It sounds really awesome, that's a good group of musicians you have!
A teacher is never wrong no, but finding a really good one sadly isn't easy.

Yeah, I know what you mean, it's hard to find the balance. You know there are lots of people with more knowledge then you, but on the other hand you wanna be creative and experiment with your own ways.

Finding balance between playing by ear and a more theoretical approach is also a good idea, but it's easy to get stuck in one or the other depending on what kind of person you are. But as you say, it's not good not understanding what you play if you aim to become a higher level guitarist.

Yeah I've been there as well, a few years ago I worked 8 hours a day on my normal job and then went home and worked 4 more as a private teacher, it works for a while I guess but it took its toll later on and I realized how stupid I was. And on top of that I was doing alot of sports.. It's good to hear you don't work as much anymore either!
It's your life and you should do what feels right to you, but personally I strongly advice against playing anywhere near that much each day. Besides the obvious disadvantage of tiring out your muscles and not getting enough rest, there's also both the physical and mental health that's connected with learning and evolving in anything.

A while ago one of my students asked me how many hours a day the professional guitarists played. I searched the web and even most of the highest level of players I found didn't play more then around 5-8 hours a day. Even Yngwie Malmsteen practiced like 8 a day back when he practiced the most, the only exception I found was Steve Vai, he practiced around 10 hours a day. But don't take my word for it, google yourself and see what you find, maybe you'll find other information but I'll highly doubt you'll find people who have played as much as you want to.

So my advice is this, take it or leave it Don't do anything more then around 8 hours a day, whether it be work or something fun like playing guitar, I think there's a point in length when the effect turns from positive to negative no matter what we're talking about. And if you do wanna play alot, listen to jerrykramskoy and both warm up and take many breaks, one break each hour is my personal preference no matter what it is I'm doing for many hours in one day. Other then that take care of your body, eat and drink properly, try to get a healthy amount of sleep and so on, I'm convinced it will show a positive effect on your guitar playing. Obviously this is impossible to maintain when playing 16 hours a day.

As for tips on what to practice there's lots of guitar videos on youtube by great players as Steve Vai, Yngwie Malmsteen, John Petrucci and many others. You should easily be able to find many good exercies to build into your practice schedule. Also there's old vhs videos you might be able to find, I used to have a few before so I know there's alot of old good videos out there as well, and you might be able to find and download them somehow.
So here's my take on it!

I have 16 tracks on my portastudio, and I've never run out of tracks. In my opinion you most often don't "need" to have many tracks for the same instrument (with one exception I'll write about further down), except when recording one part at the time and they overlap, then I use two though. Because let's say the song has three solos which don't overlap, I can just put them on the same track and then edit the parts separately. And then what I usually do when parts do overlap, is to use two tracks and alternate the parts between them.

But I guess it also depends what editing software you have, with older lower budget ones it might help with more tracks, I don't know because I've only used higher level ones with all the functions I need Also, I can see the point from a organizing point of view, that it's easier to label the tracks Solo 1 etc. But that's more of a luxury in my opinion.

Then to the exception, if I were to aim for a truly professional recording and I had a non-digital drumset, I agree with reverb66 about the drums. I would also put the different parts of the drum-set on a separate track with it's own optimized microphone.

But for using layers I usually just duplicate the tracks later, instead of doing two separate recordings or using two tracks simultaneously on one take.
I don't claim to be an expert, but here's my take on it!

When I play more casually I don't care how I tune, I just use a tuner and then correct the worst intonation issues after by ear. It simply takes too long to get near perfect (perfect can't be achieved of course both as the 12-tone scale isn't balanced enough, and the instruments has more or less flaws in the neck/bridge/etc.). Also, the intonation on all my instruments is horrible (except on my Gibson Explorer, which I don't use as much since I mostly play acoustic songs now).

