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 #11835  by HawaiianDedhed
 Mon Jan 15, 2007 8:54 pm
Speaking of timing in Bertha, anyone out there know for sure how those pauses followed by Bams! (for lack of a better term) work out towards the end of the song in those versions that were more uptempo and rocking (later ones I think). April 13, 1988 is an okay example but there are better ones.

You know,

"test me test me (bam!) why don't you arrest me"

"take me to the jailhouse (pause - bam!) 'till the sun goes down"

I believe the "bams" start on the second solo verse and continue through the last vocal verse. The thing is though, they (the bams!)fall on different beats.

Any thoughts?

 #11845  by bodiddley
 Tue Jan 16, 2007 9:38 am
That's the same problem that has been screwing me up on that song too. I am getting ok at playing it and then they do that slam on the C chord and I get lost every time. A good example of them doing that is on the "Truckin' up to Buffalo" DVD.

 #36617  by weirimpressed
 Mon Feb 04, 2008 10:55 am
theres a really good video of bertha on youtube from July 4th, 1989 i think(someone lettme know if I am wrong), that pans across the stage and really shows you what everyones doing. But everytime the BAM! comes, jerry is smiling, its pretty cool. I would watch that and see if it helps

 #36618  by GratefulPat
 Mon Feb 04, 2008 10:58 am
thats truckin up to buffalo july 4 89

 #36637  by old man down
 Mon Feb 04, 2008 12:34 pm
GratefulPat, I watched your video last night on this song, and you need to get your rhythm much more full stroked, and get the timing mentality shifted from, and I suck at this describing stuff, thirty seconds eths to sixty forths eths.

Your arm should be coming across the strings with REAL bravado if you want to get to the BAM style.

When you get the BAM really down, there is no question as to when it happens, it is floating in mid air with upstroke flourishes suspending it, but the strings don't even get hit, and then it happens. When you play like this, you will notice that your chording hand has a much tigher grip on the neck, the chords are held tightly, and you own the moment.

So try to throw in double the rhythm strokes as an experiment and see if you can tame it.

Think of a strobe light on a turning motor. You can stop the motor in suspended motion, but if you double the strobe's frequency, you can stop the motor again, but everything seems even more surreal.

 #36644  by ronster
 Mon Feb 04, 2008 1:46 pm
For what it's worth, I find it helps in getting the timing down to play the single note base run on the A string (A>B>C) after the G chord then bam on the C chord then slide up to a barred C chord on the 5th fret then another bam.

 #36658  by razmablues
 Mon Feb 04, 2008 3:12 pm
on a side note, those bams always send shivers up my spine, soooo amazing. i always wonder who in the band first came up with the idea, i was thinking probably bobby and the drummers, but there's no real way to know i think...

 #36673  by pappypgh
 Mon Feb 04, 2008 6:48 pm
The BAMS are the same every time (well, they tried to make them the same every time...sometimes you could hear them screw it up). But here is your formula, of which I am 100& positive, is accurate:

Think of the number 8. That's your count...

"I had a hard run - runnin' from your window", including the G>C>G >C>G >C>G directly afterwards, would be a total of 32 beats, OR 4 measures of 8. Got it?

Okay...when soloing, your order is this:

solo over verse > solo over chorus > solo over verse > sing chorus.

Now let's pick apart your FIRST VERSE OF SOLO:

You play the FIRST 2 LINES (2 sets of 4 measures of 8 ) completely normally.

The THIRD LINE, you accent the 2nd BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

The FOURTH LINE, you accent the 3rd BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally, leading into the
SOLO OVER THE CHORUS...

SECOND SOLO OF VERSE:

You play the FIRST 2 LINES (2 sets of 4 measures of 8 ) completely normally.

The THIRD LINE, you accent the 4th BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

The FOURTH LINE, you accent the 5th BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

You're ALMOST DONE, NOW!!

During the LAST VERSE OF SINGING, you play thusly:

Play the FIRST 2 LINES normally

The THIRD LINE, you accent the 2nd BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

The FOURTH LINE, you accent the 4th BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

THAT'S IT, FOLKS!!! Any questions? Feel free to PM me.

 #36685  by GratefulPat
 Mon Feb 04, 2008 8:21 pm
i was in no way shooting for the bams.... just a basic rhythm taken from a dso show... not even a show from the era of the whole bam thing...

 #36687  by GratefulPat
 Mon Feb 04, 2008 8:22 pm
and if it sounds that way it was very unintentional

 #36691  by strumminsix
 Mon Feb 04, 2008 8:33 pm
pappypgh wrote:The BAMS are the same every time (well, they tried to make them the same every time...sometimes you could hear them screw it up). But here is your formula, of which I am 100& positive, is accurate:

Think of the number 8. That's your count...

"I had a hard run - runnin' from your window", including the G>C>G >C>G >C>G directly afterwards, would be a total of 32 beats, OR 4 measures of 8. Got it?

Okay...when soloing, your order is this:

solo over verse > solo over chorus > solo over verse > sing chorus.

Now let's pick apart your FIRST VERSE OF SOLO:

You play the FIRST 2 LINES (2 sets of 4 measures of 8 ) completely normally.

The THIRD LINE, you accent the 2nd BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

The FOURTH LINE, you accent the 3rd BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally, leading into the
SOLO OVER THE CHORUS...

SECOND SOLO OF VERSE:

You play the FIRST 2 LINES (2 sets of 4 measures of 8 ) completely normally.

The THIRD LINE, you accent the 4th BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

The FOURTH LINE, you accent the 5th BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

You're ALMOST DONE, NOW!!

During the LAST VERSE OF SINGING, you play thusly:

Play the FIRST 2 LINES normally

The THIRD LINE, you accent the 2nd BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

The FOURTH LINE, you accent the 4th BEAT of the FIRST AND SECOND MEASURE OF 8, playing the 3rd & 4th measures of 8 normally.

THAT'S IT, FOLKS!!! Any questions? Feel free to PM me.
Ya, can you put it in tab for me? and a video? and a donut? and a coffee with 3 sugars and 2 creams, skim milk foam too. Oh and a lesson. And a trip to PGH?

Nice, Pappy! Thank you!

 #36698  by pappypgh
 Mon Feb 04, 2008 8:55 pm
GratefulPat wrote:and if it sounds that way it was very unintentional
I think the original poster was looking for the BAMS....sorry, Pat! :cool:

 #36861  by Billbbill
 Tue Feb 05, 2008 4:44 am
I just checked out pappypgh's breakdown w/the 7/4/89 bertha and he's right on.

When your band can pull that off you got something goin on.

the 2nd and 3rd beat then the 4 and 5, then the 2 and 4 - just to mix it up enough to get you to keep your shit together.

Maybe a quality control move? :P

 #36863  by CaptainTrips
 Tue Feb 05, 2008 5:04 am
Ive listened to pappy's band and they are crazy good. I can only hope to ever have a band that is 1/1,000 as good as the Cause.


But I am planning on uploading an acoustic Bertha of my own sometime over the next couple of days. Be prepared to cringe!!!!! :-)

 #36874  by pappypgh
 Tue Feb 05, 2008 7:37 am
Hey Capt. Trips...thank you so much for the ultra-kind words!

We do Bertha just like that....I'm sure you'll see one pop up on our site one of these days. We are opening the show this Saturday night with it (SORRY DAVID! :roll: )

My bassist hates when I give away the list....teeheeee


Anyone watch the boys last night? Great show, IMO.