key and scale for DEAL

[d-v-s]

I want to learn a good lead for this song. I assume that the key is A, and that the scale would be Mixolydian. Can anyone confirm that?

Since the song has a bit of a blues tone to it, would a blues scale be better?

[strumminsix]

I'm not the best qualified to answer but will give you some of my thoughts:

I'd start with an A scale.

Then recognize the chorus of A G D and make it a myxo.

Then realize that it has a C#7 vs the C#m in standard A so I'd be sure to put some emphasis the B of that (ii in A) as well as the F (the IV of C#7).

Then I'd recognize the D#7dim and chalk it up to an accent of D7 and ignore it

So I'd by playing the following notes
A B C# D E F F# G A

What is that an A mixo plus an F?

(this is how my mind works so freakin' analytically that it stiffles my ability too often to let go and just solo !)

[d-v-s]

strummin,
first off, thanks for the info. All good stuff. This gives me something to work with.

Second... i don't get it. i was fooling around with the solo, and when I get to the C#7 I realized that the B sounds beautiful there. I thought it was just my ear playing tricks on me.

I don't see the connection here, and yet you stated it so matter-of-fact.

can you walk me through that. why does the ii in A relate to a C#7???

[strumminsix]

Good bro, glad I could help and sorry if I confused you. When I approach soloing I think of what notes are in the chord I am soloing over, start there and add the notes around it. Not very fancy but then again I'm more of a melody lead player than lead guitarist...

The B note sounds good over the C#7 because B is the blues 7th of C#7! Think of a C#7's components: 1,3,5,b7 of C#, F, G# and B. Now, think of which of those is in the straight ahead A mixo scale and you come up with B. Now if you played A major you'd have the B and the G# which might be nice as well. Or you can add the F into A myx and have a pretty four note chromatic walk up E,F, F#,G.

Helping?

[Rev_Roach]

I think for the chorus you can play A mixo and not really have to think much further. The progression A-G-D fits perfectly into the mode, similarly to that of Franklins, China Cat, or TLEO chorus.

However, for the verses I would reccomend playing tonally (the changes) and really looking at each chord. There are A LOT of chromatics happening, so just messing around in a certain mode is not gonna capture the song.

I'm gonna attempt a visual thing here, not sure if it will look good but we'll see (chords are in order of appearance in verse):

Some notes (ex. E#) are not written in the most "correct" form, but the more convenient or consistent with above form (F)

A Mixo: A B C# D E F# G

A: A C# E
C#7: C# F G#
F#m: A C# F#
E: B E G#
D7: A C D F#
Ao: A C D#
G#: C D# G#
G: B D G
F#: A# C# F#
B: B D# F#
D7: A D F#

Clearly plenty of the chords above contain notes that are not part of A mixolydian, and this should be reflected in soloing. Plus, chromatics can be a lot of fun! Particularly the half steps (G#-G-F#) along with "spend some time". This is way tonal playing, reflecting the changes of the chords, is pretty essential for soloing over the verse.

If this seems overwhelming don't let it get you down. It's a guide, not a restriction. Nothing wrong with going from the gut. And of course: If you get confused, listen to the music play!

[Rev_Roach]

To fix some mistakes from my last post and correct the spacing:

Code: Select all

A Mixo: A   B   C#   D   E   F#   G

A:      A       C#       E
C#7:        B   C#         F        G#
F#m:    A       C#           F#
E:          B            E          G#
D7:     A     C      D       F#
Ao:     A     C        D#
G#:           C        D#           G#
G:          B        D            G
F#:       A#    C#           F#
B:          B          D#    F#
D:      A            D       F#


[Billbbill]

Excellent job there ss and rev. I find this verse lead probably the most challenging to get it to sound 'right' and mirror the tonal chord changes in an 'appropriate way'.

What I'll often do (especially as predominately an ear player) is pick out the notes of the chords in what amounts to a complicated progression with a number of twists and turns, and work from there towards a workable scalular framework, often breaking down different portions of the run as needed.

In other words I may just flat/finger pick the notes of the chords all the way through to get a feel for what tonal changes make sense where. This lead is most definitely a candidate for this approach, at least from my perspective.

Chromatic potential abounds and jg definitely leans on this.

I work off of an A mixolydian 'home base' if you will, with much emphasis on the notes that make up the chords when the changes occur and also slip into some pretty obvious key changes, especially toward the end of each half verse, to F#maj, Bmaj and Dmaj.

IMHO this one is a real mouthful. For me, still a work in progress.

[Zolzar]

Hi. I rarely post but I thought I may be able to help you with Deal a little.

Hit up Darks' Grateful Dead Tab.
http://www.jdarks.com/
You can't go wrong here and you will learn quite a bit and then some.
Two solos for Deal are tab'd out with the audio samples. There are plenty of other tunes too!!!

One thing that got my attention is Jerry's use of arpeggios and how he followed the chord structures with his solo's along with the scales. I see a few threads out there discussing what scales to use. This is important but you should also be just as mindful of the chords you are playing over.
My two cents....hope this information helps you.

[Mick]

I think what is posted above is way over my head, because it doesn't even look like English to me.

Anyway, I have been messing around with this song by ear lately, and came on here to see if I was getting it right. I think the answer to the orginal question (which is what I was looking for as well) is the key is D major and the scale is A mixolydian.

If somebody could let me know in a manner that can be understood by the average third grader (where my intellect probably lies) if I have dorked this up, I would appreciate it.

Thanks,

Mick

[DenverEd]

"One thing that got my attention is Jerry's use of arpeggios and how he followed the chord structures with his solo's along with the scales."

I've been working on that for about six months now. It is a monstrous challenge to finger the right arpeggio from the particular place that you are on the fretboard....on the fly....and make it sound good. Especially one that doesn't start or end on the root.

On the other hand, it does make you learn the fretboard and opens up a whole new dimension in soloing.

[NashvilleMike]

Here is how I do it...

Start with the melody always the melody, it's all about the melody. Learn it in 3 positions on the neck for tonal differences. Tweak it by playing chromatics with the melody.

Then play it among and with the chords

Then for the free jamming go to the modes. But remember the melody always the melody...

Finally make it swing and play it like you mean it!!

These are just the half baked opinions of an amatuer guitar player and lifelong follower of the brother Jerry Garcia.