Some Bobby Licks Please!

Some Bobby Licks Please!

Postby ssrythm » Sun Jan 21, 2007 10:37 pm

Would you rippin kind souls with the ability to do so please add some songs to the video instruction segment with a decidedly Bobby slant? What's on there is great, but maybe 1/2 step, various eyes licks, licks you know from your favorite dark star or other one, peggy-o, row jimmy etc. Thanks in advance, E
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Postby Billbbill » Sun Jan 21, 2007 11:08 pm

sorry I'm mostly a jg guy although I do have that Greatest Story vid. I'll see if I've got any bob stuff that's worthy. I know Strumminsix is more of a bob guy, I think.
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Postby strumminsix » Mon Jan 22, 2007 6:11 am

You've got it Bill-squared!

The Hell in a Bucket is all Bobby.
There are other key Bobby things I can think of:
Scarlet riff
China Cat riff
BTW riffs

Do you know these?
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Postby b weird » Mon Jan 22, 2007 8:34 am

My mind is a little foggy right now and Im having trouble remembering what BTW is :-? . Can some one help?
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Postby strumminsix » Mon Jan 22, 2007 8:53 am

black throated wind
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Postby b weird » Mon Jan 22, 2007 11:20 am

Oh, thanks Strummin' I can't believe I didn't remember that. :oops:
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Postby bodiddley » Mon Jan 22, 2007 1:20 pm

Ya, I'd like to see more on the "space between" the standard chords and figure out some of those little licks and fills they are playing between the changes etc. I'm working on "Scarlet" right now and am finally getting the basics down but there seems to be an entire converstation going on in those split seconds between chords...I realize many times it's the whole band conversing, but if I knew where to start, that might help.
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Postby strumminsix » Mon Jan 22, 2007 1:31 pm

Something to keep in mind is that Bobby really liked leaving space by only playing 2 notes of a chord at times.

So think of Scarlet. You hear him do something like this:
Code: Select all
e ---7---12-11-------------------
b ---7--------12-------------------
g --------------11-13-14-13--------
d --------------------------------
a --------------------------------
e -7-------------------------------


From there the rest just plays aournd on the G string over those same last 4 notes/positions.

But look at the first thing played just the root then a 5-1 inversion then the riff. See how it kinda sounds like a chord but really not so full so his riff doesn't sound like it leaves a hole. [/code]
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Postby d-v-s » Mon Jan 29, 2007 3:56 am

strummin',
thanks for sharing your wisdom here. these little tips help a lot. :smile:

Maybe you can help with another question - what can be done as a rhythm guitarist to spice up "Fire on the Mountain?" I know that Bobby wasn't just strumming the B and A chord for 15 minutes!
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Postby strumminsix » Mon Jan 29, 2007 6:38 am

Fire, IMO is about the most boring song the GD did. Sadly, I don't listen to it enough to find a good bobby thing. In bands I usually play it straight and then work some repeating subtle riffs going in the major scale kinda similar to a bass line. But that's the problem if the bassist is doing something too similar it's off.

Other times I toss in a reggae beat and other times I focus on different chord shapes.

Let me think about this some more.
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Postby wisedyes » Mon Jan 29, 2007 10:59 am

What I try to do in Fire is throw in some repeating motifs, usually built off of arpeggiated runs. I also like to play two or three note chords, often just the 3rd and flat seventh for the B7, and the third and fifth for the A, and just let them ring out.
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Postby bodiddley » Mon Jan 29, 2007 1:38 pm

Fire, IMO is about the most boring song the GD did

That's pretty much my sentiments. I can dig a shorter smokin' version, but if it went on too long (which most did...Zzzzzzz). What I want to know is how Phil could play essentially the same damn bass line for 15 minutes without losing his mind.
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Postby shakedown_04092 » Mon Jan 29, 2007 7:27 pm

bodiddley wrote:What I want to know is how Phil could play essentially the same damn bass line for 15 minutes without losing his mind.


1. He didn't play the same bass line the entire time...

and (more importantly, and something that bassists tend to FORGET)....

2. It's his JOB. He's the bass player.

(oops...did I just say that out loud?)
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Postby d-v-s » Tue Jan 30, 2007 8:08 am

OK, maybe Fire was a bad example. I can see that I hit a nerve there. :roll:

Let's try another one. How about the long Emaj7 to B jams from Eyes of the World. What can I do there to spice it up?

wisedeyes, your comments seem useful, but a bit over my head. I'm still working on my guitar vocab. :oops: If you could tab out a line or two it would be great. i.e. wtf is an arpeggiated run?
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Postby strumminsix » Tue Jan 30, 2007 8:14 am

Despite being monotonous I play Eyes straight ahead.

Between v1 & v2 Emaj7 to B
Between v2 & v3 Emaj7 to B, the Emaj6 to B to A
After v3 it's Emaj7, then whips to Abm
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