Pizza Day tab - unfinished?

edited June 2009 in JoCo Tabs
Alden Chew did a really decent job of making a tab for Pizza Day, and I'm sort of wondering if it's really finished, or I'm missing something?

It just seems that once you get to the pre-chorus part - "doesn't matter who you are / how your week has been so far / 'cause you know when lunchtime comes / that everything will be all right" - none of the tab seems to fit.

Does anyone know the missing part, or am I overlooking something... ? Thanks in advance.


  • I used the tab on the wiki for my cover of the song (sung horribly here ) and
    from what I remember it's pretty accurate.

    The only thing I can recall about it is that the timing of the chord changes on the tab weren't properly shown.
    It was a bit of trial and error, but if you listen to the song enough for the changes you'll see that the tab is
    pretty accurate, just misleading. :P

    Hope any of that rambling helps.
  • It does :)

    I guess I'll just have to fiddle around with the tab that there is and see what fits where :P
    Maybe once I figure it out, I'll update the wiki with a clarification or something. IF I figure it out, that is ;)

    Thanks for the help! ^_^
  • Hooray.
    There's already a topic to put this in.

    Last night, I found the same thing that Skyen did -- that the tabs provided only go up through the verse, but do not include the prechorus/chorus. But I think I've figured them out.

    Prechorus: E||--------------------------|--------------------------|--------------------------|--------------------------| B||--------------------------|--------------------------|--------3-----------3-----|--------3-----------3-----| G||--------0-----------0-----|--------0-----------0-----|-----2-----2-----2-----2--|-----2-----2-----2-----2--| D||-----0-----0-----0-----0--|-----0-----0-----0-----0--|--0-----------0-----------|--0-----------0-----------| A||--------------------------|--------------------------|--------------------------|--------------------------| E||--3-----------3-----------|--3-----------3-----------|--------------------------|--------------------------| E||--------------------------|--------------------------|--------------------------|------------| B||--------3-----------3-----|--------3-----------3-----|--------3-----------3-----|--2---------| G||-----1-----1-----1-----1--|-----1-----1-----1-----1--|-----0-----0-----0-----0--|------------| D||--------------------------|--------------------------|--------------------------|------------| A||--------------------------|--------------------------|--0-----------0-----------|------------| E||--0-----------0-----------|--0-----------0-----------|--------------------------|------------| Chorus: E||--------------------------|--------------------------|--------------------------|--------------------------| B||--------------------------|--------------------------|--------3-----------------|--------3-----------3-----| G||--------0-----------0-----|--------2-----------2-----|-----2-----2--------2-----|-----2-----2-----2-----2--| D||-----0-----0-----0-----0--|-----2-----2-----2-----2--|--0--------------0--------|--0-----------0-----------| A||--------------------------|--0-----------0-----------|--------------------------|--------------------------| E||--3-----------3-----------|--------------------------|--------------3-----------|--------------------------| E||--------------------------|--------------------------|--------------------------|--------------------------| B||--------------------------|--------------------------|--------3-----------------|--------3-----------------| G||--------0-----------0-----|--------2-----------2-----|-----2-----2--------2-----|-----2-----2--------2-----| D||-----0-----0-----0-----0--|-----2-----2-----2-----2--|--0--------------0--------|--0--------------0--------| A||--------------------------|--0-----------0-----------|--------------------------|--------------------------| E||--3-----------3-----------|--------------------------|--------------3-----------|--------------3-----------| E||--------------------------|--------------------------| B||--------3-----------------|--------3-----------------| G||-----2-----2--------2-----|-----2-----2--------2-----| D||--0--------------0--------|--0--------------0--------| A||--------------------------|--------------------------| E||--------------3-----------|--------------3-----------|

    Song structure is:
    Verse, Fill 1, Verse, Fill2, Prechorus, Chorus
    Verse, Fill 1, Verse, Fill2, Prechorus, Chorus

    Note that the Intro is Fill 1 played twice, and also note that the "la la la" section at the end of the chorus is also Fill 1 played twice. That riff gets played a lot. The tabs I added here are basically recombinations of the existing tabs, with the addition of the E7 (0xx13x) and A7sus4 (x0x03x) at the end of the prechorus. The E7 could alternatively be played as (xx213x), but I think the first way is more correct. This is my first time tabbing something out, so please let me know if it sounds right.

