Self-publishing is all the rage these days, thanks to advances in typesetting and printing technology, and of course, the Internet.
But as anyone in the trade will tell you, no matter how many times an author proofreads his or her book, some error or omission will escape detection. I must have read the GNG manuscript a hundred times at least by now, and still they turn up, always on discovery with a muttered “how the hell did I miss that?”
They are always minor, but no less irritating for that.
In the following (modest!) table, they are highlighted in bold.
Other relevant information, not to be added to the table, is given within square [ ] brackets.
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ON PAGE:
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THE ITEM READS…
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THE ITEM SHOULD READ…
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6
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As we go along the keyboard from its left to its right, or down the diagram on p. 7 from top to bottom….
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As we go along the keyboard from its left to its right, or down the diagram on p. 8 from top to bottom….
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18
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(See also the more detailed tables on p. 24).
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(See also the more detailed tables on p. 25).
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19
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A pentatonic scale has five notes and four intervals in the octave. For example, the black keys on the piano make one of their own, and it is possible to make tunes on the keyboard using only those keys.
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A pentatonic scale has five notes and four intervals in the octave. For example, the black keys on the piano make one of their own, and it is possible to make tunes on the keyboard using only those keys: such as Auld Lang Syne.
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21
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Music and poetry appeal chiefly and directly to our emotions, and the guitar can express emotion brilliantly… the full smorgasbord. (Note here the relevant John Lennon song While My Guitar Gently Weeps.)
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Music and poetry appeal chiefly and directly to our emotions, and the guitar can express emotion brilliantly… the full smorgasbord. (Note here the relevant George Harrison song While My Guitar Gently Weeps.)
[Hat tip: Tim Eyles, of The Craicheads.]
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22
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And so on for another six verses and namingn more runs through the chorus.
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And so on for another six verses and six more runs through the chorus.
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23
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Commonly, the accented notes in the melody fit best with the chords in the harmony, and these notes in usually occur with the on-beats
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Commonly, the accented notes in the melody fit best with the chords in the harmony, and these notes usually occur with the on-beats
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25
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Taking one full grid width as a tone interval…
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Taking one full cell width as a tone interval…
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28
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[The bold column is as for Note 3 of the major scale, down the column C#, D, D#....
It should not be bold. ]
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[The bold column should be the one to its immediate left, of the aforesaid column, running C, Db, D…. in accordance with the scale as set out in the second row for ‘Mel.Min dn <’.]
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28
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[The first line chord sequence in ‘For he’s a Jolly Good Fellow’ in Dorian mode runs]
D min… G… C min…
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D min… G… D min…
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29
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(As there are twelve semitone intervals in an octave, 12/3 = 4 intervals. [no closing bracket]
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(As there are twelve semitone intervals in an octave, 12/3 = 4 intervals.)
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29
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Ch. 7 of that scale
[in table header]
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Ch. 7 of that scale*
[insert * in table header]
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34
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Likewise, we can proceed from note #2 to note #7 using non-major chords as follows:
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Likewise, we can proceed from note #1 to note #8 using non-major chords as follows:
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41
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(Hence Duane e’s 1959 debut album Have Twangy Guitar, Will Travel.)
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(Hence Duane Eddy’s 1959 debut album Have Twangy Guitar, Will Travel.)
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51
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The final sound of an acoustic guitar is that of the vibrating string-wood-air system of the whole instrument, including the resonator resonator.
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The final sound of an acoustic guitar is that of the vibrating string-wood-air system of the whole instrument, including the resonator.
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61
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Played in E major it goes:
E A A
Twink - le, twink - le, lit - tle star
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Played in E major it goes:
E A E
Twink - le, twink - le, lit - tle star
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66
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[In Section C: The Full-Page Fingerboard Diagrams. The conventional C Major chord diagram is correct, with its sequence across the fingerboard from String 2 to String 6 of scale notes 1-3-1-5. Likewise in the next diagram immediately under ‘The same chord can be rendered as:….’
But the two full fingerboard diagrams below that one both have the sequence running
5-3-1-5, instead of 1-3-1-5.]
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[Those two fingerboard diagrams should be corrected to make the note sequence from String 2 to String 6 run 1-3-1-5.]
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With reference to the table on p 28, concerning (see heading on previous page) A Melodic Minor Scale going down:
Briefly, the minor problem here is that the bold characters in the table match those (of the bold numbers) going across the top line of the table, where they should be matching the bold numbers going across the second line of the table.
Consider the top line of that table (labelled at the LHS: ‘Major’).
The third note column is in bold, right down the table. Going down in bold the notes go: C#, D, D#... They should not be bold. So going down as corrected the notes should go: C#, D, D#...
