Introduce Yourself First! We think of each other as being part of a community, and want to know who you are. Use this as an opportunity to honestly represent yourself and why you are here. Be Respectful of others when posting: There is a lot of leeway of what is acceptable here, but, your point should be able to be made without humiliating, hateful words, witch-hunts, ganging up, bullying, name calling, threats, or violence. (The types of things that you wouldn't find acceptable at a Dead Show.) Be Kind: a good rule of thumb when interacting on this site is to ask yourself: are you kind?
does anybody want to have a discussion about some morning dew? under the tab there's not too much information on various aspects of Garcia and bobs work, just the major rift. I believe the key is in G major but I'm not 100 percent sure. anybody have any information or ideas on leads soloing or weirs rhythm work? anything anyone else wants to add or talk about? I think there's a lot of cool ideas between 72 and 74 that come about in the song.
I agree that's pretty cool, I've noticed a few songs the boys do from the early years that seen very similar to one another, via structure, tempo, etc. I guess it's because there old folk/blues songs done grateful
It's another one of those songs that makes more sense in Jerry's world than a first-year theory class.
I'd call it one sharp with D being the tonal center, the harmony is all built around D mixolydian. There are different ways to name or notate that concept, some would put it in D Major and put natural signs in front of every C, that's the easiest way to do it and stick with traditional theory. Or you could just write it in G and expect your player to play the notes as written without thinking about them.
There are hints of D Dorian as well, specifically when it goes to F.
Rusty the Scoob wrote:It's another one of those songs that makes more sense in Jerry's world than a first-year theory class.
I'd call it one sharp with D being the tonal center, the harmony is all built around D mixolydian. There are different ways to name or notate that concept, some would put it in D Major and put natural signs in front of every C, that's the easiest way to do it and stick with traditional theory. Or you could just write it in G and expect your player to play the notes as written without thinking about them.
There are hints of D Dorian as well, specifically when it goes to F.
Yep - I think of it as D mixolydian and then D dorian when it gets to the F. Also, very much like Rider.
All we have to decide is what to do with the time that is given us
Hey Gang,
Hey grab a guitar and give this two-note Morning Dew Walk-up/down exersize a shot.
You know what it is supposed to sound like, so play the right/left hand parts in a Jerry/Phil-ee manner, like with a deliberate pause between each group of notes on lines 1 and 3, and quicker on lines 2 and 4.
You can re-arrange/change it as you hear fit, 'just a fun way to play both parts as a solo.
Lines 1 and 3 are counterpoint.
Lines 2 and 4 are octave and inverted root/3rd.
End with a big open D chord.
Rusty the Scoob wrote:It's another one of those songs that makes more sense in Jerry's world than a first-year theory class.
I'd call it one sharp with D being the tonal center, the harmony is all built around D mixolydian. There are different ways to name or notate that concept, some would put it in D Major and put natural signs in front of every C, that's the easiest way to do it and stick with traditional theory. Or you could just write it in G and expect your player to play the notes as written without thinking about them.
There are hints of D Dorian as well, specifically when it goes to F.
This is exactly what I was looking for at Foolish Heart discussion/jam thread. Dan, do Foolish Heart too, I'll buy you a Sierra Nevada next time I see you.