Jimmie's system makes so much sense. When we were writing up the patent application we used an analogy to describe it:
(understand, this was 1982-- way before automotive controls became standardized)
So...
CAR A has the headlights as a pull switch on the left of the dash, and has the wipers as a turn knob on the right of the dash.
CAR B has them just reversed.
We don't say, "turn on your lights by pulling the knob on the right" because that would only apply to CAR B.
We can say: "Familiarize yourself with the controls. Now, turn on the lights."

When applied to steel, the whole thing of LKL and RKR and pedal 1 becomes moot if we just say: Familiarize yourself with the pedals and knee levers. Now, raise the 5th string a whole tone and lower string 8 a half tone."

Jimmie told me he started thinking of this method when a student, in town for Jeff's school, asked for some time with Jimmie. Jimmie was showing him a bunch of stuff and, in the process, did a little thing, and the student said, "How'd you do that?" So Jimmie said, "That's on the 5th string. I start with it open on the 3rd fret and when I slide to the 6th fret I raise the string a whole tone." To which the student replied, "Do I have a pedal that does that on my steel?"
As Jimmie said to me, "I realized that this boy knew all about pedals A and B but had no larger concept of WHAT they did." And THAT understanding led to "Mu-Sym-Tab."

Since I learned about it, I've not used any other system to write tablature-- at the odd times I do so.
The system is totally descriptive of the action on the tuning, and is independent of any notation about LKR or LKV or even just "E" and "F" or even "X".
All you do is understand the open tuning, and then look to see how it changes.

If we all used the system it would be a fitting (and lasting) tribute to a grand steel player and thinker.

My Two Cents.

I think a lot of teaching material falls short in that it presents a "just do this" approach...using the "give a man a fish and he eats once, teach a man to fish and he eats forever" analogy, the Mu-Sym-Tab teaches you to fish!

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

It gives you
Note duration
String / Fret / Pedal
Phrasing
Chords

It reinforces
Knowledge of std notation and how it relates to tab
Which pedal changes which string by what interval

The last item is particularly important. Most students I've run into push their A pedal MECHANICALLY. As soon as he/she recognizes that the 5th string is attached, A LITTLE LIGHT GOES ON. It becomes musical rather than mechanical.

The other advantage, obviously, is that the D E F knee lever mystery is gone. It doesn't matter what you CALL it. What it DOES is most important.

Using both the notation and tab is very important and this wonderful system lays it all out there. Jimmie is helping us from beyond the grave. God bless you.

It's noteworthy that some of our teachers (John McGann for one) publish course work and transcriptions using MuSymTab, or variations. It does us all a favor. And thank you, Winnie, for your contribution.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

[This message was edited by Larry Bell on 04 February 2005 at 06:56 AM.]

This is really a classy and elegant system and elevates "tab reading" to another level. The use of standard notation plus Mus-Sym-Tab gives you the big picture; as complete as notation can be (which of course is incomplete without touch, tone, soul, nuance, etc. all of which can't be notated- just hard earned!)

Winnie- your two cents has a bit more than face value 'round these parts. Thanks!

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

[This message was edited # on 05 February 2005 at 11:12 AM.]

A copyright is the RIGHT to COPY a document or musical composition, usually retained by the originator of the work.

Webster says:
Main Entry: 1copy·right
Pronunciation: -"rIt
Function: noun
: the exclusive legal right to reproduce, publish, and sell the matter and form (as of a literary, musical, or artistic work)

Since MuSymTab is a system and not an actual document or composition, a copyright is not applicable.

I believe Jimmie would be honored for you to use that system. I've been using the tab portion of it ever since he showed it to me, prior to the publication of 'Manual of Style'.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

Thanks for asking.

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Larry Bell - email: larry@larrybell.org - gigs - Home Page
2003 Fessenden S/D-12 8x8, 1969 Emmons S-12 6x6, 1971 Dobro, Standel and Peavey Amps

I would suggest that what is needed is a note that the piece is transcribed in "Mu-sym-Tab" -- and maybe use the trade-mark logo that Jimmie and I devised.

1 __________________________________________
2 __________________________________________
3 __________________________________________
4 _______________________________12_________
5 _______________12_____12--12##_12##--_____
6 _12#_______12#____12#______________12#____
7 ________12________________________________
8 _____12___________________________________
9 __________________________________________
10__________________________________________