#147989  by Helponway
 
If you really take the time to search through the forums you can find some great advice on weirs technique. However it is limited and takes quite sometime to find all of it. Once I believe there was a great post covering many thoughts and advice on weir but I believe it has been taken down.

Anyone want to help contribute to an all bobby technique discussion?
 #148150  by jeffm725a
 
"Caged" chord shapes
"5" chords
to that end leave 3rds ambiguous and let the other band members suggest major/minor
90% nothing thicker than triads.... even diads
using the above structure changes in one position when possible and highlight chord tones that are shared among changes.........
 #148155  by strumminsix
 
jeffm725a wrote:"Caged" chord shapes
"5" chords
to that end leave 3rds ambiguous and let the other band members suggest major/minor
90% nothing thicker than triads.... even diads
using the above structure changes in one position when possible and highlight chord tones that are shared among changes.........
Yes
Yes
Sometimes in the jams
I don't know about that. i hear and play a lot of 4 and 5 note chords from Mr. Weir.
Definitely
 #148161  by Lephty
 
In the improv realm, I'd recommend getting familiar with the chord scale that corresponds to the mode of the moment. Seems to me that Bobby moves through chord scales a bunch in the modal improvisations. For example, Dark Star is basically A mixolydian, which is derived from the D major scale. The chord scale for D major is D, Em, F#m, G, A, Bm, C#dim. You can also add 7ths, 9ths, sus2's and sus4's etc. to any/all of these. IMO these tend to work best if you keep them in the middle register--you generally don't want to add big fat bass notes to them when you're in the rhythm guitar role.

Another thing I notice when listening to Bobby is how delicately he tends to strike the strings. It often sounds to me like he's hitting the strings with his fingernails as much as he is with the pick. Lots of hammer-ons and pull-offs within his chord shapes too. It all contributes to that liquid sound that he gets.
 #148164  by mkaufman
 
Lephty wrote: Another thing I notice when listening to Bobby is how delicately he tends to strike the strings. It often sounds to me like he's hitting the strings with his fingernails as much as he is with the pick. Lots of hammer-ons and pull-offs within his chord shapes too. It all contributes to that liquid sound that he gets.
+1

His hands are at least 50% of his sound.

It also explains why his sound doesn't change that much when he changes guitars.

mk
 #148193  by Helponway
 
Thank you all for time and thoughts. Some great advice in such few post.

I must agree that weirs tone is more in his hands than his equipment. As Emily relmer once said "press hard and play with conviction, it's not about striking the strings hard"

Bobby also seems to play mostly inversions, highlighting neighboring colour tones and playing off the chord shape as he comps.

While comping he tends to leave a lot of space, allowing phil, jerry, or the keys to play the root and fifth.

Like Wes Montgomery he seems to favor playing off octave shapes to move from one position to the next.

A lot of early 70s weir is full of melodic lines and great comping. I find it a great place to start when studying weir