From JARRELLJ@N4.OPNAV.NAVY.MIL Fri Sep 1 12:16:05 1995 Received: from opnav-emh.navy.mil by raven.math.ubc.ca (911016.SGI/1.14) id AA10282; Fri, 1 Sep 95 12:16:05 -0700 Received: from N4.OPNAV.NAVY.MIL by opnav-emh.navy.mil with SMTP (1.37.109.11/16.2) id AA214202882; Fri, 1 Sep 1995 15:14:42 -0400 Received: from cc:Mail by N4.OPNAV.NAVY.MIL id AA809994234; Fri, 01 Sep 95 14:35:14 EST Date: Fri, 01 Sep 95 14:35:14 EST From: "JARRELL_JIM" Encoding: 40 Text, 280 Text Message-Id: <9508018099.AA809994234@N4.OPNAV.NAVY.MIL> To: dgaudet@math.ubc.ca Return-Receipt-To: JARRELLJ@N4.OPNAV.NAVY.MIL Subject: TAB:LeoKottke"Watermelon" Status: RO Humphrey's by the sea, San Diego, 1991. Leo Kottke/Tuck and Patty in concert. A voice from the crowd during Leo's set. .."Watermelon!!"...."Nah, I don't like that tune" sez Leo. Too bad. It's my favorite on the Armadillo album and one of my favorite Kottke tunes of all time. When I first discovered Kottke's music in the early 70's, and during my formative years playing the guitar, I must have listened to "Armadillo" a zillion times. I, like many of you, marveled at the sound. As I struggled with Freight Train at 10 beats per minute the possibility of playing anything even slightly approaching what I heard in Armadillo was beyond my wildest imagination. Still is!!! Here's a simple fact...Kottke is Kottke and you're not!! But...his music is accessible when you realize that you'll never play it exactly like Leo. No sweat, just sit back, get a grip, and do it your own way....however, the basic Kottke sound is accessible, albeit with some effort. "Watermelon" surounds you with a wall of sound. I think the key to the tune rests in the right hand picking pattern. The pattern has an almost banjo flavor to it. While a standard alternating bass with the thumb is there, its the emphasis of the higher voice created by the fingers that I think gives Watermelon its distinctive "hook". That combined with the left hand alternating a slight release of the notes as the pattern plays out creates the sound. The latter concept relates to the "nudging someone off a bus" technique Leo referred to in the "8 Songs" book. Took me awhile to figure out what he meant by that...I think I understand. While recorded on a 12 string, Watermelon sounds okay on a 6. Too bad Leo never re-recorded it 'ala Mona Ray and Ojo on a 6 string. Also, if you haven't gotten into slide guitar yet, you can also work this one around pretty well without a slide. This tab is far from accurate but it'll get you headed in the right direction. A simplified, basic version of the tab was given to me by fellow Kottke enthusiast Hank Stanley. He deserves most of the credit....I'm not nearly smart enough to have figured out the positions Leo plays this thing out of...positions that in retrospect are ridiculously simple.... Thanks Hank!. "Watermelon" Leo Kottke From: "6&12 String Guitar" Tab: Hank Stanley/Jim Jarrell Open D (several 1/2 steps low) 12 string w/ slide Timing: 4/4? (Dunno!) Speed: Pretty darn fast! h hammer on p pull-off g ghost note: note that, while played, is not accentuated and/or who's primary purpose is to facilitate left hand movement or maintain the beat T thumb or thumb brush down catching several strings I index finger ' accentuated note,ie. at least partial emphasis / slide up the neck (towards saddle) \ slide down the neck (towards nut) X mute,dampen or move to/from indefinite position Section I: A banjo roll of sorts. Rock steady syncopation with second string creating almost "drone" sound. No, repeat, no hesitation on "pinches" d|-------------------------------------| a|--------0-----0-----0-----0-----0----| f#-@----3---3-------3---3-------3---3--| D|-@------0-------0-------0-------0----| A|----3-------3-------3-------3--------| D|-------------------------------------| |-------------------------------------| |------0-----0-----0-----0-----0------| |----1---1-------1---1-------1---1----| |------0-------0-------0-------0------| |--2-------2-------2-------2----------| |-------------------------------------| |-------0------0--------0--------0------0---| |-------------------------------------------| |---0--------0--0-0h1--------1--------0-----| |-----0--------0------0--------0--------0---| |-----------------0h2-----------------------| |-0--------0---------------0--------0-------| g Note: 5th string "h" has emphasis over 3rd string "h". |----0------2/4------2p0-------------0------| |-------------------------------------------| |--------0--------0---------0----0----------| |------0--------0---------0--------0--------| |-------------------------------------------| |-0---------0--------0---------0--------0---| |------------------------------0-------0----| |-------------------------------------------| |-0---0------1-----1-------0--------0-------| |---0------2---2-------2-----0---------0----| |------------2-------2----------------------| |--------0-------0-------0--------0---------| Section II The weakest part of the tab, this section befuddles me...too many octave