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Grateful Dead Music Forum

A place to talk about the music of the Grateful Dead 

 #8296  by Green Rhythm
 Thu Aug 24, 2006 4:27 pm
Hi All,
I have been reading the posts from this site for a while, and have learned a bunch. I'm hoping someone can help me out.
In a couple of DVD's and clips from youtube such as http://www.youtube.com/watch?v=bm3l2B30 ... ed&search= and http://www.youtube.com/watch?v=RdSDAt8sXic occasionally, during the beginning of the verses (over the singing), Bobby is playing higher up on the neck than the second position on what appears to be the lower strings. I have not seen anyone tab it out this way. Does anyone play it this way or know what he is playing?

Thanks,
Green Rhythm

 #8303  by strumminsix
 Thu Aug 24, 2006 9:12 pm
Bobby is playing an F#m off the 4th fret primarly.

On the album and in most cases I can clearly hear him what he does is start on the 1 with a very full F#m off the 4th and let's it ring out until like the 5th beat and then grabs a F#sus4 (but really only playing the high E and B strings and G).
 #54095  by Bearodactyl
 Thu Dec 25, 2008 8:58 am
uh, I'm gonna go ahead and dig up a two year old topic, just because I think I know what this guy's talking about and messed around with it in quite the simple manner, pretty sure it's only this:

Bobby's verse part:
|---2--2---x--2--2--2---4--4--5--5/7---|
|---2--2---x--2--2--2---2--2--2--------|
|---2--2---x--2--2--2---2--2--2--2/4---|
|--------------------------------------|
|--------------------------------------|
|--------------------------------------|

heh. I was wondering about that myself.
 #54355  by Pete B.
 Sun Jan 04, 2009 1:47 pm
Yesterday I came across a new way (for me) to play the Estimated rhythm guitar part and nail the timing every time (for purposes of singing the song and keeping time).
I am now counting it as 1,2,3 - 1,2 - 1,2.
The first 1,2,3 = Strum F#m and let it ring, stop it with a chuck on the 3rd beat.
The next 1,2 = Fm, chuck (the "chuck" is a muted strum/time keeping thing)
The last two (of seven) beats = Bm6, chuck.

That Bm6 is also almost an E7.
You could also just slide The F#m up to the Bm position.
I've come up with several variations on the Bm6 (basically just moving the pinky around) to alternate the "feel" of it.
Funn Stuff!
I have finally become fluent at singing this song!
I vary the Bob/Jerry parts throughout.
I am playing/singing it with a Trio, so the Bass player is actually playing the main Jerry lick during the verse.
:cool:
 #129988  by mgbills
 Mon Jul 08, 2013 5:41 pm
On the studio cut ...
I hear a toggled G (b3 of Bm6) after the held F#m in the verse, for the penultimate chuck...which is really easy out of that low F#m.

|---2---
|---2h3--
|---2---
|---4---
|---4---
|---X---

The other thing ...in the opening I hear it as a descending A -> G# out an F#m in the 3rd position which also appears (to my ear) on the studio track.

|---5---4
|---7---
|---6---
|---7---
|---X---
|---X---

I tend to like the extra 3rd on the 4th string in my Dm shaped chords. For some reason it's easier for me to set a 4 fingered chord that resembles to C or F. Jazz guys despise repetitious 3rd's & 5th's....but I'm a long-haired hippy away from a jazz guy.

The other thing I get from studying with jazz guys is that a single note can tell studious listeners that you really do know where you are. The G tells the refined ear that you know your implying that Bm6 (or at least a Bm). The G# really says.."Hey! Check this out!"

Let me know if anyone else hears this...or knows of other ways to nab those notes.
I'm also willing to be wrong. I know there are theorists out there with decades more experience than I possess.
Peace
M
 #130043  by Dogs In A Pile
 Tue Jul 09, 2013 8:35 pm
mgbills wrote:Jazz guys despise repetitious 3rd's & 5th's.
Open minded jazz musicians don't despise anything if it's good. It's about the feeling.In the case of Estimated Prophet, just play the damn song! We don't need a xerox copy of Bob Weir. He improvised!
 #130051  by waldo041
 Tue Jul 09, 2013 11:04 pm
I absolutely love the "add foe" feature! Although i do hope he gets koons'ed!

~waldo
 #130058  by mkaufman
 Wed Jul 10, 2013 4:58 am
For the F#m section, Weir plays it two different ways:

1) My time comin'... He starts with individual notes, almost like playing a bass line, and then sequences into F#m chord variations via different notes on the top.

2) Don't worry 'bout me no... Basically, it's all chords. It's exactly the same chord sequence as the very start of the song.

Listening very carefully to the notes he plays on the top end of the chords is the key to getting it right.

There are also some rhythmic variations between the two parts.

For a '77 example, I use this video:

https://www.youtube.com/watch?v=6BU6L0fs4q8

One day, maybe I'll find time to tab it out.

mk
Last edited by mkaufman on Wed Jul 10, 2013 7:45 am, edited 1 time in total.
 #130063  by mgbills
 Wed Jul 10, 2013 7:30 am
mKaufman
~ Thanks very much. I've caught pieces of that video, but glazed a bit when I saw the image quality at the beginning. I'll watch more of it tonight. Awesome.

Dogs ~
Just my opinion here (slightly tainted by local Jazz instructors) is that inquiry feeds insight. I could shut up & play, but I doubt my playing would improve without inquiry and intellectual focus. I've known some guys who were so gifted with coordination & intellect that they could "just play the damn song", but I'm in the "work my ass off" camp.

If you're just being deliberately contrary, then I apologize for giving your statement any further thought.

Peace
M
 #130066  by Dozin
 Wed Jul 10, 2013 7:43 am
Code: Select all
Verse 
 

||-----------------------|---------2-2-2-||
||-----------------------|---------2-2-3-||
||-----------------------|---------2-2-2-||
||-----------------------|-4-4--4--4-4-4-||
||-9\--7---5-5-----------|-4-4--4--------||
||-------------7--5-5-7--|-2-2--2--------|| 
                            
Like Michael said, single notes and then chords when you get to "don't worry about me, no"
 #130071  by TI4-1009
 Wed Jul 10, 2013 9:01 am
Dozin wrote:
Code: Select all
 
Totally off topic (although I have been on a big Estimated jones lately), but when my eyes (into Estimated? :lol: ) passed over this to read the tab I subliminally saw "colorectal".

Carry on, carry on- good stuff.
 #130089  by Dogs In A Pile
 Wed Jul 10, 2013 8:40 pm
mgbills wrote:Dogs ~
Just my opinion here (slightly tainted by local Jazz instructors) is that inquiry feeds insight. I could shut up & play, but I doubt my playing would improve without inquiry and intellectual focus. I've known some guys who were so gifted with coordination & intellect that they could "just play the damn song", but I'm in the "work my ass off" camp. If you're just being deliberately contrary, then I apologize for giving your statement any further thought.
I am completely sincere and I appreciate your response. Keep working your ass off and you'll come through the other end. Remember, sound existed before man made up all his little names and rules for it. If you're a student of the Grateful Dead then it's about the muse, man. You'll see. Ask Sun Ra.......
waldo041 wrote:I absolutely love the "add foe" feature! Although i do hope he gets koons'ed!
I'm your foe simply for expressing my honest feelings about music?
Wow.