Note that my guitar scores provide both staff and tablature notations. The tablature is slightly nonstandard: I show stringlines only sparingly, use a better barre notation, and embrace a couple other minor departures. A guide is available (and in active expansion), but anyone already familiar with tablature probably won't need it. For those familiar with staff notation, the tablature can usually be understood by a direct comparison.

Tablature is valuable because it shows you where on the fretboard to place your fingers. On the other hand, only the musical staff gives you rhythm, voicing, expression and articulation information. Also, reading tablature for the pitches is awkward (although the information is there)—staff notation is much better in this regard.

With the Transcriptions, given the unusual tunings, the tablature is indispensable. The tunings and tablature are actually my only contributions in the Transcriptions; the musical staves are exactly those published by the composers (with piano fingerings cleared away). The tabs (more or less faithful to the original score) are in an appendix, since most players will already be familiar with the pieces, whether from playing them on piano or from recordings. Thus the tabs can be presented concisely without compromising to try to align them with the staves; and each player can decide for themself which fingerings and positions to pencil in on the pristine score.

In the case of the Ballads, I've opted to keep the tablature and staves together in the default format. The synchronisation between tab and staff is an added value, and the parallel presentation helps one learn the tab or the staff notation (or even both...), as well as facilitating quick sanity checks in case you think there is an error (not unlikely). For those who object to the space taken up by tablature, the music is available in a layout that relegates the tabs to an appendix. I expect most people will appreciate the tabs since there is quite a lot of campanella and playing up the neck.