notes going on at one time. Here's 3 ways it could be played. Regardless, this section is played out of a good 'ole, standard tuning E or E7 chord position (I think!) |-------------------------------------------| |-------------------------------------------| |------1-----1-----1------0'------0---------| repeat |----2---2-------2---2--------0--------0----| many |------2-------2-------0x-------0-----------| times |--0-------0-------2--------0--------0------| (Note: slight damp and accentuated note above) or maybe its...... |-------------------------------------------| |-------------------------------------------| |------1-----1-----1-----0'------0----------| |----2---2-------2---2-------0--------0-----| |------2-------0x------2-------0------------| |--0-------2-------0-------0--------0-------| or maybe its...a backwards banjo roll... |-------------------------------------| |-------------------------------------| |----1-----1-------1-----0'-----------| |------2-----2---2---2--------0---0---| |--------0-----0-------0--------0-----| |--0---------------0--------0---------| While not tabbed, you could also throw in the the 4th fret, 6th and 4th string and 3rd fret,3rd string during part of above section...lots of options The remaining part of this section is an example of one of the many reasons why Kottke is Kottke and you and I aren't.... |------0---------------0------2/4-0-------| |------------------------0----------------| |----0---0-1-0-------------------------0--| |------0-------2-0----------0--------0----| |------------------2-0--------------------| |--0-------------------0--------0---------| I T I T I T I If,like me, you have trouble with the thumb/index flatpick style finger run try this variation.. |------0--------------------0-----2/4--0-----| |-------------0-----0---------0--------------| |----0---0------1-----0---0----------------0-| |------0----------2-----0-------0---------0--| |--------------------------------------------| |--0--------0---------------0-------0--------| Section III Constant, subtle vibrato throughout on 3rd string |-------------------------------------| |-------------------------------------| |------7/8-----8-----8-----8----------| |----0-----0-------0---0-------0---0--| |------0---------0-------0-------0----| |--0---------0-------0-------0--------| "7/8" slide above is very subtle (ghost slide?) |----------------------------------| repeat 1st |----------------------------------| two measures |------6-----6-----6-----6*--------| of section then.. |----7---7-------7---7-------7---0-| |------7-------7-------7-------7---| |--0-------0-------0-------0-------| *on recording the high "g" string octave is emphasized..I get the note by reaching down with my right index finger to get better pull up to get the note... yeah, I know...picky,picky,picky |-----------------------------------| |-----------------------------------| |------7-----7-----7-----7----------| |----0---0-------0---0-------0---0--| |------0-------0-------0-------0----| |--0-------0-------0-------0--------| |----------------------------------| |----------------------------------| |------3------3------3----3--------| |----4----4--------4----------4----| |------0x-------0x-----0x-------0x-| |--4--------4--------4------4------| dampen notes above with finger fretting 6th string Next measure all with slide |----------------------------------------------------| |----------------------------------------------------| |------5-----5-----5---5---------7-----7----7---7\x--| |--------5-------5-----5-----------7------7-----7\x--| |------5-------5-----5-----5-----7-------7----7------| |--x/5-----5-------5-----5---5/7-----7------7--------| Section IV All fretted notes with slide and tons of vibrato |-----X/12----12------12------12----------| |-----------------------------------------| |-------------------0-----0---------0-----| |-----0-----------0---------0---------0---| |-----------------------------------------| |--0--------0----------0----------0-------| |-----X/11----11------11------11\X--------| |-----------------------------------------| |-------------------0-----0-----------0---| |-----0-----------0---------0-------------| |-----------------------------------------| |--0--------0----------0------------0-----| |-------5-----5-----5-----5---------------| |-----------------------------------------| |-------5---------5---5--------5\X--------| |-------5-------5-------5------5\X--------| |----5------------------------------------| |--X/5-----5--------5--------5------------| T' T' T' |-----2/4---2/4---2/4-----2p0---------| |-------------------------------------| |-----------------------0--------0----| |-----0-----0---------0--------0------| |-------------------------------------| |--0-----0--------0--------0----------| You really do have to listen to last measure to get the feel and timing....but that's true for entire tune Repeat sections I and IV then section I to fade Comments, questions and corrections welcome! Jim Jarrell Work: JarrellJ@N4.OPNAV.NAVY.MIL Home: KQTJ46A@prodigy.com