0-0--0----|

-- SECTION 3: 'Give Yourself Away' Outro Guitar Tab --

As soon as Howie finsihes singing the Optimistic lyric,
"The best you can is good enough", the outro begins.

The set up is easy:

e -------------------------------------|
b -------------------------------------|
g -------------------------------------|
d -------------------------------------|
a -------------------------------------|
E ----0----0----0----0----0----0----0--|

Following suit with the Optimistic jam, Howie just builds a
cadence and a bass line by playing the Low E string.  Keep 
in mind this base line is fairly forceful and you should be muting
the other 5 strings.  Doing this will create a percussion effect (duh!) 
that will match with the low E bassline.

Keep in mind, there's no looping with the delay modeler pedal yet.

The next minute or so howie basically builds into the "fuck you" part.
His vocals are ad-libbed and fairly mumbled.  His vocals are delayed
through the use of Boss DD-5 delay pedal.  I'm note sure of the settings
because I don't use this pedal.  I'm going to assume the delay is set to
a quarter note delay.

As this vocal build progresses the baseline should as well.  Nothing changes,
it's still just the low E, but anger that builds in his voice should be
felt in the playing.

It builds... and builds... and build... and creshendos.  Then...

**take a 4 beat pause from playing and singing, let everything just ring**

If you're going to perform outro like Howie did on june 23, as you take this
pause take 2 full steps back from the mic.  Conjour up the memory of every
girlfriend or boyfriend that's done you wrong, and begin screaming,

"GIVE YOURSELF AWAAAAAAAAAAAAY!!"

The outro now begins to take shape.  The new chord progression is:

      c    d    emin
e ----0----2----0----|
b ----1----3----0----|
g ----0----2----0----|
d ----2----0----2----|
a ----3----0----2----|
E ---------2----0----|

Fairly straightforward stuff. I will sometimes make some minor variations,
just to keep things interesting.  eg:

      c    d    emin
e ----0----0h5--3----|
b ----1----3----0----|
g ----0----0----0----|
d ----2----4----2----|
a ----3----5----2----|
E --------------0----|

Once the vocals are finished, Howie begins to close the song, by building a
small guitar loop with his Line 6 Delay Modeler Pedal

Line 6 settings: effect dial turned to "loop sampler",
every dial set to 0, except mix, which is turned to FULL. As far as I can
tell there is no echo or delay on the guitar.  If there was any delay it would be
managed seperately through the DD-5 pedal.  

Again, he sets up the base line from the begining of the outro:

e -------------------------------------|
b -------------------------------------|
g -------------------------------------|
d -------------------------------------|
a -------------------------------------|
E ----0----0----0----0----0----0----0--|

The loop is set at 8 beats, or two bars worth of howie playing the bassline.
Unlike some of his other songs this loop is short.

Next Howie adds the high fill.  This is played on the high e string.
Here's a basic pattern:

e |---12-12-12-12-12--10---

Once that's looped, Howie the plays the same pattern again, but with different
notes, creating harmony.

e |---5--5--5--5--5---3---

[note this high fill part I'm tabbing from memory, I may be slightly off from
the Metro Cafe performance, but I know it will work]

Finally, Howie's last build is the drums.  This a simplistic beat, with emphasis on
the bass drum part.  Less is more.  Also, remember to make your 'bass drum' sounds
use the palm of a closed, but not clenched, fist on the front of the guitar body
(towards the bottom). The "snare drum" sound is made with the open slap of your hand
(towards the top).

Once your drums are playing back hit the stop record button (middle knob).
Let the loop ride for a bit.  Grin. When you're ready to end your performance stop the loop.
At the end of the Metro Cafe performance there's a "techno-whirl" kind of sound.  This is
most likely done by turning the line 6 "delay" and "repeat" knobs to full, hitting the low E sting once
and then turning the "delay" knob counter clockwise slowly.