However when recording something serious I use this old method I heard Eric Johnson explain in some old interview (it can probably be found on youtube). So basically he starts in the middle of the guitar, often on the G-string, and then tune outwards towards the E-strings. Also, he checks with the different by ear methods, to hear tones in more then one octave. He does it purely by ear since he's Eric Johnson, but I use a tuner for help.
Listened to Rosebuds. I really liked the music, but I'd look over the effects and mixing/mastering. And I understand wanting the mysterious vibe on the vocals with effects and so on, but I barely hear the words at all. Maybe try easing up on the effects and raising the volume of the vocals a bit. Also the cymbals and hi-hat kind of take over the sound too much I think, rest of the drums was fine though, so could also be the microphone setup on drums that needs looking over?

Then I listened to Hello as well, nice song, liked the mixing/mastering a bit better on that one. Couldn't place exactly why, just a feeling I got

Yeah, like others have already written, it can be a number of different things I believe. For example if you're feeling stressed, just came in from the cold, fighting an infection, or are just simply tired. And "tired" can apply both mentally and physically, we play with our hands and fingers which have muscles in them, and like any muscles they can "under-perform" for various reasons. And when mentally tired the muscle memory signals etc. might not work as smoothly as usual, it's easy to forget that everything physical we do have a direct connection to our brain.

For sure, rest is good sometimes. But that being said, sometimes you just gotta push through it, just like anything else. Then deciding what's the right thing for each specific time isn't easy of course
This is how I like to do it:

Guitar/Piano (whichever plays the main rhythm part first)
Extra stuff (solos, vocal harmonies, other instruments, etc.)

I know that some prefer to do guitar/piano before the bass, but for me it's easier in that order.

If it's a tough song to play I like to use double tracks for each instrument after the drums (and for vocals as well if needed), and then record one part at a time. Obviously this doesn't always work, it depends how the parts are connected, and what I can fix after when editing.

And sometimes I start by recording a temporary track with metronome clicks (which I obviously remove later), if it's a song where I really want to stay dead of the beats. Also it kind of depends, I'm not the best drummer so if I were to lay the drum track myself I need the metronome, but if I were to have a good drummer playing it's often not needed (or up to him/her of course).
Looks really good, I can see it being a valuable tool! Can definitely see myself sharing it as a tip to my students when it's done. Then for criticism/ideas, here's three things I would add/change if I were you.

First of all I'd attach a soundfile to each fret, so when I click a fret and it shows the note, it also plays the note with a guitar sound. And obviously there should be an on/off button for this feature. Alot of work I know, but I think it would be appreciated.

Then connected to that with adding sounds, I'd also record a soundfile for the scales in the most common position. So for example if they mark A pentatonic minor in the bottom right box, they would also have the option to hear how it sounds. Once again, alot of work, but extremely helpful.

Then thirdly I'd change the colours and layout of the fretboard. Having it there and the functionality I like, but the colours don't blend smooth to me, and all the dots makes my eyes grow weary. I'd keep the string names and fret numbers, those are helpful. But I would rethink the layout of the fretboard when it comes to the dots, maybe go with showing strings instead, and putting something more subtle and clickable over (if it's even needed, could also just make it an invisible button and write shortly how it works I guess).

That's what I thought of right away atleast. Keep in mind that I love your idea and you've done a great job, this is just meant to be helpful tips for further improvements, NOT critique with the intent of bashing your creation.

I've searched for the same thing for a long time, but I've never found anything that's a viable option to Earmaster. I only have a previous version of Earmaster, but I've heard you can change the instrument in Earmaster 6 so the exercices is played on guitar instead of piano, is that correct? If so I believe that's as close you can get at the moment, unless there's a totally unknown software I haven't found, because believe me I have searched alot I think Earmaster is awesome so if that's true I would be satisfied atleast, it's just I can't afford to buy it at the moment.
Oops, just now read the previous post and realized this is a really old thread, damnit. Well, I've already spent the time answering so no point fretting over it now, might as well let it stand in case someone find my view helpful.
I'm a private guitar teacher since around 12 years ago, and I'll gladly share tips with you! And after reading this do ask questions if you want to.

