Grateful Dead Music Forum

I check out this forum every day, usually twice or three times; although I've been more of a listner per se, I just want to thank everyone here for giving so much and making this such an enjoyable, personable corner of the internet. You guys (gals?) are so kind and even the best guitarists love to get down and give help and care to whomever asks ("ring like fire if you lose your way")! So, here's to rukind.

I've been thinking for a while too about the Think Tank. I have benefited a great deal (as have others I'm sure) from studying Kenny's archived posts; its been so eye-opening for me to see the patterns that can truly unlock the guitar for anyone, so long as they have that music in their hearts and the desire to let it out. How beautiful and elegant for something so utterly profound as music to be even touched upon by someone as naive as me! I keep feeling like music is just this tiny glimpse, a tiny clue to what the real Truth must be!

I digress. My point is that this place is a nebula, if you will, for disciples of all ages and levels to pool skills and knowledge and gradually pull each other along towards the unknown. I most humbly beseech all the senior members here (strummin, tigerstrat, billbbill, shakedown, ebick, phpbb, there are so many!); continue as you have to help all the budding guitarists like me! I know that each of you could write volumes like kenny did, but in your own way. I (and so many other quiet ones like me) want to learn from your understanding of the guitar; if you ever have a minute, take the time to jot down some of your insights and observations, however mundane. It would mean the world!

Sorry for such a long post,
sorry if you think its dumb,
Grinner

That was beautiful, Grinner, but please, don't group me in the class with bill, ed, strummin, or tigerstrat, wisedyes, waldo, crazy9.5fingers, and MANY MANY more that I am forgetting (much apologies for that ). # of posts does not = super musical knowledge, and it NEVER will. I am still also learning not only from everyone here, but those old Kenny archives as well. I try to help some of the newer guitar folk, but as for the nitty gritty, well, I am still living off the wise.

But I do concur with everything you've said. I guess we all learn off each other, and that makes this little place on the internet pretty damn special. Very well written. Cheers, and a happy holidaze to you & yours.

LOL I think Shakedown belongs in the complimented category more than I!

Very nice post and thank you!

Here are 3 Bobby tricks for ya!

1. Learn to play all the barre chord forms. He uses that alot for voicing smooth transitions. (think of playing E, C#m, F# & B all off the 4th fret)

2. Think of the voicing order of your notes for a chord. Example using a major: 1,3,5 or are you gonna play 3,5,1 or a simple inversion 5,1 or a typical power of 1,5

3. Bobby thinks of voicing in almost all his movements

Very nice sentiments Grinner thank you. And it wasn't dumb...corny as hell but not dumb Just joshin.

Like shakes said (who, by the way, provides more insight than he thinks) we all learn from one another. Hell, sometimes I figure out something new while trying to teach something to someone!

And for me I learn much from the MANY on this board who have more 'textbook' musical knowledge. Many thanks from me to them!

I may be a decent ear player and have some intuitive insights but man sometimes it's hard to communicate ideas.

I think I'll share this. As usual if I made any mistakes please chime in.

A member pm'd me and asked;

"question, if i was to learn anyone one scale, which one would you suggest i learn first, second, then third?

Any ideas you may have would be appreciated."

to which I responded;


"Boy that's a tough question. I'd say three main ones in this order:

Major pentatonic - the 'no wrong note' scale (the minor or blues pentatonic is referred to in the same way as well) - This is a great, simple scale that has many applications in our (dead) world.

Mixolydian - (with the flattened 7th) - adds the 4th and flattened 7th to the maj pentatonic. Also all over the place in dead stuff. The flattened 7th, in it's own small way, begins to introduce some bluesy, minor scale feel to the major scale. An important thing as you move along and begin to mix minor (blues) and major riffs together.

Minor (blues) pentatonic - home base for a lot of the bluesey dead stuff although jg would play a lot of major scale and mixed stuff over the blues. You may have seen me refer to how jg would play a blues pentatonic scale but would often play the natural third. He practically lived on this; it was sort of his signature. What this means is to sharpen the 2nd of the pentatonic blues scale. Take A pent blues:

A C D E G

Play a C# instead of the C and you're playing the natural third.

I wouldn't work on one of these scales to the exclusion of the others. Work on one for a period and then another. Try to internalize the intervals, the sound difference and steps (frets) difference from one note to another.

I remember years ago I told myself that I'd like to be able to play guitar like I could whistle. The point was to be able to consciously create in an intentional fashion. I'm not quite there yet but I feel like I've been getting closer.

Hope this helps.

Bill"

Not much to add except...
Very sincerly written, very nice.

Most places on the 'ol WWW you have to keep an extra guard up. Typically some hits you and wnat's to know "ASL".... Damn .... I'm old as dirt, Sex life is none of your business and I am where I am...

However here, I feel as though I have made friends. I have had invitations from NC to CO to "Come out and Jam anytime"
People here do not use acronyms I don't understand... by the way... what is a BFF???????

I have been playing for 34 years. Roy Clark and Buck Owens were my first teachers... I'm a pickin... and I'm a grinnin'....

I too would like to give a hats off to the senior members, those that submit information, unlike myself who only muses and pines about my "Touring" days...

I concure...
THANK-YOU
PEACE,
Phil

I'm on the Bozo Bus wrote: by the way... what is a BFF???

Best Friends Forever.

Did you ever see that stupid ass commercial where the mom is bitching to the young girl about the cell bill? And the girl keeps talking in this 'texting' langugage? Anyhow, if you're familiar with it, here's a great cartoon.

http://www.frederiksamuel.com/blog/images/bffjill.jpg

1. Learn to play all the barre chord forms. He uses that alot for voicing smooth transitions. (think of playing E, C#m, F# & B all off the 4th fret)

How do you get f# off of barring the 4th fret?....nevermind!...Duh.

I always thought playing the G shaped barred was impractical but maybe thats just me. Just seems very akward,when you can just barre 2 frets up and do the "E" shape.

i've been delving into arpeggios from major harmonic sales and i love em. i never really thought to throw the notes inside arpeggios together but after learning a few it really adds some cool colors so solos. god bless the 1 3 5 and 7 tones

and i agree with bo diddley i despise g form barred but it does have a cool sound to it

bodiddley wrote:1. Learn to play all the barre chord forms. He uses that alot for voicing smooth transitions. (think of playing E, C#m, F# & B all off the 4th fret)

How do you get f# off of barring the 4th fret?....nevermind!...Duh.

I always thought playing the G shaped barred was impractical but maybe thats just me. Just seems very akward,when you can just barre 2 frets up and do the "E" shape.

Meant to say F#m.

It's very impractical until you learn how to do it

The benefit is smooth transitions. And the voicing.

Think of "G shaped" major chords. What's the voicing?
It's 1 3 5 1 5 1 or 1 3 5 1 3 1

Same with C shaped - 1 3 5 1 3

Now what about E A and D shaped?
The are 1 5 1 3 5 1, 1 5 1 3 5, 1 5 1 3 respectively

G & C shaped chords are more piano-esque sounding?

Whatever it is it yields to a different feel for the tune.

bodiddley wrote: I always thought playing the G shaped barred was impractical but maybe thats just me. Just seems very akward,when you can just barre 2 frets up and do the "E" shape.

I seldom play the tonic bass note off this position but it is a real good barre to play some major scale licks off of.