Now consider the second line down, (labelled at the LHS Mel.Min. dn<). The third note column there is not bold. Progressing downwards, the notes go C, Db, D…
It should be in bold, so that going down the column the notes should go C, Db, D…
Again with reference to the table on p 28; A Melodic Minor Scale going down:
Again consider the top line of that table (labelled at the LHS: ‘Major’).
The sixth note column is in bold, right down the table. Going down in bold those notes go: F#, G, G#...
They should not be bold. So going down as corrected, the notes should go: F#, G, G#...
Now consider the second line down of the table, (labelled at the LHS Mel.Min. dn<). The seventh note column there is not bold, and progressing downwards, its notes go G, Ab, A…
It should be in bold, so that progressing downwards the column the notes should go G, Ab, A…
Again with reference to the table on p 28; A Melodic Minor Scale going down:
Again, consider the top line of that table (labelled at the LHS: ‘Major’).
The seventh note column is in bold, right down the table. Going down in bold the notes go: G#, A, A#...
They should not be bold. So going down as corrected the notes should go: G#, A, A#...
Now consider the second line down, (labelled at the LHS Mel.Min. dn<). The seventh note column there is not bold. It should be in bold, so that going down the column the notes go G, Ab, A…
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My sincere apologies for all this. I say that in my capacity as author, publisher, proof-reader, general rouseabout and also dogsbody. But, looking on the brighter side, I do feel that I have the makings here of an excellent script for one of those absurdist TV shows such as Micallef. It rather reminds me of The Court Jester, a film starring Danny Kaye, Glynis Johns, Basil Rathbone and Angela Lansbury. “The pellet with the poison’s in the vessel with the pestle”. Have a look at it at https://www.youtube.com/watch?v=TJ9f2rnjB84
This version here just needs a little more complication….
Alternatively, you might care to do a copy/paste on the table below. That is, copy it from here and paste it to your word processor. Then enlarge it, print it in landscape format, and slip it into your copy of The Glass-necked Guitar at p. 28.
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So for example, the C major scale going down ( C – B –A – G – F – E – D –C ) becomes the descending C melodic minor (C Mel. Min. dn< ) as follows:
C – Bb – Ab – G – F – Eb – D – C, when the row in the table is read from right to left.
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Major
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1
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2
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3
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4
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5
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6
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7
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8
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Sharps in key signature
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Flats in key signature
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Mel. Min. dn<
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1
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2
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3
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4
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5
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6
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7
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8
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A Mel. Min. dn<
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A
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Bb
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B
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C
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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None (F and G raised in score)
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None
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Bb Mel. Min. dn<
(Gb & Ab raised in score)
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Bb
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B
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C
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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Bb
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F,C,G,D,A
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B Mel. Min. dn<
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B
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C
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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Bb
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B
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F,C (G & A raised in score)
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C Mel. Min. dn<
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C
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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Bb
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B
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C
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B,E,A (B &A cancelled in score)
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C# Mel. Min. dn<
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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Bb
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B
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C
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C#
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F,C,G,D (A & B raised in score)
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D Mel. Min. dn<
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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Bb
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B
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C
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C#
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D
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B (Eb & C raised in score)
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Eb Mel. Min. dn<
(Cb & Db raised in score)
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Eb
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E
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F
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Gb
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G
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Ab
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A
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Bb
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B
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C
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C#
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D
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Eb
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B,E,A,D,G,C
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E Mel. Min. dn<
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E
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F
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Gb
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G
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Ab
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A
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Bb
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B
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C
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C#
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D
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Eb
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E
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F (C & D raised in score)
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F Mel. Min. dn<
(Db & Eb raised in score)
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F
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Gb
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G
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Ab
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A
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Bb
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B
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C
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C#
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D
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Eb
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E
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F
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F,C,G,D,A
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F# Mel. Min. dn<
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F#
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G
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Ab
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A
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Bb
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B
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C
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C#
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D
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Eb
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E
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F
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Gb
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F,C,G (D & E raised in score)
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G Mel. Min. dn<
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G
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Ab
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A
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Bb
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B
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C
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C#
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D
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C
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E
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F
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Gb
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G
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B,E (Eb & F raised in score)
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Ab Mel. Min. dn<
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Ab
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A
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Bb
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B
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C
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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F,C,G,D,A (E & F# raised in score)
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A Mel. Min. dn<
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A
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B
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C
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C#
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D
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Eb
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E
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F
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Gb
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G
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Ab
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A
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None (F and G raised in score)
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None
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Out of these scales are constructed the melodies of compositions, and the chords that accompany them.
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