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Grateful Dead Music Forum

A place to talk about the music of the Grateful Dead 

 #947  by Cosmic C
 Thu Sep 23, 2004 6:03 pm
Hey d, I've been listening to Bob lately and I was wondering if you could possibly, if time permits, explain some of his techniques that he uses to spice up the rhythm section?

Thanks in advance for that and thanks for your work on everything else.

 #952  by Guest
 Fri Sep 24, 2004 2:58 pm
Sounds interesting, can't wait for a response

yo

 #961  by the11asaGuest
 Sat Sep 25, 2004 6:52 pm
hey D lemme add that I am a huge fan , i cant get into the different modes yet for I am still familiarizing myself with the one everyones used to (been playing 2 years) but the way you describe it makes me think you are an author of grateful dead books... or should be,,, and this thread really has my attention

I wanna solo like jerry and bob man and I think you can help me a lot.

peace

ryan aka The11

 #1291  by jhc
 Tue Nov 30, 2004 9:57 pm
Wasn't there a topic with some great Bob material on this forum? I don't see it anymore....

 #1292  by Cosmic C
 Wed Dec 01, 2004 5:05 pm
I believe it was removed due to some disturbances in the force.

 #1307  by Cosmic C
 Mon Dec 20, 2004 11:09 am
Kenny, see first post.

 #1320  by Cosmic C
 Wed Dec 29, 2004 12:03 pm
Good stuff, thanks

 #1342  by jhc
 Mon Jan 03, 2005 5:34 pm
>Next up will get into some of the sliding shapes Mr. Weir
>uses to jazz up playing over one chord and also playing >around a shape in a progression.

That would be very cool...
 #1378  by jhc
 Thu Jan 13, 2005 4:09 pm
Kenny wrote:Here's an interesting thing Mr. Weir does to jazz up them
ol' Lovelights.

e------------------------------------------------------------
b-----5---5-------5----5-------------------------------------
g-----7---7-------6----6-------------------------------------
d-----6---6-------7----7-------------------------------------

I was using that riff the other night on NFA, but also playing the 1st string/5th fret - so it was like a E7add6 (?) to A progression. Sounded pretty cool - it's nice to try and spice up simple songs like that.

 #1379  by Billbbill
 Thu Jan 13, 2005 6:56 pm
Hey jhc,

If I'm reading it right your adding an A note.
I think that's a E7sus4.

Here's a few other Bobby shapes I hear.

He'll move the open D and open G(add5) up and down the neck and often won't voice the 3rd. At times even over a minor chord without voicing the flat 3rd. Just the 1st and the 5th.

For lovelight,

E------5---12-----------
B--5---5---12--10-------
G--4---2---9---9--------
D--2---2---9---7--------
A--2-----------7--------
E-----------------------


For Scarlet,

---E-----B
E--12----------------------------
B--12---12-----------------------
G--9----11-----------------------
D--9----9------------------------
A-------9------------------------
E--------------------------------

End jam of Looks Like Rain, not so much like above, more like E's are wild. This one is just my interpretation.

----E----Dsus2--A----F#m7
E---0-----0-----0----0--------------------------
B---5-----5-----5----5--------------------------
G---4-----7-----6----6---------------------------
D---6-----7-----7----4----------------------------
A---7-----------0----4-------------------------
E---------------------------------------------

Bobby's chord changes are often very subtle as he'll change very little to bring about a smoother transition with a more continuous flow. The Scarlet change above is a good example.

He may even limit this change further like this,

-----E-----B
E-------------------
B----12---12--------
G----9----11--------
D----9----9---------
A-------------------
E-------------------

With only one note changed the B and D strings hold the continuity while the G string exhibits the chord change.
The E form voices two 5ths and a 1st. The B voices two 1's and a 5th. Something to ponder.

Bill

 #1381  by jhc
 Fri Jan 14, 2005 1:31 pm
E7sus4... of course. I don't think my brain was on ;)

 #1382  by Billbbill
 Fri Jan 14, 2005 9:28 pm
Hey Kenny,
What's interesting about Bob is when he does use power chords it's almost the antithesis of what they are. Instead of foresaking the third to get that hard rock, driving sound, he's looking to minimize (his "thiness" comes to mind) for a smoother transition from chord to chord. Almost like he hasn't even changed chords. I hear this again and again and the shapes above are my attempt at replicating that sound. I'll have to check some video.

A sus4 kind of fits into this picture. A subtle one note change to reflect say D (the 4th of A) while holding the A chord.

Me thinks he may be using these "power chord" shapes more than you think. Of course I may be wrong. Thanks for responding.

Bill

 #1386  by Billbbill
 Sat Jan 15, 2005 6:21 pm
I don't know the tune but I'll have to check it out. Thanks. Bill
 #2300  by spilly
 Tue Dec 06, 2005 12:58 am
I've spent the better part of ten years studing Bob Weir among others.
Bob often uses barre chords, but not for power. His frequent us of the barre is to keep the song clean. often when their are many members in the band, full chords can be to overbearing and can take away from the other instruments in the mix. tonality is also a big part of it also. different barre chords highlight different notes.I'll give a few examples using West L.A. Fadeaway.
heres the main lick in it's simplest form
Am
E-------------------------------------
B-------------------------------------
G-------5-5---------------------------
D-7-5-7------7-7-5-5------------------
A--------------------7-7-5-5---5------
E----------------------------8---8-5--

when playing this in chord form it's very important that you accent the C at the end of phrase one. I found the best way to do this is by sliding from the standard Am Barre to a higher version featuring the C more prominantly.
Am Am/C Am
E-5-5-5-5-5--8--8---5-5-5-5-----------------
B-5-5-5-5-5-10-10---5-5-5-5-5-5-5-5---------
G-5-5-5-5-5--9--9---5-5-5-5-5-5-5-5---------
D-7-7-5-5-7/10-10---7-7-5-5-5-5-5-5---------
A---------------------------7-7-5-5---5---7-
E-----------------------------------8---8-5-