Marcus Miller - Power (Tabbed Fully!)

[mikethecoug]

I know there are not many accurate tabs on the internet for this song and so I actually managed to findd the sheet music for it.. I have put it all on my computer and it took me AGGGESSS. Anyways here it is.

Its in .pdf, .gp5 and .txt you choose whatever you want.
gp5 - http://www.evildoom.ecwhost.com/files/Marcus%20Miller%20-%20Power.gp5

txt - http://www.evildoom.ecwhost.com/files/marcus%20miller%20-%20power.txt

pdf - http://www.evildoom.ecwhost.com/files/Power.pdf

You might need to copy and paste the address..

The guitar pro has drums and the backing bass tabbed in too, I do have the technique markers (slapping and popping etc) for the solo if you need it I'll add it in if you want.. just ask..

[MyFriendOfMisery]

Nice job. Do you have any chili peppers tabs?

[mikethecoug]

Nice job. Do you have any chili peppers tabs?

Loads.. what song you after?

[MuRd0K]

Nice job. Do you have any chili peppers tabs?

Dude, he's only been able to do some Marcus Miller so far.

Give him some slack

[MuRd0K]

mike, you suck for posting links. Correct them.

http://www.evildoom.ecwhost.com/files/Marcus%20Miller%20-%20Power.gp5

http://www.evildoom.ecwhost.com/files/marcus%20miller%20-%20power.txt

You get 404 if you don't use those links.

[mikethecoug]

Ok Ok ive changed it.. now tell me what u reckon of the tabs =D

[MyFriendOfMisery]

Murdok, I was asking him if he had some on his computer.

Mike I would like to have a tab for can't stop. What would be the best way to transfer a tab for you?

[MuRd0K]

Uhmm after the bridge, you put a verse... but isn't there the intro repeated?

[mikethecoug]

No thats at the end when the intro is repeated im pretty sure

Hows the solo?

[mikethecoug]

http://www.evildoom.ecwhost.com/files/cant_stop_ver2.gp4 theres cant stop

[MyFriendOfMisery]

Thank you so much!

[Left Shoe]

lame, now every guitar center slap hero is going to play this song

[EADG]

Any chance of a Powertab version?

[mastrrbasser]

there is a webpage that has a really good transcription on it. anybody remember that site name? They had a bunch of weather report and tower of power transcriptions.

[Left Shoe]

lucas pickford

[mastrrbasser]

lucas pickford

ah there we go. such a good site.

[jaco jr]

lame, now every guitar center slap hero is going to play this song

hahahahahaha truetrue i guess
still
great tab mate

[White_Summer]

the first chord has a minor third not a p4 B-B-D

[Left Shoe]

the first chord has a minor third not a p4 B-B-D

yeah its B minor with guide tones. so B A D, in tab form on your E,D,and G strings play 7

[White_Summer]

yeah its B minor with guide tones. so B A D, in tab form on your E,D,and G strings play 7

but B-A-D is not a minor anything just like that it could be a whole array of notes, that minor third really needs to be in there so on the bass it would be like this:
g-7-------------7
d-9-------------7
a----------------
e-7-instead of--7
because the b-a-d is more of a D6 chord without the third, at anyrate i am just trying to point out how it sounds on the recording, all i am saying is the first chord sounds wrong because its missing that minor third

[BassVirtuoso]

^The threadstarter is right, I've seen him play it live.

[Left Shoe]

but B-A-D is not a minor anything just like that it could be a whole array of notes, that minor third really needs to be in there so on the bass it would be like this:
g-7-------------7
d-9-------------7
a----------------
e-7-instead of--7
because the b-a-d is more of a D6 chord without the third, at anyrate i am just trying to point out how it sounds on the recording, all i am saying is the first chord sounds wrong because its missing that minor third

.....


B- = B D F# A

omit the 5th, becuase it is the least important note. B D A, now arrange it in open position moving the third up an octave for a more clear chordal voicing. B A D.


thats still b minor, just omitting the 5th

[mikethecoug]

but B-A-D is not a minor anything just like that it could be a whole array of notes, that minor third really needs to be in there so on the bass it would be like this:
g-7-------------7
d-9-------------7
a----------------
e-7-instead of--7
because the b-a-d is more of a D6 chord without the third, at anyrate i am just trying to point out how it sounds on the recording, all i am saying is the first chord sounds wrong because its missing that minor third

if it helps the first chord is shown on the sheet music as b7sus4

[Jimbobntnr]

thanks for the work, mike!

[Left Shoe]

if it helps the first chord is shown on the sheet music as b7sus4

what sheet music are you looking at?

[EADG]

That chord would be Bm7, would it not?