First thing I did when starting out was to categorize music knowledge in a way that students of all skill levels may understand. So for example we have things to know about the actual instrument, chords, reading sheet music, strumming, things revolving tones, reading tablature and so on. Then after that I sorted out in what order the content in each category should be teached in my opinion, for example when learning chords like how to read a chord chart and the most basic major and minor chords can be step one, then step two and so on.

Then after all that I tried out my first student, and started the lesson by asking what he knew of each category (after explaining them to him), and then I asked him to pick one thing he'd like to start with getting better at. Although obviously we started the lesson by talking about music and goals and life etc. to ease the tension when now knowing each other, but I mean after that part Also in advance I asked him to pick 5 songs he wanted to learn, so I prepared them with various difficulties and contents since I didn't know where we would start. Then with one part of theory to start with I chose a matching song that I could wrap in the theory with. Basically it always starts with either easy strumming on chords or picking on tablature on the songs, and each has many potential first steps for matching theory.

So a specific example for a start, one of the songs picked is Milow's Ayo Technology and they say the wanna start learning about chords. Okay, so let's do it. Maybe I start by showing how to read a chord chart, tell numbers of the fingers and so on, giving the name of the strings, explain what a fret is, and then show the chords. After switching slowly between the chords I explain beats per chord and say that's our goal to switch in a smooth rhythm and that tempo doesn't matter just make it smooth and so on.

Still to this day I follow those easy parts in the start when getting new students, and then from lesson 2 and on I always try to encourage them to be active in choosing both songs and theory, at the same time I tell them my advice what I think we should/could focus on at the moment. My general rule is to always try to mix learning songs with theory, that way theory makes sense and gets a purpose. And to go back to the "steps" of each "category", that's just a starting point, if they really wanna learn something a bit "higher" I try to make it work explaining it right then if possible, or atleast say "hey, we can learn that soon, but first to make that possible we must go into..". Also, I try to keep the lesson around 50/50 theory and playing, which is probably unlike many other teachers who generally play much more, or atleast what I've heard from others in my country.

The way I see it, there's so much to learn, so by letting them choose more (under my guidance of course) it's hard to go wrong. Some students I have to guide more than others of course, but the more they choose the better in my opinion. But of course this also means I need to teach them early to see the different "parts" of being a musician on the road to "musical excellence". So from the start the categorys is etched in thourougly.

Then an often overlooked part which took me a while to figure out I admit, is teaching the students how to structure their practicing. Small details we often as teachers see as obvious, it's not always as clear to the students, especially when deadling with younger people. So my advice is to not wait too long with talking about this, always double-check they know what and how to practice, plus how to find the information needed if they forget something.

So that's my philosophy in teaching atleast, I'm not saying it's the correct way, but it's MY way. And it works for me and my students.

I can explain further if this was a "too basic" of an overview, or if you're curious and just wanna know more just ask!
I kind of agree with both (and I think they actually agree with each other as well), here's my take on it, which is a mix of both answers with a bit more explaining! If it's overexplained and you know alot of the things I write already then sorry, but I rather explain too well then too poorly

Firstly, there's no such thing as "too fat" fingers, sure the bigger you fingertops is the less room for space you have, but it's just a matter of practicing. Sure it may take a while longer to perfect because of that, since you have less margin of error when placing the fingers. But there's many examples of brilliant guitar players that have big fingers, just look at Yngwie Malmsteen and Andy McKee to name two.

And secondly, I'm gonna assume you know the finger numbers (1=indexfinger etc.). So both the fingerings Sickz write about is equally good (123 and 234), since it lets you play the full A chord with the high E-string ringing as well. Both these fingering are useful to know, in some chord progressions the first fingering fits better and in others the second. So there's no "better way" since that's the only way to safely include the high E-string, as well as making smooth chord switches.

However the barred version can be used in songs until you've mastered the regular way, if you get tired of failing the regular fingerings and want the joy of playing songs fluently now then go for it, but never stop practicing the regular fingerings one way or another. Just be sure to either master lifting the part of indexfinger touching the high E-string so it's properly muffled, or bend it so it only touches the three strings you wanna press down. The latter might seem impossible to some, but it can be done, I've seen both guitar and ukulele players being able to do it (D chord on ukulele), though it's extremely hard to get right and it's really not reliable when playing songs with above beginner strum/pick patterns in my opinion.

