#72929  by Grateful Dad
 
In 10/4 time keep the pattern of:

D - D - D - D

D - D - C - C

G - A (repeat)

Of course Bob does alot of inversions, passing tones, chromatic scale runs, substitutions, syncopation, hammer-ons, pull-offs, and runs.

Be creative and stay on the beat and you'll have a good jam going. You'll find tones and licks that are off the wall but make sense musically. Don't worry about sounding "exactly like Bob". Find your own sound and have fun.

"If it sounds good, it's good." - Duke Ellington 8)
 #72935  by strumminsix
 
After I post I'm moving this to the PITB section.


Bobby sticks tight to a Dsus2 and intermingles a Dm. After that the best advice is below:
Of course Bob does alot of inversions, passing tones, chromatic scale runs, substitutions, syncopation, hammer-ons, pull-offs, and runs.

Be creative and stay on the beat and you'll have a good jam going. You'll find tones and licks that are off the wall but make sense musically. Don't worry about sounding "exactly like Bob". Find your own sound and have fun.
 #103964  by tigerstrat
 
I don't believe there were ever distinct mixo or dorian versions, I think all of them could be described as "major/minor ambiguous", i.e. never committing fully to either tonality. Strummin's Dsus2/Dmin advice is pretty solid.
 #103972  by erubenst
 
tigerstrat wrote:I don't believe there were ever distinct mixo or dorian versions, I think all of them could be described as "major/minor ambiguous", i.e. never committing fully to either tonality...
I agree that there weren't distinct versions- but I do think that right from the beginning- the version on Ace through all their performances- that there's clearly a shift between a major 'feel' in the verses and a minor feel in the 'jam section'- which is where I hear it moving to D dorian.

I'm not invested in being "right"- and so It is good to hear your guys' thoughts- part of the joy of trying to figure out what makes their music so special.

-eruby