{"source":"Free Chord Book","source_url":"https://www.free-chords.com","license_note":"Free for personal use. Lyrics and compositions © their respective songwriters and publishers.","tab_id":76678,"song":"Si Bagh An Si Mor","artist":"Misc Traditional","content_type":"chord","tab_type":"Chords","url":"https://www.free-chords.com/song/11546936-si-bagh-an-si-mor-chords-by-misc-traditional/","api_url":"https://www.free-chords.com/api/v1/songs/76678?type=chord","rating":0,"votes":0,"content":"#---------------------------------PLEASE NOTE--------------------------------#\r\n# This transcription is the author's own work and represents his interpret-  #\r\n# tation of the song. It is intended for private study, scholarship and/or   #\r\n# research purposes only and is not intended for publication or distribution.#\r\n#----------------------------------------------------------------------------#\r\n\r\nSi Bagh An Si Mor (Traditional Gaelic/Celtic Melody) in the Key Of D\r\nArranged by John M. (Dadfad) 10/7/02 (Using Notepad Courier New 10 Font)\r\n\r\nThe tune is called by many similar names, \"Sheebeg and Sheemore\", etc.\r\nThis is a frequently played and requested tune among Traditional-Celtic\r\nguitarists and Traditional-Celtic audiences. It's been done by a number\r\nof artists, in various keys in various tunings with varying degrees of\r\ndifficulty. I've used Dropped-D (DADGBE) because it seems like the most\r\ncommonly heard tuning for this piece. The tab below isn't that difficult,\r\nbut is still true enough to the theme and full enough so that it easily\r\nmay be used either as a finished tune, or merely as a basis to elaborate\r\non. Where I think it may help I'll try to describe holding positions or\r\nfingering suggestions that might make it easier to play. Any fingerstyle\r\nguitar is difficult to tab and even more difficult to play from tab, but\r\nI'll try to make it as clear and understandable as possible.\r\n\r\n\r\n (holding a D-chord 000232 to start....)\r\n\r\n\r\nE)_________0___0h2______0___________0h2__________\r\nB)_____3____________________3__3_________3_______\r\n[tab][ch]G[/ch])_________2_________________________2___________\r\nD)_____0____________0_______0__0_________0_______[/tab]\r\n[ch]A[/ch])_______________________________________________\r\n[ch]D[/ch])______________0_______0________________________\r\n\r\n[tab]#1>    A            B   |----------C-------|[/tab]\r\n\r\n\r\n[tab][ch]E[/ch])_______________________________________________\r\nB)______0_____________0____2___3________3________[/tab]\r\n[tab][ch]G[/ch])_____________0_______________________(2)_______\r\nD)__________0_________0____2_______0_____________[/tab]\r\n[ch]A[/ch])_____(5)_____________________________(0)_______\r\n[ch]D[/ch])______5______________________0________0________\r\n\r\n#2>     A           |-----B----|   C    D\r\n\r\n\r\nE)______________________________________0___0h2___2h3p2___0__\r\nB)________0___________0____2__3______3______(3)_____3_____2__\r\nG)___2___(0)______0__(0)________________0___0h2_____2_____0__\r\nD)__(0)________0___________2_____0___2____________________2__\r\nA)_______(5)_________(5)______2___________________________0__\r\n[ch]D[/ch])___0____5___________5______________________________________\r\n\r\n#3>                                          [ch]A[/ch]      [ch]B[/ch]     [ch]C[/ch]\r\n\r\n\r\n[tab][ch]E[/ch])__2_______________0_______________________________________\r\nB)______0___________________________3_______3___2_____3_____[/tab]\r\nG)__0__________0________2_______2_______0____________(2)____\r\nD)__2_______0_______2__(0)___0______2_______2_______________\r\nA)_____(5)_____________(0)______________0_______0____(0)____\r\n[ch]D[/ch])______5_______________0_____________________________0_____\r\n\r\n#4> A   B           C   D         |-------E------|    F\r\n\r\n\r\nE)___2_____5_____7___________3___0____________________________\r\nB)__(3)___(3)_________________________3______2____3___3_____3_\r\nG)_________2____________0________0___(0)__________2______2__2_\r\nD)___0_______________0_______0_______(2)__2__2___(0)__0_____0_\r\nA)______________(5)___________________0___________0______0__0_\r\n[ch]D[/ch])_______________5________________________________0_________0_\r\n\r\n[tab]#5>  A     B     C           D   E   |----F----|  G  |---H---|[/tab]\r\n\r\nNow the second round of the theme starts, similar to the first.