So lastly how I teach my students to practice chords you struggle with. My tip is to grab the chord, strum and adapt fingers until each string sounds good, release and wiggle the fingers, then repeat this. This way you efficiently practice the muscle memory for that specific chord, and the wiggling when releasing kind of resets the fingers. I've seen lots of people practice this way but many don't "reset" the fingers by wiggling them, which doesn't get the same effect.
Just browse through the pending list, if you can find it there which you probably can don't worry, most people tend to vote on songs they know so the less known ones can take a while longer. Another alternative is to send the link to active friendly people like Don up here and ask them nicely to take a listen and vote.
Don't worry, that's just how the site works. Someone gotta check out your tab and vote if they think it deserves to be uploaded or not, preferably someone who have heard the song and know it well enough to do it fairly, and/or someone with a good ear and some time I don't have guitar pro installed at the moment, otherwise I'd check it out for you, but someone else will inside a few days. So just be patient, and if you've put in alot of work you most often don't have to worry about being declined, most uploads on the site isn't fully accurate you just need to have tried properly. Basically all uploads are appreciated and if it's accurate it's more a bonus
Don't worry, it can take up to a few days to find it when searching, don't know why though. Visit it through your own profile and contributions, if it's there and looks fine just chill and it will pop up
My tip is to take a few basic patterns and break them down into bars, then think about how the beats and rhythm is connected with the pattern. Then build from that and try to learn different patterns by ear, this will give you a base to help you figure out other patterns you don't know.

Lets take an example, one of the most common patterns is D * D U * U D U (e.g. Outkast - Hey Ya), which means it's "eight" of something, but the most common way of using this is over four beats, so we also add "and" between counting 1 & 2 & 3 & 4 & to "fill out the gaps". Then for example remove the first upstrum, then you have another common pattern D * D * * U D U (e.g. Vance Joy - Riptide). After that just continue in 4/4 trying to add or remove strums giving yourself more alternatives and a wider base, the more patterns you learn by sight and ear the easier it is to figure out new ones. Think of it as a jigsaw puzzle, the more pieces you've laid already and can see, the easier it is to figure out the missing spots right?

After this there's a few different ways you can continue to the "next level", for example relying more on the ears or taking the theoretical approach and connecting it to sheet music.
Quote by journeyscd24
does someone have the chords / tabs for these two Everlast songs : "My House" and "I'll Be There for You" ???

Sure, I can transcribe "I'll Be There for You" for you sometime this weekend, then maybe someone else can help with the other.
And then for another suggestion, in the approval queue, also make the guitar chords visible on the ukulele chords and the other way around, not only the existing versions on that instrument. Because way too often people just copy guitar chords and send them in as ukulele, firstly without any effort at all and secondly without adapting it for the other instrument.
Quote by coman91
One last suggestion. Rating a tab less than 5/5 without reaching the tab author with a correction/suggestion should be a ban-able offense. I would gladly fix a tab if you'd just tell me what's wrong, but people give me a 4/5 without saying a word. That unjustly decreases the number of people who view my tabs, essentially decreasing the number of people I can help.

I like this idea of having to leave a comment, because if you feel the need to press a button saying a tab is wrong with a low amount of stars, you should also have a clear opinion why and have to explain yourself in my opinion. As it is now it's way to easy to just give someone a bad review in a push of a button. If I've spent hours on a transcription and someone is having a bad day (is an a**-hole or just trolling) and gives it a 1 for no good reason it hurts the overall point of the tab alot. Also as you say, it gives people feedback to improve and update the tab also. If I have made a mistake, which everybody does from time to time, I do wanna know it. As it is now not many people leave comments on tabs, that is in relation to how many vote on it.

Of course it would also create new problems, what if someone leaves a snarky comment for a reason, then we'd need a way of reporting those, and someone reviewing if it's a valid reason or not (which A could be tricky task and B would mean someone having to spend time on it). But I'd still prefer it to how it is now.

