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 #3613  by Billbbill
 Fri Feb 24, 2006 4:28 pm
Just to show how much JG relied on chords for licks here's a slight deviation from what is in the tab section for this lick.

This lick being the one over the E, F#, A, B chord progression before the "there ain't nothing wrong with..." part. Now I'm pretty much with EB's tab for the whole thing but I'm going to go in a slightly different direction at the end over the B chord.

For the sake of recognizing this, I'll do the whole lick over the B chord, and what's in bold is where I'll deviate.


E|------------------------------7---7-7-----7
B|-------------------7-7----------------7------10
G|--------------4--------8---8------------8
D|--------4-4-6------------9---
A|--2-5h6-------------
E|-----

Little pause between the 1st and 2nd 7 on the E. Ending on the 10 on the B (A note) which is key, the dominant(?)7th of B which gives that 'hanging' sense before going back to the E chord for the verse. You can pretty much improv this ending in B maj and as long as you end on the A note you're in business.

Personally I find it interesting how much this lick resides within the B chord notes. Of course this isn't the only way JG played this lick, and he didn't always lean so heavily on the chord notes. It has taken many forms over the years.

 #3620  by Billbbill
 Sat Feb 25, 2006 11:05 am
For the record, the end note (A - 10 on the B) can be and usually is an A chord which fits nicely between the B and E chords as a transitional chord.

Also JG's likely preference was to play this on the B, G and D strings. (As just viewed on the Closing of Winterland DVD) It also lends toward a nice psuedo pull off from the B to A chord.

Probably should of checked this first. Oh well. The previous post was what I'd gleaned from audio only, a while back. I believe mid to late eighties era.