#51330  by hesgone95
 Tue Oct 14, 2008 4:59 am
Nice man, thanks...Can't wait to get home and give that a try. Wish I had my guitar here in the office.

BTW, I believe this chord --7-- --9--
--8--

is a G#m, not a Gm7, as the notes are B/G#/D#. If you look at it it's just an open Dm moved up.

G#m

 #51333  by trking8
 Tue Oct 14, 2008 6:07 am
you're absolutely right, it's a G#m :oops:

confession: I couldn't think of a clean way to correct it after posting.

good catch - - thanks,

terry

 #51336  by Billbbill
 Tue Oct 14, 2008 7:39 am
hesgone95 wrote: BTW, I believe this chord --7-- --9--
--8--

is a G#m, not a Gm7, as the notes are B/G#/D#. If you look at it it's just an open Dm moved up.
I'd call it a partial of the Emaj7 on the 7th fret.

e-7-
b-9-
g-8-
d-9-
a-7-

just sayin' :-)

I think you even voice it earlier in the vid - not bad though king - you're inspiring me to get back to some instructional stuff...at some point anyway.

 #51337  by maximinus
 Tue Oct 14, 2008 8:07 am
Excellent! Keep it coming!

Any suggestions for other funky chord shapes when you play the Bm and A chords in the sections between the verses?

One more riff that I play over the Emaj7 chord:
Code: Select all
E|-3>4-4-3-3-0--
B|-3>4-4-3-3-0--
G|-3>4-4-3-3-1--
D|-3>4-4-3-3-1--
A|-----------2--
E|-----------0--
 #51339  by Emoto
 Tue Oct 14, 2008 8:47 am
trking8 wrote:you're absolutely right, it's a G#m :oops:

confession: I couldn't think of a clean way to correct it after posting.

good catch - - thanks,

terry
Ok, I am no master of theory by any measure, and I know it is a G#m when viewed in a vacuum, but isn't that one really just the high end of an Emaj7 in the 7th position? You could play the full chord and simply emphasize the higher strings to get what you want there. It isn't necessary to delete the E root note, right?

Edited: Darn, Bill beat me to it!

 #51344  by tigerstrat
 Tue Oct 14, 2008 9:42 am
Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.

 #51347  by Billbbill
 Tue Oct 14, 2008 10:20 am
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
At least you realize it! :lol: :cool:

 #51350  by Emoto
 Tue Oct 14, 2008 10:31 am
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).

Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...

 #51351  by Billbbill
 Tue Oct 14, 2008 10:41 am
Emoto wrote:
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).

Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...
There's a post in here somewhere where we discuss exactly this and as far as I remember referring to the gd movie jg's playing this

-Emaj7-Amaj7-Emaj7

e--7----------4--
b--9-----5----4-
g--8-----4----4----
d--9-----4----6---
a--7-----6----7---


I believe there was some discussion as to what that middle shape is actually called but the vid shows him doing what's above.

 #51352  by Emoto
 Tue Oct 14, 2008 10:47 am
Billbbill wrote:
Emoto wrote:
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).

Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...
There's a post in here somewhere where we discuss exactly this and as far as I remember referring to the gd movie jg's playing this

-Emaj7-Amaj7-Emaj7

e--7----------4--
b--9-----5----4-
g--8-----4----4----
d--9-----4----6---
a--7-----6----7---


I believe there was some discussion as to what that middle shape is actually called but the vid shows him doing what's above.
Cool! Thank you! Can't wait to try that out!

 #51353  by Tennessee Jedi
 Tue Oct 14, 2008 10:56 am
Emoto
One of the bass guys I jam with insists there is no resolution to the "A" after the Bm ...
You should see the looks he shoots out when someone goes to the A ....
:cool:

 #51354  by strumminsix
 Tue Oct 14, 2008 10:57 am
Billbbill wrote:
Emoto wrote:
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).

Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...
There's a post in here somewhere where we discuss exactly this and as far as I remember referring to the gd movie jg's playing this

-Emaj7-Amaj7-Emaj7

e--7----------4--
b--9-----5----4-
g--8-----4----4----
d--9-----4----6---
a--7-----6----7---


I believe there was some discussion as to what that middle shape is actually called but the vid shows him doing what's above.
In another thread I posted the Dmaj7 & Dmaj7 stuff.

Emaj7 to A, repeating, is a standard for the intro and outro. Bobby plays around with A for accents and passing notes

" Emaj7 > Bm | Emaj7 > Bm A " thing is era specific. Sometimes it goes to the A on the first, other times second, other times both, sometimes not at all. But usually with the not at all you hear Jerry use it before leading back into the next verse.

 #51355  by tigerstrat
 Tue Oct 14, 2008 10:58 am
Emoto wrote:
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
Probably time for me to "put up or shut up", just like the man says. I'm going to firmly resolve to stay mum on any critiques I may have on vid instructionals, at least until I have a similar capability to respond in vid form.
Emoto wrote: The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).
It's C#m/E (or "Emaj6") http://community.rukind.org/viewtopic.p ... da44a96c90
Emoto wrote: Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...
Mostly it just goes the E to the B and back, but the A gets gradually worked in as subtly and elusively as possible, then sometimes JG would emphasize it, apparently to cue everyone to "reel it in" and create an opening for 2nd or 3rd verse.

 #51359  by Emoto
 Tue Oct 14, 2008 11:25 am
tigerstrat wrote:
Emoto wrote:
tigerstrat wrote:Ditto, in this context that "G#m" is a rootless partial of Emaj7, leaving the root to be played by other (assumed) instruments.

I realize I am reverting my usual thorny nitpick self a bit early for a Tuesday, but for a vid titled "Nailing the Rhythm", this seems to be an examination of different ways to voice Emaj7 , with no discussion of different approaches or flavors to the rhythm itself.
Probably time for me to "put up or shut up", just like the man says. I'm going to firmly resolve to stay mum on any critiques I may have on vid instructionals, at least until I have a similar capability to respond in vid form.
Emoto wrote: The questions I've always had and remain confused about are what the heck are they really doing in the intro and during the instrumental. I like terry's thoughts, but it kind of sounds to me like in the intro Jerry goes Emaj7 (7th pos) > Dmaj7 (5th pos) > Emaj7 (4th pos - like a C in the 1st).
It's C#m/E (or "Emaj6") http://community.rukind.org/viewtopic.p ... da44a96c90
Emoto wrote: Does the instrumental resolve to A or just go back and forth from Bm to Emaj7? I like the A resolve...
Mostly it just goes the E to the B and back, but the A gets gradually worked in as subtly and elusively as possible, then sometimes JG would emphasize it, apparently to cue everyone to "reel it in" and create an opening for 2nd or 3rd verse.
Oh MAN!! That Em6 is IT!