    Can someone with wiki-powers wikify this?

    Unfortunately, my D string just gained the distinction of being my first guitar string to snap, so it looks like I'll be picking up a new set at the music store tomorrow, and either learning how to restring a guitar or waiting for them to do it for me. Either way, I won't be playing it tonight.
  • edited August 2009
    I just played this through on my guitar and it sounds right.

    And as far as I know, anyone can edit the Wiki.
    You just have to copy and paste in your edit. :P

    edit: I just did it for you, let me know if that looks how you want it.
  • Looks good. Thanks!
  • edited August 2009
    Awesome job, Caleb. Thanks, man. I'll be playing this with glee :)

    Also: what kind of guitar is it? There are several guides to restringing guitars out there on the web - it's not as difficult as it seems when you first try it.
  • edited August 2009
    It's a cheap nylon (Lucero LC200CE) from Guitar Center. I found several tutorials including some videos on youtube last night, so I'll probably do it myself. May have to get a string winder, though, to speed things up a bit.

    I remember feeling intimidated like this when I restrung my ukulele too, and that was pretty easy. Come to mention it, I think my other ukulele is starting to fray a bit too, so I should go ahead and replace it's strings while I'm at it.

    (ETA: Pizza Day isn't exactly a song that should be played with glee... ;-)
  • I always get paranoid when I'm replacing strings.

    I keep thinking that they're going to snap again and slash my cheeks open or something.

    I'm crazy, I know.
  • Nyks >>> Yeah, I feel the same way. When I'm tuning it up I'm always like "oh God if I stretch them another inch they'll slash my face like the Joker but the tone isn't right yet!"
    Same reason I hate playing songs that require me to tune any of the strings up.

    Caleb >>> In my experience, nylon is even easier to string than steel - the strings are so soft.
    Of course, you'll also be tuning and re-tuning a longer, 'cause nylon is stretchy stuff compared to metal.
    Also, you're right, Pizza Day isn't exactly what you'd call a party-piece. Poor choice of words I had there :P
  • From what I understand, popped strings won't have a backlashing effect. They just lose tension and fall.

    Allegedly. I'm not going to check.
  • edited August 2009
    I'm here to tell you that yes, in fact, you can hurt yourself with guitar strings, particularly when you are first bringing them up to initial pitch, usually on a steel-string acoustic. When they break, they can indeed cut you. I have had my face and arm cut. They can also develop a sharp fractured end that damages the fretboard or top of the guitar. I had a string curl under and embed itself in my fretboard once, creating a nasty divot in the wood. So, when I'm bringing the string up to pitch for the first time, I have the guitar facing away from me.

    That said, this is kind of rare. Strings usually break at the bridge or the nut or right at the tuning machine. If this happens more than once in a blue moon, it probably means you need to see a luthier: you've got a rough edge in the nut or on the bridge that shouldn't be there.

    The best way to avoid surprise string breakage is to replace them once in a while. Also, wipe them down after every set. Skin oil will eat the strings and they'll break prematurely.

    Even if you never play, strings that have been on there for a year will be oxidized and dull-sounding. If I'm playing regularly, I put new strings on about monthly. If I were touring or recording and playing for hours every day, I'd probably change strings weekly. (But not right before a show -- the strings do some initial stretching and will tend to go flat until you've got them slightly broken in).

    Also, it's bad news to set up an alternate tuning that requires you to take strings past their usual pitch. It would be better to use a capo or partial capo. It's hard on your guitar as well. And don't change them all at once; replace them one at a time to avoid dramatic changes in tension on the neck and bridge.

    If the strings won't stay in tune, it could be because the way you're winding them on the tuning post is not secure, and they are slipping. A lot of people put _way_ too many winds on. Ideally you want a sharp kink, and then an over-under "lock," and no more than two or three turns around the post, so there is nothing to slip.