\r\n\r\n\r\nE)_________0___0h2______0___________0h2___5______\r\n[ch]B[/ch])_____3____________________3__3_________________\r\n[tab][ch]G[/ch])_________2_________________________2___________\r\nD)_____0____________0_______0__0__________0______[/tab]\r\n[ch]A[/ch])_______________________________________________\r\n[ch]D[/ch])______________0_______0________________________\r\n\r\n#6>\r\n\r\nE)______7____________5_____0h2______0h2__0_______0___0h2___0______\r\n[tab][ch]B[/ch])__________________________3________________3________________3___\r\nG)______________0___________________0h2__0_______2_________0______[/tab]\r\nD)__________0________2__________0____________0________0_______0___\r\n[ch]A[/ch])_____(5)__________________0_____________________________________\r\n[ch]D[/ch])______5___________________0_____________________________________\r\n\r\n#7>\r\n\r\n\r\n[tab][ch]E[/ch])______________________2________________0____________________________\r\nB)____0_________0____________0___________________3______3___2___3_____[/tab]\r\nG)__________0_______2_______________0________2_______0__________2_____\r\nD)_______0______0__(2)___________0_______2___0___2______2___2_______3_\r\nA)____5_____________0___2___(5)______________________0__________0_____\r\nD)____5______________________5_______________0__________________0_____\r\n\r\n#8>\r\n\r\n\r\nE)____2____5____7__________3___0______________________\r\n[tab][ch]B[/ch])__________________________________3_______2____3____\r\nG)____2____2___________0_________________________2____[/tab]\r\nD)__________________0______0___2___(2)__2___2____0____\r\n[ch]A[/ch])__________________________________0____________0____\r\n[ch]D[/ch])______________5________________________________0____\r\n\r\n#9>\r\n\r\n\r\n[ch]E[/ch])____2h3p2____0_____2________________\r\n[ch]B[/ch])______3____________3________________\r\n[ch]G[/ch])______2______0_____2________________\r\n[ch]D[/ch])___________________0________________\r\n[ch]A[/ch])___________________0________________\r\n[ch]D[/ch])___________________0_____12(harm)___\r\n\r\n#10> A trill and end flourish in full D\r\n\r\nNow, I'll try as much as possible what is being done in the various portions\r\nof the tune. I'll use a number with a letter (the letters underneath) to show\r\napproximate location of what I'm describing (like 1A or 8D, etc) on the line\r\nbelow each tab-staff. Anyway...\r\n\r\n-1A is a pinch with the thumb and first finger. This is the basic technique of\r\n this entire tune, so I won't describe every pinch. Assume it likely is unless\r\n I show otherwise.\r\n-1B is a roll. After you come out of a pinch, you frequenly \"roll\" to add some\r\n texture to the tune. You generally use your thumb to do it. I'm not going to\r\n show every roll either. When you see a succession of single notes, usually\r\n going downward (toward your lap) it's probably a roll.\r\n-1C is just more pinches. Note the 0h2 (hammer from open to 2nd fret, which\r\n is used in several other areas too).\r\n-2A This is a G chord-form. (This is a very frequently-used G-form in finger-\r\n style Dropped-D). It is most easily played just by using your thumb around\r\n the neck on the 6 (and 5) strings, 5th fret. Pinch that with the open 2-string.\r\n The (5) in parenthesis means that note may be sounded with the un-parenthesed\r\n note, usually by just sort of extending or dragging the pinch a bit. Roll to..\r\n-2B is more pinches going into a rolled note (2C). Go into sort of holding a\r\n D-chord but then just pinch that 2-string/3-fret and open 6-string part, then\r\n a little roll on the open 4-string as you go to play a fairly full D-chord...\r\n-2D, which is dragged from both directions (trying to sound the (0) and the (2).\r\n\r\n (I don't think I need to describe every pinch and roll now, unless its unusual\r\n in some way. Just the information about the first two lines explains most of\r\n what is meant in the rest of the tune.)\r\n\r\n-3A is a double-string hammer. Not difficult, just hold the 2-string/3rd-fret\r\n note with your ring finger and hammer your first and middle finger into a\r\n regular D-chord shape.\r\n-3B is a trill. A little tricky, depending on your experience with them. You\r\n hold the 1st-string/2nd-fret hand hammer-on the 3rd-fret then pull it back off\r\n slightly plucking it with your finger tip if necessary to sound all three notes\r\n of the trill clearly.