Sadly not everybody sits and think about what rating is fair for an upload, some people just press something fast, and honestly I can admit it hurts my feelings getting a low vote when I know my upload is accurate and have spent alot of time on it.

Having to write x number of letters along with the vote would be good for many reasons. Would this result in less votes per upload, sure, but I also think we'd get more fair ratings. Then if you should have on it 1-4 like you say, only 1-2 or maybe even on all vote points is another good question.
1. Yes, to be a site where people can get transcriptions fast and for free and with the alterations available in the menu it's really good. Sure there are many transcription that's poor quality, but I like the idea of everybody being able to share their transcription and not only higher skilled musicians. And there are lots of great transcriptions here also. And thing is even if you spend money on a tab/score/chords on a site and it says original, there are flaws in those too and far from all are accurate.

2. I also like multiple versions, even if many transcriptions are way off it gives the rest something to work off. But as someone pointed out, we gotta be more strict the more versions there are, so songs don't end up with a bunch of versions that's almost identical. One solution could be that the more versions there are, the more voting points it needs to get a tab/transcription approved (if this isn't the case already with the new system and I've missed it, if so sorry)

Also, I'd like to see floating versions, that is the highest rated moves to version 1. As it is now, whoever throws together a transcription the fastest gets version 1, which leads to way more views then the rest.
Hi! So this is directed towards moderators only, hope it's okay putting it here like this. It's been over two weeks and still no answer, I understand you can get busy of course, but still any moderator who has the time please take a look. The number is 707017

(it's about a tab, hence the reason I put it here)

Quote by emad
Next time shorten your tab, I assume it's because it was too wide.

Ah, okay, I'll take a look at that before sending next tab then. Thanks!

(ps. I updated the tab by moving down one line anyway, making it less wide)
Okay, so this time I really don't understand it, there is only one previous version and it looks nothing like mine. I've put alot of time into the spacing, it's in an easier key (but ofc correct chords) and I have diagrams below (looks like all my previous accepted tabs). I don't get why someone rejected this, it also had positive vote and comment by users. I've resubmitted and here is tpa, please take a look Emad:

Quote by emad
@ Arzosah
In the case they're close , we don't approve them. Tpa link please.

Well, in all honesty my guitarchords and ukulelechords are pretty close so I accept the rules and I'm fine having just the ukulele up then. I get why really, it would be silly if everyone copied their chords to both.

Hi again Emad!
So you helped me with the chords for ukulele on Vance Joy - Riptide, which has been approved and added. Now I submitted the chords for guitar, with diagrams arranged for guitar under (but chord names is the same for both instrument), but it got denied without a reason even though two people voted approve and none deny before an admin denied it.

Is it so that you can't have both ukulele and guitar chords for the same song uploaded? Cause the guy posting the first version on both ukulele and guitar did it. Didn't find anything on it in information. I can't link you the tab either cause I can't reach it anymore.

(found this link if it helps: )

So what should I do?
I don't want to resend again until I talk to you and get in trouble for it.
(ps. I resent it once and remembered after that is not allowed before talking to admin, sorry about that)

Quote by emad

Awesome, and quick too, thank you!
Hi again Emad! I got a tab for ukulele chords rejected with no reason. It has improved spacing, lyrics and there is a whole part with totally different chords from the already uploaded tab. I think whoever rejected it maybe didn't take a close enough look to see the changes. And other than that it's shaped the same as all my other accepted tabs, I reuploaded it for you to take a look it:

(ps. too much time has passed so couldn't reach the denied tabs link so that's why I resubmitted right away)

Thanks in advance!

Quote by emad
@ Arzosah
The 'edit' link usually gets expired after 48 hours. anyway, approved.

Ah, good to know, thank you!
Hi again Emad!
So, I have this ukulele chords I uploaded last thursday, it hasn't changed status yet. When I went in to check status, I noticed that the "Edit" button that usually is available isn't anymore, what does that mean? Has the tab gotten stuck anyway or has something gone wrong so I have to send it again? I browsed through my browser history and found the directlink to the tab, maybe you can check it out:

Quote by emad
@ Arzosah

Awesome, thank you!
Quote by emad
Resubmit it and post the tpa link.