[EADG]

.....


B- = B D F# A

omit the 5th, becuase it is the least important note. B D A, now arrange it in open position moving the third up an octave for a more clear chordal voicing. B A D.


thats still b minor, just omitting the 5th


Since when does B- have an A note in it?

[White_Summer]

Since when does B- have an A note in it?

its the leading tone

[mikethecoug]

I am looking at sheet music I bought from the internet ok it has the start with the

-7-
--
-7-
-7-

chord (which is definitely right having seen it on marcus dvd) but anyway above it says B7sus4 then the popped B note after it goes to Bm and a pentatonic run.

According to this it is a B7sus4 at the start

[White_Summer]

I am looking at sheet music I bought from the internet ok it has the start with the

-7-
--
-7-
-7-

chord (which is definitely right having seen it on marcus dvd) but anyway above it says B7sus4 then the popped B note after it goes to Bm and a pentatonic run.

According to this it is a B7sus4 at the start

Bm7add9 is more likely the chord he plays at the begining, i just thought it sounded a little more minor, but yeah your right my mistake

[Chameleon]

The initial chord is the 7, 7, 7 chord as posted by mikethecoug. This is a minor 7 chord without the 5.

So White Summer, the final 7 on the G string is in fact, the minor 3rd. How can you not have realised this by now? You've already listed the chord notes by name!

Also, mikethecoug, can I ask who publishes this sheet music or what? Who transcribed it for the book, etc?

I don't understand how something played as a Bm7 (B D A F#) can possibly be listed as a B7 (B D# A F#). Maybe Havic knows some crazy rule for this... though the book could just be wrong.

[White_Summer]

The initial chord is the 7, 7, 7 chord as posted by mikethecoug. This is a minor 7 chord without the 5.

So White Summer, the final 7 on the G string is in fact, the minor 3rd. How can you not have realised this by now? You've already listed the chord notes by name!

Also, mikethecoug, can I ask who publishes this sheet music or what? Who transcribed it for the book, etc?

I don't understand how something played as a Bm7 (B D A F#) can possibly be listed as a B7 (B D# A F#). Maybe Havic knows some crazy rule for this... though the book could just be wrong.

yeah i noticed my mistake, the B is on the bottom rather than where it should be its just a really odd voice for a Bm7 chord, because the minor third is there its just more of a 9th rather than a third, and to me the chord sounded like it should have the third not the ninth, now i know they are the same but they do sound different

[Pluperfect_Arson]

yeah i noticed my mistake, the B is on the bottom rather than where it should be its just a really odd voice for a Bm7 chord

And where should the B then be, exactly?

because the minor third is there its just more of a 9th rather than a third, and to me the chord sounded like it should have the third not the ninth, now i know they are the same but they do sound different

A third and a ninth aren't even the same note.

That would be a second and a ninth that would be the same note, but an octave apart...

[Chameleon]

Yeah, to clarify this a bit more... a (B) minor 7 chord has: root (B) b3 (D) 5 (F#) and b7 (A).

In the first chord of Power, you have 7 on E string which is the B, 7 on D string which is the A, and 7 on the G string which is D. That's just leaving out the 5th which sounds clunky if you put it in on a bass at this octave.

The other 'common' voicing for a minor 7 on bass would be

D:---7----
A:---5----
E:---7----

Which may be why White Summer is confused, since the minor 3rd is more of a minor 10th, than a 3rd. But still, the Power chord is a perfectly 'normal' voicing for an m7 chord.

[Pluperfect_Arson]

Yeah, to clarify this a bit more... a (B) minor 7 chord has: root (B) b3 (D) 5 (F#) and b7 (A).

In the first chord of Power, you have 7 on E string which is the B, 7 on D string which is the A, and 7 on the G string which is D. That's just leaving out the 5th which sounds clunky if you put it in on a bass at this octave.

The other 'common' voicing for a minor 7 on bass would be

D:---7----
A:---5----
E:---7----

Which may be why White Summer is confused, since the minor 3rd is more of a minor 10th, than a 3rd. But still, the Power chord is a perfectly 'normal' voicing for an m7 chord.

Yeah, I understand what's happening with the chord and whatnot, but he just sounds a bit confused with the whole thing. :(

In the end, it comes down to voicing for what sounds good.

[White_Summer]

Yeah, I understand what's happening with the chord and whatnot, but he just sounds a bit confused with the whole thing. :(

In the end, it comes down to voicing for what sounds good.

what i meant for the B being in the wrong place is that, in the chord that is played there is no minor third played in the chord its a minor 10th, is what i meant, i just said 9th by mistake

[Pluperfect_Arson]

what i meant for the B being in the wrong place is that, in the chord that is played there is no minor third played in the chord its a minor 10th, is what i meant, i just said 9th by mistake

It is still recognised as a minor third, though, and not a minor tenth because chords don't come with tenths attached to the end. There are seventh, ninth, elventh, and thirteenth chords, but no tenth chords.