\r\n-3C is an A7 chord that can be thumb-strummed down.\r\n-4A is a continuation of that A7, but now with an added F# (1-string/2nd-fret)\r\n which adds sort of a diminished/sixth feel taking you to...\r\n-4B which is, again, a G-chord. Then to....\r\n-4C which is back to an A chord-form fragment (A7) and then on to...\r\n-4D which is a D-chord, giving a feeling of partial resolution,\r\n-4E rolling back again through other partial A-forms (Asus4 fragment to A7\r\n again) and then...\r\n-4F back to the D. Then sort of a little end-line...\r\n-5A starting in a D-shape and...\r\n-5B adding the 12th note (A) to that D by extending the pinkie down to the\r\n first-string/fifth-fret to catch it. Then to...\r\n-5C the G-chord. Again, holding the 5 and 6 strings/5th fret with your thumb\r\n allows you to reach the 1-string/7th-fret (adding an 11th note B). (Just a\r\n note: using that thumb for your G-chord gives you a great range of what you\r\n can do with your other fingers when playing in Dropped-D in any style.) Roll\r\n that G-form into...\r\n-5D which is also part of a G-major chord. Roll into...\r\n-5E which is a D, and into...\r\n-5F which is again Asus4 to A7. Then...\r\n-5G a rich D-chord, either using a full pinch to catch all five strings.\r\n-5H is just a little repetitive end-tag of a couple of two-string pinches and\r\n a final slightly arpeggiated strum as to allow all five notes to be he heard.\r\n\r\n That more or less explains the first section. There isn't much reason to\r\n go over the next section lines #6, #7, #8, and #9, which, while different,\r\n are done using the same techniqes through the same progression.\r\n-10 is just a trill and flourish ending on a full, rich slightly arpeggiated\r\n D-chord, topped of with a D-harmonic on the 6-string/12th-fret (if you\r\n want to put it there!)\r\n\r\nAnd that's pretty much it. You can use that dominant theme to improv more\r\nverses or repeat them or whatever. Anyway that covers the theme melody of the\r\npiece. It's all done in a I, IV, V progression of forms of D, G and A. You\r\nshould listen to one or more versions of the tune to get a sense of how it\r\nflows. If you visualize, while you're playing it, that you're in one of those\r\npositions, instead of just a series of riffs, it makes it much easier to work\r\nwith and especially to improvise on further. Maybe just a simple strumming\r\npattern of the positions would make it easier to associate the passages to the\r\nprogression. It would pretty much be like this:\r\n\r\nDDD DDD GGG D\r\n\r\nGGG DDD GGG A\r\n\r\n[ch]D[/ch] [ch]G[/ch] [ch]A[/ch] [ch]D[/ch]\r\n\r\nGGG AAA D\r\n\r\nThat's more-less the feel of the progression (there are little variances but\r\nthat's close). If you can see the pinches and rolls, etc as being made within\r\nthose D, G or A positions, it all sort of flows from that point. In any case,\r\nthat's it. I hope I explained it well enough to make some kind of sense! Any\r\nquestions, just ask. Good luck. -Dadfad","plain_text":"#---------------------------------PLEASE NOTE--------------------------------#\n# This transcription is the author's own work and represents his interpret-  #\n# tation of the song. It is intended for private study, scholarship and/or   #\n# research purposes only and is not intended for publication or distribution.#\n#----------------------------------------------------------------------------#\n\nSi Bagh An Si Mor (Traditional Gaelic/Celtic Melody) in the Key Of D\nArranged by John M. (Dadfad) 10/7/02 (Using Notepad Courier New 10 Font)\n\nThe tune is called by many similar names, \"Sheebeg and Sheemore\", etc.\nThis is a frequently played and requested tune among Traditional-Celtic\nguitarists and Traditional-Celtic audiences. It's been done by a number\nof artists, in various keys in various tunings with varying degrees of\ndifficulty. I've used Dropped-D (DADGBE) because it seems like the most\ncommonly heard tuning for this piece. The tab below isn't that difficult,\nbut is still true enough to the theme and full enough so that it easily\nmay be used either as a finished tune, or merely as a basis to elaborate\non. Where I think it may help I'll try to describe holding positions or\nfingering suggestions that might make it easier to play. Any fingerstyle\nguitar is difficult to tab and even more difficult to play from tab, but\nI'll try to make it as clear and understandable as possible.