Okay, thank you! However I don't know what a "tpa link" is, can anyone explain? And where do I "post it", in the bottom of the tab?

Or do you simply mean to resubmit and post the new link I get here to you?

[Edit] I read previous comments and think you mean the latter, so here it is:

Oops, sorry, I accidently mailed through contact before I read there is this forum thread.
Anyway, I'm a little new to adding tabs on here, but I thought I was clear on the rules and since my first chords got aprroved and I did exactly the same style on this second I am now a bit puzzled why.

Is it this link you want?
SafetySuit - What If (Chords)

So there is a chord clarification and a little information text in the top and bottom which I think is relevant; for the info, link to the youtube tutorial and referal to word papers which can't be added here for extra help like chord diagrams and playing patterns. There is no other alike chords up either, so if I missed anything just tell me what I did wrong cause I really can't see it I'm afraid and the text said I could't just send it again so better to ask you first

Ps. could it be that the system can't recognize any of the chords or something, like the Gadd2 and Aadd4 chords?

Quote by 20Tigers
I would be interested to know if Don Latarski specifically said that the chord to the left could be an inversion? Or whether that was a conclusion you reached based on his claim that you can separate the bass note from the chord formula.

My conclusion wasn't based ot that claim no, it was based on interpretation and examples where it was done, but note your own words could though! Because that's the thing, you could do it, but should you always do it? No, of course not, and I've never said that you always should.

Let's look at three examples where I myself would and why, both to answer the question about theory and "real world application" as crazysam23_Atax put it. I'll stick to situations on the piano to make it easy to follow:

Let's start with his original example: C D G B
So I am teaching my student a song, and the next chord is played with those notes in that order on the piano.
I tell her: "So the next chord is a G/C, with the G in 2nd inversion".
She imagines the G major triad, inverts it, takes the chord and then adds the C bassnote below with her left hand.
This is according to me, the by far easiest way I could explain how to take the chord.

Next example: A A C# E A C# -> B B C# E A C# -> D D B D F# A
So once again I have student at the piano, and these "chords" arrive.
And once again the easiest way to me is to say something like: "So now you play A, a triad in 1st inversion with an added C# note on the top, and then double A bassnotes below".
She imagines the A major triad, inverts it, adds the C# on top, and then the A A bassnotes with her left hand"
When the next chord arrives I say: "Now it changes to a A/B", right hand still plays the 1st inversion with the added C# note on top, but the left hand goes a major second up with both bassnotes" (see how I'm implying the inversion based on the lowest note in the chord in this context).
And then: "After that it's Bm7/D, root position and the double bassnotes goes a minor third up"

Last example: G B D G -> F# B D G
I say: "G in 1st inversion with single bassnote a major third down from the B" and then "To a G/F#, bassnote goes down a minor second"

So to everyone.. don't answer this with another set of examples, cause the point isn't that it's always the best way to label and/or explain, it's that it sometimes is. I'll gladly keep explaining and discussing further, BUT stick to the point, and quote things I have actually written to not add confusion.

Quote by 20Tigers
Okay so what I wrote was not quite correct - there is an inversion there...but first...

We agree a slash chord is "chord"/"bass". We also agree that the voicing of the chord above the bass note in the case of chord inversions is irrelevant. Where we seem to disagree is in the case other slash chords.

What I believe you are saying is that that the chord to the left of the slash could be an inversion such as C major second inversion which would be played over a bass note to the right of the slash such as a B note.
Which we both agree can be called C/B would, according to you, be something along the lines of C in second inversion over a B bass note.

Is this correct? Is this what you are arguing?

Pretty much, your example translates to B G C E which we both agree could be called C/B yes. BUT the difference from alot of people discussing here is the definition of the "bassnote". I sometimes use the words "lowest note in the chord" instead of "bassnote", which is also written in alot of books I've read, otherwise my argument would be confusing to first have a "bassnote" in the chord and then another "bassnote"
So in simply terms, when the lowest note of the chord through whatever inversion is in fact the bassnote, which it is alot obviously then I can use "bassnote", if not then I use "lowest note in the chord".