    The first of those demos that I looked at shows the guy removing all the strings from his acoustic at once -- that's NOT a good idea. Also, he's using too many windings, and not doing the over/under "lock."
  • I usually try to replace them about once a month and only tune up if I'm trying to play songs by the Goo Goo Dolls, since for some reason a lot of their songs have non-standard tunings.
  • Maybe it's to make up for their lack of skill.

  • Oh no you din't!

    Favourite band-fight!
  • edited August 2009
    Next song: Summer's Over

    I don't think either of the provided tabs quite match what's being played.

    The first set of tabs show the finger picking, but they break the main descending scale motif in the bass (D-G-F#-E-D) across 2 octaves. The next set of tabs only shows chords, in A, with a capo on the fifth fret (which transposes it up to D). I've played around a bit with this, and I think the capo actually goes on the 7th fret, with the song being played as if in G.

    Also, for any given chord, there are four strings being picked, not just three. There's also a really interesting 2-against-3 rhythm going on.

    Here's what I've worked out so far:

    Capo: 7th fret, Time: 12/8 |-------------------------------|------------------------------| |-----3------3------3-----------|-----0------0------0----------| |--0------0------0------0-------|--0------0------0------0------| |----0-0----0-0----0-0----------|----0-0----0------0-0---------| |---------3------2--------0-2---|---------4---4--2--------0-2--| |--3--------------------3-------|--0--------------------3------| |-------------------------------|------------------------------| |-----1------1------1------1----|-----3------3------3------3---| |--2------2------2------2-------|--0------0------0------0------| |----2-2----2-2----0-0----0-0---|----0-0----0-0----0-0----0-0--| |--0------0------0------0-------|---------3------2------0------| |-------------------------------|--3---------------------------|

    The rhythm is something like this:
    & & & & 1 2 3 4 2 3 2 3 2 3 2 3 1 --------- 2 --------- 3 --------- 4 ----------
  • Paul, thanks for all the info, I never knew any of that about strings- espeically the bit about them going dull after a year and skin oils eating through them/damaging them. One of the things I love about coming here to the forums is all the cool stuff I pick up! Only thing I knew about strings before was that they are effected by every flipping change in temperature and humidity, and will go out of tune half way through an evening with baleful glee (I have a 3 octave lap harp but have heard this from other harpers as well, lol)
  • JoAnn >> Sounds like harps are a good deal more sensitive about it than guitars. Leastwise more than my guitars - I rarely need to tune mine very much after the initial tuning and re-tuning when I change the strings.
  • You are probably indoors the whole time though, not in a tent or in a circle around a nice campfire at a medieval war...lots of temp and humidity changes in that situation. Ah, but the sound of a harp in the moonlight...*happy sighs*. Way better than a bloody annoying doumbek being thumped badly till 2 am.

    I just got back from a week at a medieval war, can you tell? *grin*
  • Medieval war! Oh, that's always such fun!

    First the cavalry charges, then arrows from the longbows cut down a hundred men, and as they lie dying in the mud the men behind them charge over their bleeding bodies and... ! :D

    ... Wait. Wait, you were talking about, like, reenactments, I guess? Not... war war? Yeah. Uh. Yeah.
    Reenactments. Good fun! Great costumes. And the music! That's good. Gooooood music. Yup.

    Being briefly serious, I do take my guitar out every so often - we've got a forest nearby and I like to let the neighbors have a rest from all my noise occasionally.
  • And the loser gets Pittsburgh?
  • Thats the one! Pennsic XXXVIII. I understand there was some fighting of some kind going on...I didn't see any of it though- I stayed in classes all the time, which I LOVE. Everything from the history of deafness in the middle ages to alchemy to distillation; new costume making techniques, all kinds of ways to affix pigment to paper based on period methods, gold thread embroidery techniques I hadn't tried yet, period filk music, whitework on manuscripts, field physicians tools and techniques...the biggest problem was when 2 or 3 classes I was interersted in were all held at the same time.