-- SECTION 4: Live Lyrics (as of June 23, 2001) --

Note: I've tried to write out the lyrics as heard on June 23rd, thus, they're going to seem
a bit abstract and less structured.  Anyways, here's what I hear:

SWEET

bittersweet you're too complete
ask me why
you're over there and you're shy to stare
you catch her eyes
when you do she looks at you with silent signs
and i know, yeah, that you glow like the sky

oh no
oh no

and you're bittersweet your too complete
ask me why
you're over there and you're shy to stare
you catch her eyes
when you do she looks at you with silent signs
and i know, yeah, that you glow like the sky

you got nowhere to run
but you got someplace to be
yeah you've got nowhere to run
but you've got someplace to be
dance with me dance with me
you think you're so (fuck yeah)

sweet (no no no)
you know you're so sweet (no no no)

and it's friday night, your joke's alright you come with me
you're falling close and you're too hard to see
when you do she looks at you silent sign
and i'll know, that you'll glow like the sky

you've got nowhere to run
but you've got someplace to be
you've got nowhere to run
but you've got someplace to be
dance with me dance with me

you think you're so fuckin' sweet (no no no)
yeah you're so low ??? (no no no)

[optimistic jam]

Flies are buzzing around my head
Vultures circling the dead
Picking up every last crumb
The big fish eat the little ones
The big fish eat the little ones
Not my problem give me some

You can try the best you can
you try the best you can
The best you can is good enough

You can try the best you can
you try the best you can
The best you can is good enough

[outro]

ohh no
??? in your heart
???
???
I'm barely holdin' on...
???
???
???
I'm barely holdin' on...
???

just give yourself away
yeah yeah yeah oh yeah

just give yourself away

FUCK YOU

yeah yeah yeah oh yeah

--------------------------------------------------------
Questions, Comments, Corrections - rba@vanmega.com
--------------------------------------------------------
 
2013, Sep
W

Sweet

in Live Originals, Tablature, by jaman
- sweet -
- howie day -

- verse -
   g  d       f  c
e -3--2--2h3--3--3--|
b -3--3--3----1--1--|
g -0--2--2----2--0--|
d -0--0--0----3--2--|
a -x--0--0-------3--|
e -3----------------|
- pre chorus -
   em   g  d  a7
e -3----3--2--0--|-3--|
b -0h3--3--3--2--|-0--|
g -0----0--2--0--|-0--|
d -2----0--0--2--|-2--|
a -2----x--0--0--|-3--|
e -0----3--------|----|

- chorus -
   em  g   d        a7
e -3---3---2h3p2p0--0--|-----3--|
b -0---3---3--------2--|-0-1-1--|
g -0---0---2--------0--|-0-0-0--|
d -2---0---0--------2--|-2-2-2--|
a -2---x---0--------0--|-3-3-3--|
e -0---3---------------|--------|

transcribed - anthony page - 044287p@acadiau.ca
 
2013, Sep
W

Sorry So Sorry (live)

in Live Originals, Tablature, by jaman
-------------------------------------------------------------------------
Howie Day
Sorry So Sorry (live, a la Howie, using Line 6 Delay Modelers etc.)

Tabbed by rba
rob_anand@hotmail.com
www.vanmega.com
-------------------------------------------------------------------------

Rather than tab a specific live version, I've created a generic summary
of all the live versions I've heard / seen. (from April 2001 - Jan 2002)

Howie never plays the song the same way twice.  That's what makes him so
good.  Start with the peramiters I lay out for you, and go from there.
The key to a good cover is honoring the spirit of the song, but offering
your own interpretation.

This tab document is long, but detailed.  I've built it into 4 sections:

- section 1: Main Guitar Tab
- section 2: Guitar Outro / Jam 
- section 3: Vocal Outro / Jam
- section 4: Live Lyrics

NOTE:  CAPO ON 1.  ALL TABS, NOTES ETC RELATIVE TO CAPO.

-- SECTION 1: Main Guitar Tab --

There are 3 parts:

Part 1 - Verse ("Spend your nights here...")

       C                     Emin
e |----0-------0-------------0------------2-----
b |----0-------3-------------0------------0-----
g |----0-------0-------------0------------0-----
d |----2-------2-------------2------------2-----
a |----3-------3-------------2------------2-----
E |--------------------------0------------0-----

Basically it's a back and forth transition from C to Emin,
with an little "add" to each, on the b or high e string.
Note: The add is not a hammer on.

Part 2 - Break/Pre Chorus ("And you really... didn't know")

            Amin7    D           Amin7      D
e |---------0--------2-----------0----------2--
b |---------1--------3-----------1----------3--
g |---------0--------2-----------0----------2--
d |---------2--------0-----------2----------0--
a |---------0--------0-----------0----------0--
E |-----------------(2)--------------------(2)-

This part is just back and fourth between between the A and the D,
you can get fancy an do little hammer ons with the high e string
when playing the D, but it isn't required.