We can not however separate the bass note from the chord inversion because the inversion is determined by the bass note.

And here is where we still disagree, you so we can't when using the term "bassnote", but I say yes we can since the inversion is determined by the "lowest note in the chord".

Quote by 20Tigers
When separating the bass note from the chord formula you are not separating the bass note from the chord - you are just separating it from the chord formula. For example A/F# gives us an A6 chord where the F# is in the bass. The chord formula for A6 is A C# E F#. Now because the F# is just in the bass we can separate the bass from the chord formula and we have A C# E over F# or A/F#

Since we separated the F# from the chord formula, we can also to simplify separate the "chord" from the lowest note and call that the "bassnote", hence making another note the lowest in the chord.

Quote by 20Tigers
And while you can separate the bass note from the chord formula, you can not separate the bass note from the chord inversion - the chord inversion is determined by the bass note.

And this I've already explained Sometimes it seems to me that you are only talking about the notation aspect of it, correct? Some of your arguments seem to imply that atleast, but I could be wrong so don't take any offense.

Quote by 20Tigers
They go on to describe in great detail the primary purpose of the inversion to allow the use of a bass note other than the root to create bass lines in harmonic progressions that are not disjunct.

Yes, still I'm not saying you always should separate chord from bassnote, I some concexts you absolutely shouldn't. There is more than once point of view here, and many different situations. If we are talking about one instrument, two, an orchestra, a band, the total harmony? Are we talking about notation, the sound, or a teaching situation? In my opinion this matters. That's why I keep underling can, and that I've never said always should.

Alright.. you (and some of the others) make good arguments, but so do I, with litterature to back me up. Maybe I can't convince you that I'm right, but you can't convince me either, so both may have a strong belief we are right. I'm not that arrogant to never give up and keep forcing you to change your mind, your way of writing leads me to believe you are an intellectual person, so for you to disregard my arguments and keep pressing your own would not suit you.

So maybe we should leave it at you believe you are correct, and I believe I am correct? Unless this long post convinced you that is

(Ps. no disrespect but I'm out of this discussion now, unless there is new relevant arguments/facts, or questions that haven't already been answered)
I've also "heard" there is one at

Ps. you must have something to trade with first though, and the sheet isn't available on the site so you have to contact other members and trade, but the site is HUGE.
Quote by crazysam23_Atax
Attitude? I think you're reading too much into it all. I don't have any bad feelings towards you.

[Edit] My replys was irrelevant to the discussion, I wrote you a private message instead.

Quote by crazysam23_Atax
The thing is, absolutely no one is going to say "G 2nd inversion/C". Yes, in theory, you're correct. I just think what you're suggesting doesn't make much sense.

Among the people I know it makes total sense, and you just wrote I was correct in theory which I have also refered to I was according to published books, it doesn't have to make sense to everyone to be correct
Quote by crazysam23_Atax
The thing is, absolutely no one is going to say "G 2nd inversion/C". Yes, in theory, you're correct. However, it has no real world application.

I'll take that, I haven't stated anything else than you can, not that you always should Can we end this discussion without bad feelings you and me? You have been writing comments with a little bit of attitude towards me, why I'm not sure, have I offended you in any way? I don't want to make any enemies, I'm just here to discuss, okay?
Quote by National_Anthem
Noone was disputing that...

You mean you weren't disputing that, I've gotten several responses quoting me disagreeing and telling me I'm wrong, so..

Quote by National_Anthem
On a separate note, after I've held an instinctive dislike for slash chord notation (preferring classical equivalents like figured bass) for quite some time, I've realised that slash chords have their place. In this instance for example, I think it's the best way of notating this chord.

Discussion is good that way, when done with an open mind that is, which isn't always the case on internet Yes, I agree it has it's uses, and in some cases there are better ways to name the chord.

And I have realized I must be more clear from the beginning, to avoid confusement.