Grateful Dead Music Forum

I'm not an advanced guitar player and have a long way to go, but I love spending time learning the Jerry parts. It's what I usually listen to when I hear the Dead, so it's naturally what I want to play.

But I suspect that for the developing guitarist learning the Bobby parts would have tremendous value not only in terms of learning rhythm but also in terms of learning chord structure and theory. What do you all think? For all you "Bobbys" out there, how much did learning his parts help you develop your chops?

I can only speak for myself, but learning Bobby stuff has been and still is instrumental in my understanding of the fretboard, chord voicing and alterations. It is not much help if you aspire to play smokin leads though lol.

Jef, did you get a chance to read the article on him on Dozin's site?

JonnyBoy wrote:Jef, did you get a chance to read the article on him on Dozin's site?

The interview? Yes, a great read.

What site would that be?

I am just diggin this site here!

Dozin.com this is a GREAT Dead resource site. All things good there. Not to mention "Dozin" himself is a member here and a very cool dude! Check it out!

Yes JD, anyone that would give us that much of his time and effort to help is cool in my book... here's the link for future readers:

http://www.dozin.com/bobs/interview/custom.html

I took away some good nuggets from the read...

I am auditioning for a Grateful Dead cover band as a rythym guitarist next week and I'm working on Bobby parts and getting familiar with his voicings and techniques.

All I need now is some sage advice from everyone who plays (or has played) Bobby style in a band.

I have played both lead guitar and bass in GD bands so I have a good idea of where to place myself so I don't clutter up the sound.

I just want some pearls of wisdom from those who have "been there and done that".

I am PSYCHED!!!

Grateful Dad wrote:I am auditioning for a Grateful Dead cover band as a rythym guitarist next week and I'm working on Bobby parts and getting familiar with his voicings and techniques.

All I need now is some sage advice from everyone who plays (or has played) Bobby style in a band.

I have played both lead guitar and bass in GD bands so I have a good idea of where to place myself so I don't clutter up the sound.

I just want some pearls of wisdom from those who have "been there and done that".

I am PSYCHED!!!

First thing I'd do is stop thinking rhythm as there are tons of essential Bobby fills

Work on making your chord changes around the beat without sounding like you've jumped or lagged

Learn transitional chords

#1 thing = chord voicing

Thanks Strumm!

I agree, the Bobby fills are the unsung/essential heroes of Dead music and only through extensive practice will I get them smoothed out.

Can you give me a couple of examples of what you call "transitional chords"?

Also on Bob's voicings I find myself throwing in melody or harmony notes in the voicings where appropriate.

The fun thing about playing Grateful Dead music is that it is so intuitive and less seems more when it comes to playing Bobby's parts.

Grateful Dad wrote:Thanks Strumm!

I agree, the Bobby fills are the unsung/essential heroes of Dead music and only through extensive practice will I get them smoothed out.

Can you give me a couple of examples of what you call "transitional chords"?

Also on Bob's voicings I find myself throwing in melody or harmony notes in the voicings where appropriate.

The fun thing about playing Grateful Dead music is that it is so intuitive and less seems more when it comes to playing Bobby's parts.

Transitional example: GDTRFB E has a transitional D before the A

Voicing is the order 151351 vs 135 I've written about this a few times might wanna do as search. What immediately comes to mind is something like LLR with most of it off the 4th fret.

I love those chords in LLR and It Must Have Been the Roses when the C#7 goes to the F#m.

Very jazzy/substitute chords.

I remember an article from years ago. Bobby said, at that time anyway, approximately 70% of his playing was fills. He also voiced a lot of chords higher up the neck and tried to play the part of a horn section. Not sure most of us can grab some of the chords his large hands could, though. Another thing I have learned is it can get thick quick with a band that size, so full chords aren't necessary all the time; intervals and partial chords work well. Learn your scale tone chords and you will have a bigger base to work from.

DeadlyHeptet wrote: so full chords aren't necessary all the time; intervals and partial chords work well.

Yup! I can't even begin to count the amount of times my "chords" or rhythm is just 2 notes.

Hi all ... I just wanted to give you guys a "heads up" on the one book that has done more for my playing than all the lessons in the world. It gave me so much foundation and I only recently learned to appreciate that now that I'm the "Bobby" guy in my latest project.

Here is the link to amazon:
http://www.amazon.com/Chords-Progressio ... 415&sr=8-1

I like this book because it summarized everything I knew about rhythm and harmony in the first 10 pages and then blew my mind from there. It's old school Jazz inversions rooted on all the strings, tightly voiced chords with an emphasis on chordal melodies and movements, substitution theory and comping techniques. I forget if it goes into quartal harmony and Stacked Fifths but you can google that as needed.