    I love learning new things.
  • edited August 2009 alchemy...
    So if I send you some lead, will you send me back 50% of the resulting gold? :-D

    Seriously, though, sounds fun! Is this SCA stuff?
  • Yes, this is SCA stuff.

    Ah, pigment and paper. I've tried several techniques: watercolor, gouache, tempera, glair, all homemade. I was big into C&I, once upon a time. I remember once going into the art supply section of the local university bookstore and seeing one of the clerks on the phone. She saw me approaching and handed me the phone. "It's for you." A customer had a question they weren't able to answer, and they deferred to me.
  • I never knew guitars were so dangerous.

    Period filk sounds intriguing, do they sing about popular plays in which bizarre futuristic worlds are depicted with such innovations as smokeless candles and sliced bread?
  • Period filk can be one of two basic things- the first is the tendency for people in the medieval period to take a well known tune, often a religious one, and change the words around- often into a drinking song or something equally bawdy. Most commonly this was done by rowdy drunk university students. Not that medoer college kids would ever do anything like that...The Carmina Buran is full of those. The second form is for us modern people to take a medieval/renaissaunce song and write our own words to it so that it sounds like it belongs in period but is really about how Frothgar got stung on the, er, codpiece at a prior war and invented medieval break dancing, for example. I think that there is a small movement of pseudo-purists who don't want anyone to sing filks to modern tunes, even if they are ones about events in the SCA that happened, so they are trying to get folks to filk to period songs (as well as trying to scare us off of singing parody songs to modern tunes by talking about law suits all the time).
  • I'm sure the RIAA are making medieval faires their first priority in their battle against illegal use of music :P
  • Just don't sing Happy Birthday at the faire! I was recently reading about how that song is still copyrighted (through 2030), and Times Warner makes some $2 million per year in royalties. *facepalm*
  • Caleb >> Oh God, Wikipedia tells me you're right. The world is a sad, capitalistic place.
  • 2030 is a joke. It will just get extended again. "Steamboat Willie" will never be allowed to lapse into the public domain. "Happy Birthday" is just along for the ride, along with a whole bunch of orphaned works.
  • It isn't a joke- an audience at a ren faire spontaneously broke out into singing "Happy Birthday" to a performer on the stage when they learned that it was his birthday, and the faire was sued for something like 30, 000 cause they hadn't paid the protection money ahead of time. Even though ti WASN"T the daire folks doing the singing, because it happened on their property, and they had the deepest pockets, most of that years profits were sucked away.
  • That's why when I needed music to get my Macs to sing happy birthday to the London Science Museum, I just made up some birthday-related lyrics to go with the public-domain tune of Good Morning To All. You can't tell, but they're actually singing 'Happy Birthday 2U', referring to their imaginary friend, a birthday greeting server which takes up two rack units, and its output, which in this case happens to be 'happy birthday, London Science Museum'. I tell them that such a simple server would be a waste of rack space, but they say it's not the size that counts, it's how UU's it. They haven't really learnt humour yet, still at about the level of the knock knock jokes which were (still are? I haven't played with it since the 90s) in PlainTalk.
  • edited August 2009
    For more details, see snopes. (I should have linked that originally, sorry)

    In theory, I don't have a problem with the concept of copyrights in general, but the current system is so archaic, insane, and broken in general, that it needs a major overhaul to have any kind of sanity. Much broader allowances for non-commercial fair use. Shorter, hard-and-fast expiration limits. Et cetera. There's a paper floating around on the interwebs about "Everyday Copyright Violations" that shows how virtually everybody is a criminal in some way. (ETA: specifically, a copyright violator). Unfortunately, I don't see that happening any time soon.

    It really proves how different JoCo is.

    ETA: @JoAnn - Ouch! So there really are cases where it is prosecuted. I hadn't heard of any specific cases.
  • it is just stupid for any venue that has public performances to not pay their bmi or ascap! I'm surprised that was the only song they got dinged on.
  • I'm in agreement with Larry Lessig, father of Creative Commons: retroactive extension of copyright does nothing to promote the creation of new works, thereby has no foundation in constitutional law, and is complete and utter bullshit. Alas, he lost. :-P
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