\n\n\n (holding a D-chord 000232 to start....)\n\n\nE)_________0___0h2______0___________0h2__________\nB)_____3____________________3__3_________3_______\n\nA)_______________________________________________\nD)______________0_______0________________________\n\n\n\n\n\n\nA)_____(5)_____________________________(0)_______\nD)______5______________________0________0________\n\n#2>     A           |-----B----|   C    D\n\n\nE)______________________________________0___0h2___2h3p2___0__\nB)________0___________0____2__3______3______(3)_____3_____2__\nG)___2___(0)______0__(0)________________0___0h2_____2_____0__\nD)__(0)________0___________2_____0___2____________________2__\nA)_______(5)_________(5)______2___________________________0__\nD)___0____5___________5______________________________________\n\n#3>                                          A      B     C\n\n\n\nG)__0__________0________2_______2_______0____________(2)____\nD)__2_______0_______2__(0)___0______2_______2_______________\nA)_____(5)_____________(0)______________0_______0____(0)____\nD)______5_______________0_____________________________0_____\n\n#4> A   B           C   D         |-------E------|    F\n\n\nE)___2_____5_____7___________3___0____________________________\nB)__(3)___(3)_________________________3______2____3___3_____3_\nG)_________2____________0________0___(0)__________2______2__2_\nD)___0_______________0_______0_______(2)__2__2___(0)__0_____0_\nA)______________(5)___________________0___________0______0__0_\nD)_______________5________________________________0_________0_\n\n\n\nNow the second round of the theme starts, similar to the first.\n\n\nE)_________0___0h2______0___________0h2___5______\nB)_____3____________________3__3_________________\n\nA)_______________________________________________\nD)______________0_______0________________________\n\n#6>\n\nE)______7____________5_____0h2______0h2__0_______0___0h2___0______\n\nD)__________0________2__________0____________0________0_______0___\nA)_____(5)__________________0_____________________________________\nD)______5___________________0_____________________________________\n\n#7>\n\n\n\nG)__________0_______2_______________0________2_______0__________2_____\nD)_______0______0__(2)___________0_______2___0___2______2___2_______3_\nA)____5_____________0___2___(5)______________________0__________0_____\nD)____5______________________5_______________0__________________0_____\n\n#8>\n\n\nE)____2____5____7__________3___0______________________\n\nD)__________________0______0___2___(2)__2___2____0____\nA)__________________________________0____________0____\nD)______________5________________________________0____\n\n#9>\n\n\nE)____2h3p2____0_____2________________\nB)______3____________3________________\nG)______2______0_____2________________\nD)___________________0________________\nA)___________________0________________\nD)___________________0_____12(harm)___\n\n#10> A trill and end flourish in full D\n\nNow, I'll try as much as possible what is being done in the various portions\nof the tune. I'll use a number with a letter (the letters underneath) to show\napproximate location of what I'm describing (like 1A or 8D, etc) on the line\nbelow each tab-staff. Anyway...\n\n-1A is a pinch with the thumb and first finger. This is the basic technique of\n this entire tune, so I won't describe every pinch. Assume it likely is unless\n I show otherwise.\n-1B is a roll. After you come out of a pinch, you frequenly \"roll\" to add some\n texture to the tune. You generally use your thumb to do it. I'm not going to\n show every roll either. When you see a succession of single notes, usually\n going downward (toward your lap) it's probably a roll.\n-1C is just more pinches. Note the 0h2 (hammer from open to 2nd fret, which\n is used in several other areas too).\n-2A This is a G chord-form. (This is a very frequently-used G-form in finger-\n style Dropped-D). It is most easily played just by using your thumb around\n the neck on the 6 (and 5) strings, 5th fret. Pinch that with the open 2-string.\n The (5) in parenthesis means that note may be sounded with the un-parenthesed\n note, usually by just sort of extending or dragging the pinch a bit. Roll to..