[Left Shoe]

white summer its an open position (if you know all these chords, you should know what this means), with an omitted 5th, which is not very uncommon practice (again you should know this if you know all these chords). and the b is not in the wrong place, why would you want to put the root and 7th that close? i mean sometimes it calls for it, but definitley not there

That chord would be Bm7, would it not?

sorry i thought it was inferred, but you are right it should be put down as a B-7 (or m if you like it that way)

its the leading tone

the leading tone of B is F natural, which you wont find in too many b minor chords, b diminished would contain this f natural

[Pluperfect_Arson]

white summer its an open position (if you know all these chords, you should know what this means), with an omitted 5th, which is not very uncommon practice (again you should know this if you know all these chords). and the b is not in the wrong place, why would you want to put the root and 7th that close? i mean sometimes it calls for it, but definitley not there

And, even with an omitted fifth, naming the chord still shouldn't matter at all seeing as the fifth is one of the least important notes in a chord unless otherwise noted as a dimished or augmented fifth since they are almost always a perfect fifth.

Also, I am not arguing with you here; just agreeing. :)

[Left Shoe]

well its like, thats pretty much what i said earlier and he was like "NO"

[White_Summer]

white summer its an open position (if you know all these chords, you should know what this means), with an omitted 5th, which is not very uncommon practice (again you should know this if you know all these chords). and the b is not in the wrong place, why would you want to put the root and 7th that close? i mean sometimes it calls for it, but definitley not there

no no replace the seventh with the B making the minor third so it would be B-B-D

[Pluperfect_Arson]

no no replace the seventh with the B making the minor third so it would be B-B-D

So, you would prefer that he doubled up on the B just so the D could be exactly a minor third away from the B?

G|--7--|
D|--9--|
A|-----|
E|--7--|

That is the dumbest thing I have ever heard, and would ruin what he was trying to achieve for the most part with the adding of the seventh.

[Left Shoe]

no no replace the seventh with the B making the minor third so it would be B-B-D
:lol:
so guys the only correct way to play this for it to still fit the chord structure according to white summer would be

G 7
D 9
A 9
E 5

best of luck

[HaVIC5]

To clear things up.

its the leading tone

Actually, no. The leading tone is the major seventh. When it's the minor seventh in a scale, it's considered the subtonic. It doesn't matter all that much, but its nice to know.

I don't understand how something played as a Bm7 (B D A F#) can possibly be listed as a B7 (B D# A F#). Maybe Havic knows some crazy rule for this... though the book could just be wrong.

Sheet music is wrong, a lot of the time, which is why it makes more sense to use your ear. It could be any number of things, most likely a typo or just retardation, but there are rare instances where a seemingly (you'll see why its seemingly in a second) Bm7 chord is B7. If there is a major 3rd voiced somewhere else in the mix by some other instrument, then pretty much no matter what it becomes a B7 chord, but with a tension. The minor 3rd switches from its role as a third because the major 3rd overrides it, and turns into a tension, this case being the #9, or the "Jimi Hendrix" tension (named so for the 7#9 chord of Purple Haze). That's the only exception, really, and its not the case here.

what i meant for the B being in the wrong place is that, in the chord that is played there is no minor third played in the chord its a minor 10th, is what i meant, i just said 9th by mistake

What octave the notes are voiced in is utterly irrelevant. This is an extremely common voicing of a m7 chord. There is no such thing as a m10 chord. Chords are made by stacking thirds, a concept implicit in Pluperfect_Arson's post. When you stack two thirds you have your standard triad - 1 3 5. Three thirds brings you your seventh chord, 1 3 5 7. Four thirds brings you up to ninth chords, 1 3 5 7 9, and etcetera until 15, where you've hit all the notes in the scale, and you're back at the octave.

[HaVIC5]

no no replace the seventh with the B making the minor third so it would be B-B-D
The octave in which a note lies does not change its function within the chord, at all. This is the most basic and fundamental concept in chord voicings and the entire art of voice leading.

[White_Summer]

:lol:
so guys the only correct way to play this for it to still fit the chord structure according to white summer would be

G 7
D 9
A 9
E 5

best of luck

when did i say anything about an f#???

[HaVIC5]

when did i say anything about an f#???
You're utterly missing the point. Read my post.