Part 3 - Chorus ("I'm sorry... so sorry")

            Emin       A         C         D
e |---------0----------0---------0---------0--
b |---------0----------0---------1---------3--
g |---------0----------6---------0---------0--
d |---------2----------7---------2---------4--
a |---------2----------0---------3---------5--
E |---------0---------------------------------

You could play the progression with added notes
on the high e string. (ie: not playing it open)

ie:

            Emin       A         C         D
e |---------2----------7---------3---------5--
b |---------0----------0---------1---------3--
g |---------0----------6---------0---------0--
d |---------2----------7---------2---------4--
a |---------2----------0---------3---------5--
E |---------0---------------------------------

I think variation is key here.

-- SECTION 2: Outro / Jam --

To build loops in the outro, you're going to need to use Line 6 Delay Modeler pedal
with your guitar.  If you're also going to add vocal harmonies / loops, like Howie,
you'll need a SECOND Line 6 Delay Modeler pedal with your mic.  In theory you could
run a mic and guitar through one Line 6 pedal, but you won't be able to break up the
vocals from the guitar, and there will be mic vs guitar sound level issues (and
possibly feedback issues).

Howie also uses Boss DD-5 Delay pedal throughout the song for (a trailing) effect on
his vocals. This tab doesn't take that into account.  You can email me if you need
more detail about the DD-5.

One more thing to consider is that Howie doesn't take breaks building the loop.
That is, he is always actively recording and not waiting to see how his loops playback.
Of course that takes practise to become comfortable with your ability to loop, but
it comes quickly.  I think if you wait for playback, your loops don't flow as
gracefully... of course I could be wrong.

Line 6 settings (both for guitar and mic): effect dial turned to "loop sampler",
every dial set to 0, except mix, which is turned to FULL.  All vocal echo/delay is
managed seperately through the DD-5 pedal.  As far as I can tell there is no echo
or delay on the guitar.

BUILDING THE OUTRO LOOP

STEP ONE: play the chorus (see tabs above), play it until your comfortable.  You want
to start your loop as you begin to play the Emin Chord.  Play the chord progression once,
the moment you hit the Emin chord again, stop the loop sample (but keep recording, ie:
press the far left button, not the middle one).

When I play the Emin for the second time, I ONLY PLAY IT ONCE, but let it ring.
As soon as I do this I slide my left hand (with fingers still in Emin position),
up around the 15th fret.  I then mute all stings, and begin to strum...

STEP TWO: muted strums.  As mentioned above, I have my hand across all strings and strum
along to the loop, matching the rhythm.  Usually around the halfway mark of hearing
the D chord playback I stop strumming and get ready for building the next layer.

[note at this point, if you want you can stop recording and let the loop run.
You've got a solid foundation set up]

STEP THREE: counter melody.  This is the "lead part", played on the high e string.
Again, there's always slight variations.  Here's a basic pattern:

e |---10-12-12---10-12-12---10-12---8-10---7-8---5-3-2---

Some times Howie then matches that melody on the b string

e |---10-12-12---10-12-12---10-12---8-10---7-8---5-3-1---

Keep in mind you're basically soloing in the same pattern as the key of G (relative
to the capo).  Play with it, make your own solo.  (note: I'm usually pretty accurate
in my key ID'ing... the G pattern works, but it doesn't seem theoreticaly right since
the song doesn't employ a G chord at any point)

STEP THREE: the bassline. It's completly played on the low E sting.  Howie uses an
octive pedal to drop this part an octive lower, and give it a more richer sound.
He doesn't always use the pedal, and sometimes plays it naturally.  I personally
think no octive pedal is fine.

Here's a basic pattern:

E |---0--0-3-5---5--5-7-8---8--8-9-10---(12)\---

Basically, the bass is mimicing the chorus chord progression:

E -> A -> C -> D

or

0 -> 5 -> 8 -> 10

STEP FOUR: Drums.  I'm not going to get into too much detail, if you need help with
this, email me.  Listen to live version for timimng.  Remember keep it simple -
less is more.  Also, remember to make you 'bass drum' sounds using the palm of a closed,
but not clenched, fist on the front of the guitar body (towards the bottom).
The "snare drum" sound is made with the open slap of your hand (towards the top).