\n-2B is more pinches going into a rolled note (2C). Go into sort of holding a\n D-chord but then just pinch that 2-string/3-fret and open 6-string part, then\n a little roll on the open 4-string as you go to play a fairly full D-chord...\n-2D, which is dragged from both directions (trying to sound the (0) and the (2).\n\n (I don't think I need to describe every pinch and roll now, unless its unusual\n in some way. Just the information about the first two lines explains most of\n what is meant in the rest of the tune.)\n\n-3A is a double-string hammer. Not difficult, just hold the 2-string/3rd-fret\n note with your ring finger and hammer your first and middle finger into a\n regular D-chord shape.\n-3B is a trill. A little tricky, depending on your experience with them. You\n hold the 1st-string/2nd-fret hand hammer-on the 3rd-fret then pull it back off\n slightly plucking it with your finger tip if necessary to sound all three notes\n of the trill clearly.\n-3C is an A7 chord that can be thumb-strummed down.\n-4A is a continuation of that A7, but now with an added F# (1-string/2nd-fret)\n which adds sort of a diminished/sixth feel taking you to...\n-4B which is, again, a G-chord. Then to....\n-4C which is back to an A chord-form fragment (A7) and then on to...\n-4D which is a D-chord, giving a feeling of partial resolution,\n-4E rolling back again through other partial A-forms (Asus4 fragment to A7\n again) and then...\n-4F back to the D. Then sort of a little end-line...\n-5A starting in a D-shape and...\n-5B adding the 12th note (A) to that D by extending the pinkie down to the\n first-string/fifth-fret to catch it. Then to...\n-5C the G-chord. Again, holding the 5 and 6 strings/5th fret with your thumb\n allows you to reach the 1-string/7th-fret (adding an 11th note B). (Just a\n note: using that thumb for your G-chord gives you a great range of what you\n can do with your other fingers when playing in Dropped-D in any style.) Roll\n that G-form into...\n-5D which is also part of a G-major chord. Roll into...\n-5E which is a D, and into...\n-5F which is again Asus4 to A7. Then...\n-5G a rich D-chord, either using a full pinch to catch all five strings.\n-5H is just a little repetitive end-tag of a couple of two-string pinches and\n a final slightly arpeggiated strum as to allow all five notes to be he heard.\n\n That more or less explains the first section. There isn't much reason to\n go over the next section lines #6, #7, #8, and #9, which, while different,\n are done using the same techniqes through the same progression.\n-10 is just a trill and flourish ending on a full, rich slightly arpeggiated\n D-chord, topped of with a D-harmonic on the 6-string/12th-fret (if you\n want to put it there!)\n\nAnd that's pretty much it. You can use that dominant theme to improv more\nverses or repeat them or whatever. Anyway that covers the theme melody of the\npiece. It's all done in a I, IV, V progression of forms of D, G and A. You\nshould listen to one or more versions of the tune to get a sense of how it\nflows. If you visualize, while you're playing it, that you're in one of those\npositions, instead of just a series of riffs, it makes it much easier to work\nwith and especially to improvise on further. Maybe just a simple strumming\npattern of the positions would make it easier to associate the passages to the\nprogression. It would pretty much be like this:\n\nDDD DDD GGG D\n\nGGG DDD GGG A\n\nD G A D\n\nGGG AAA D\n\nThat's more-less the feel of the progression (there are little variances but\nthat's close). If you can see the pinches and rolls, etc as being made within\nthose D, G or A positions, it all sort of flows from that point. In any case,\nthat's it. I hope I explained it well enough to make some kind of sense! Any\nquestions, just ask. Good luck. -Dadfad","chords":["D","E","B","G","A","C","F","A7","Asus4"],"chord_diagrams":{"A":{"barres":[],"baseFret":1,"fingers":[0,0,1,2,3,0],"frets":[-1,0,2,2,2,0]},"B":{"barres":[2],"baseFret":1,"fingers":[0,1,2,3,4,1],"frets":[-1,2,4,4,4,2]},"C":{"barres":[],"baseFret":1,"fingers":[0,3,2,0,1,0],"frets":[0,3,2,0,1,0]},"D":{"barres":[],"baseFret":1,"fingers":[0,0,0,1,3,2],"frets":[-1,-1,0,2,3,2]},"E":{"barres":[],"baseFret":1,"fingers":[0,2,3,1,0,0],"frets":[0,2,2,1,0,0]},"G":{"barres":[],"baseFret":1,"fingers":[2,1,0,0,0,3],"frets":[3,2,0,0,0,3]}}}