[White_Summer]

You're utterly missing the point. Read my post.

i read your post, its just left shoe is talking about an F#, i am not tryin to say i am some sort of theory wiz or anything i know that i am far from it, i was just saying i think the chord sounds different, i was wrong i admit it, i dont think it needs to be talked about any longer

[Left Shoe]

when did i say anything about an f#???

listen to havic, as to me on this one, i was leaving in the 5th of B which seemed to freak you out when it was omitted and not in root positionbut if you were going to do true root position on this chord the fingering would be...
G 2
D 4
A 5
E 7

[HaVIC5]

i read your post, its just left shoe is talking about an F#, i am not tryin to say i am some sort of theory wiz or anything i know that i am far from it, i was just saying i think the chord sounds different, i was wrong i admit it, i dont think it needs to be talked about any longer
It will sound different, yes. There is a difference in aesthetic between the voicings, and this aesthetic in Classical voice leading was very important to keep in mind, especially when you get into figured bass and all that stuff. Today it's not nearly as important, but no matter if its Classical or contemporary, the chord and the notes within will have the same FUNCTION within the cadence.

[Pluperfect_Arson]

It will sound different, yes. There is a difference in aesthetic between the voicings, and this aesthetic in Classical voice leading was very important to keep in mind, especially when you get into figured bass and all that stuff. Today it's not nearly as important, but no matter if its Classical or contemporary, the chord and the notes within will have the same FUNCTION within the cadence.

Quoted for truth.

[Left Shoe]

well i mean even using figured bass...its still in root position because b is in the bass, so he should still theoretically be ok and not freakin out

[Pluperfect_Arson]

well i mean even using figured bass...its still in root position because b is in the bass, so he should still theoretically be ok and not freakin out

HaVIC5 only said that about figured bass to back up the point that notes still function the same no matter where they are placed within the chord because of the fact that the kid was extremely confused about the third being an octave higher since the kid seems so bent on using root position.

This was probably a useless post on my part, but whatever. :lol:

[White_Summer]

1 i dont see how i was freaking out? and two i never said it needed to be in root position, i was mearly saying i think the chord should be different, that is all

[Left Shoe]

B-A-D then could be...

Dsus4
Asus4sus2omit5
Bmin7
Dmin #6omit3
G9omit1omit7

[Pluperfect_Arson]

B-A-D then could be...

Dsus4
Asus4sus2omit5
Bmin7
Dmin #6omit3
G9omit1omit7

:lol:

To White Summer: Your suggestion of B-B-D was an absolutely horrible suggestion of how the chord should be voiced. You said it should be that way, so that the minor third is there--when it always was--while eliminating the seventh from the chord, which it is a Bm7 chord...

[White_Summer]

sooooory you dont have to be such a douche about it, geeze i made a mistake in the eyes of perfection, when do you get your white horse and purple heart?

[Pluperfect_Arson]

sooooory you dont have to be such a douche about it, geeze i made a mistake in the eyes of perfection, when do you get your white horse and purple heart?

Actually, I am not trying to be a douche for the most part. I was just merely pointing out what you said and how I viewed it. At least you know that you made a mistake.

And I actually receive those two items tomorrow. Thanks for asking. :)

[HaVIC5]

G9omit1omit7

Totally stole my omit1 idea.

[Left Shoe]

Totally stole my omit1 idea.

=P i got it from you way back when you did this to someone else =P its a good way of learning chords :lol:

[mikethecoug]

Also, mikethecoug, can I ask who publishes this sheet music or what? Who transcribed it for the book, etc?
http://www.sheetmusicdirect.com/se/ID_No/54848/Product.aspx

[Chameleon]

Well in that case (and with Havic's input...:p) the book is wrong.

@White Summer: To be honest, I think there's something big that's lacking in your theory, and instead of getting defensive toward Left Show & chums, ask them questions to correct your theory.

[mikethecoug]

Well in that case (and with Havic's input...:p) the book is wrong.

@White Summer: To be honest, I think there's something big that's lacking in your theory, and instead of getting defensive toward Left Show & chums, ask them questions to correct your theory.
The books chord name may be wrong whatever but the tabs seem damn accurate

[Left Shoe]

especially when we are arguing like crazy over them

[EADG]

The chord at the start is Bm7.


Everyone shut up now.

[Chameleon]

The chord at the start is Bm7.


Everyone shut up now.

It's been said. But obviously we'll listen to you because you put so much time and effort in to helping the guy out.

[EADG]

It's been said. But obviously we'll listen to you because you put so much time and effort in to helping the guy out.


Listening to me is highly recommended. Have at least 5 servings daily to keep your teeth their whitest.

[bottlerocket]

How about you all stfu.

-Gav