Once your drums are playing back hit the stop record button (middle knob).
Look up at crowd. Smile.

THAT'S IT! At least for the guitar.  Building your loops / jam is an experiment.
Some nights Howie doesn't use all samples possible, some nights he goes balls out.
The only other thing I've noticed he uses to "clean up" his loops is he'll sometimes
add a root 5 power chord, as the A chord is played back in the loop.  That is, he plays:

         A
e |------------
b |------------
g |------14----
d |------14----
a |------12----
E |------------

Play it lightly, don't go crazy.

-- SECTION THREE: Vocal Outro / Jam --

I'm not going to go overboard with detail on this one.  The trick to this one is to
realize the importance of matching the start time of the vocal loop with the guitar loop.
It's not that hard. As your guitar hits the Emin chord, you want to start the loop on
your Line 6 connected to mic.

The nice thing about this loop is that you don't need to rush, your guitar loop
will carry you.  Let the mic line 6 continue to record.

There are basically 3 layers to the loop.  I'm assuming the phrase sung is:

              love did you know... all your time yeah... oh come on

First pass :       did you know... all your time yeah... 

This pass your tone should be low, dark, and with minimal note variation between sylables.
You're setting up the foundation here.

Second pass:       did you know... all your time yeah... oh come on

This pass should be more dynamic and higher.  Your vocal progression on the
"all your time yeah" part should be a noticeable downward progrssion.

Third pass :  love did you know... all your time yeah... 

This is for all the glory, you're practically yelling this.  It should be much clearer
than the previous passes.  If you're gonna yell like Howie, take a BIG step back from
the mic.  Don't worry, you'll be heard loud and clear.

Once you've done your 3 vocal passes hit the stop record button (middle knob).
Look up at crowd. Smile (again).  Let the loops run together a few times.

Kill the guitar loops.

Let the vocal run once more.

Annnnnnnnd you're done!

-- SECTION FOUR: Live Lyrics (minor variations from album) --

spend your nights here
we'll always be up late
keep eachother on
chemicals can make us stay
i meant you're outta line
with your friends and all your jokes
moving out tonight
making phones that hard to hold

and you really you didn't know 
and you really didn't know 

spend your days here 
and never give up now 
you keep the children down 
you're down for one more hour 
imagine i would feel 
if your friends were all your dates 
i'm moving out with her 
do your shake, you'll be ok 

and you really didn't know 
i swear i really didn't know 

so i'm sorry, so sorry 
i'm sorry, oh no 
and i'm sorry, so sorry 
i'm sorry

...quick ad lib...
we'll always be up late 
keep eachother up 
chemicals can make us stay 
i meant you're outta line 
with your friends and all your jokes 
moving out tonight 
making phones that hard to hold

you didn't know 
i swear i really, you didn't know
so i'm sorry, so sorry 
i'm sorry, oh no
and i'm sorry, so sorry
i'm sorry

get me outta here, oh no
and I swear I really didn't know
and I swear I really, didn't know

i'm sorry, so sorry 
i'm sorry, oh no
and i'm sorry, so sorry
i'm sorry

[Outro / Jam begins]

love did you know... all your time yeah... oh come on

--------------------------------------------------------
Questions, Comments, Corrections - rob_anand@hotmail.com
--------------------------------------------------------
 
2013, Sep
W

Madgrigals (outro jam)

in Live Originals, Tablature, by jaman
madgrigals jam
howie day
transcribed by brendan o'rourke(daivmatthewsband@yahoo.com)
------------------------------------

part I
   E     B   F#m   A
e--0-----0----0----0---------
b--0-----0----10---0---------
g--1(2)--8----11---6---------
d--2-----9----11---7---------
a--2-----9----9----7---------
E--0----(7)--------5---------

part II
   E   B  F#m      A
e--7---7---2---4---5---------listen for the rhythm of the walk-up
b--9---7---2---4---5---------from the f#m to A
g--9---8---2---4---6---------
d--9---9---4---6---7---------
a--7---9---4---6---7---------
E--0---7---2---4---5---------

part III
e-------------play 8 times
b--9----------
g-----9-------
d--------9----
a-------------
E-------------

part IV
e--12--11--11/12----rhythm not indicated at all so listen
b-------------------for it
g-------------------
d-------------------
a-------------------
E-------------------