Grateful Dead Music Forum

We have been tackling some of the slower tunes in the Dead catalog.
Tunes like Row Jimmy, Brokedown ,Candyman, etc.
I'm finding out that these slower tunes seem harder to play.
How do you guys tackle the slower tunes ?
Do they give you guys trouble ?

Tennessee Jedi wrote:We have been tackling some of the slower tunes in the Dead catalog.
Tunes like Row Jimmy, Brokedown ,Candyman, etc.
I'm finding out that these slower tunes seem harder to play.
How do you guys tackle the slower tunes ?
Do they give you guys trouble ?

I've contemplated buying a looper or a noose for the next time Fire on the Mountain comes on the setlist.

On an acoustic without much else going on, I'd concentrate on the downstrokes for something like Row Jimmy, and with Black Muddy River, either fingerpick or make it sound like fingerpicking by plucking a string at a time versus strumming a full chord. I'm not a seasoned band rat tho, so take it for what it's worth! I say keep it simple though. Well placed notes are more powerful than many many notes.

strumminsix wrote:
I've contemplated buying a looper or a noose for the next time Fire on the Mountain comes on the setlist.

You no likey F.O.M. ?
We have dropped it also - Scarlet ala 1974

tiffcheese wrote:I say keep it simple though. Well placed notes are more powerful than many many notes.

Most def ! And that is hard too - the restraint the urge to blaze away !

Been working on Row Jimmy from the DP 7 - think its 1974 ( horrible sounding recording by the way ! ).
Its the solo progression - is it me or do they fudge it ?

Tennessee Jedi wrote:We have been tackling some of the slower tunes in the Dead catalog.
Tunes like Row Jimmy, Brokedown ,Candyman, etc.
I'm finding out that these slower tunes seem harder to play.
How do you guys tackle the slower tunes ?
Do they give you guys trouble ?

Yo TJ!!
How's The Frankenwolf?

Here's my advice bro',
Practice with a metronome on your own.
Practice the song even slower if needed.
Mistakes made at normal tempo become ingrained.
Go over the difficult parts measure by measure, beat by beat until mastered.
Do things SLOWLY and mistake free before speeding up to the right tempo.Several times through the changes and you'll get the rythym committed to brain and muscle memory.
A drummer with a good melodic ear is invaluable, he is the timekeeper.
Row Jimmy people find difficult because it's a 2/4 not a 4/4 feel.
There is no substitute for proper practice on your own and with the band. Good musicians have a high tolerance for repetition.



Row Jimmy: (for the solo just use the first eight bars of the verse)

2 beats to each 2/4 measure:

A for both beats in measure one.
A for the first beat in measure two, G for the second beat in measure two.
G for the first beat in measure three, D for the second beat in measure three.
A for both beats in measure four.
Bm for the first beat in measure five, A for the second beat in measure five.
G for the first beat in measure six, D for the second beat in measure six.
D for both measures seven and eight, repeat.

Pay close attention to the rythym at the end of measure six going into measures seven and eight. This is where people seem to get hung up with the counting, don't rush it...let the "two time roll".

Yeah G.D. - nothing beats taking it beat by beat - been breaking Row Jimmy down .....
and yet the solo chord progression gives me fits !
Been playing along to no avail ! Hooking up with the DEad is tough on this one .....

You sure its not 4/4 with some 2/4 thrown in ?

Grateful Dad wrote: A for both beats in measure four.
Bm for the first beat in measure five, A for the second beat in measure five.
G for the first beat in measure six, D for the second beat in measure six.
D for both measures seven and eight, repeat.

Pay close attention to the rythym at the end of measure six going into measures seven and eight. This is where people seem to get hung up with the counting, don't rush it...let the "two time roll".

Yeah thats where I get out of time !

Playing slow IS harder than playing fast.

First - relax. It's not a race.

Second - subdivide... don't just feel the beat, feel the eighths and even sixteenths if you have to. You have to place each note even more precisely where you want it on the beat, any sloppiness will be more noticeable to the crowd and will also throw off any less-confident bandmates.


You have to almost feel time in a different way, be very present in the moment and 100% focused on the music. Focus fully on each and every note, if your mind is wandering it'll get exposed on a slow tune where a faster one would cover it up.

I like to picture how a good Jerry ballad would sound at one of the outdoor "Shed" arenas like Great Woods, and feel each note physically as if it were bouncing around the pavillion and out into the lawn.

Slow tempo songs are tough for a few reasons mostly because there is more space between the beats thus more opportunities to mess up.

I think the biggest issue with slow tunes is how to give them life and energy without speeding up. Having a tempo nazi in the band is helpful - our bassist fills that role. He'll keep you at the tempo you start a tune . . . sometimes to teach you a lesson about thinking before starting

One thing I did learn from Steve (our bass player) is how to fully utilize the three parts of a beat - the front, middle, and back without changing the tempo or to at least be conscious of it.

I like the slow tunes with a 6/8 tempo because the rolling triplets are a good tool to help keep a slow tune from being a dirge. Candyman in particular.

Also, some folks don't like playing them. They like the fast, high energy stuff and don't appreciate what a well placed slow tune can do for a show. If the band members don't embrace playing them they won't give them the effort and attention that they need (especially the guy with sticks in his hands). If you treat a tune as a throw-away then it will be a throw-away.

Rusty the Scoob wrote:Playing slow IS harder than playing fast.

First - relax. It's not a race.

Second - subdivide... don't just feel the beat, feel the eighths and even sixteenths if you have to. You have to place each note even more precisely where you want it on the beat, any sloppiness will be more noticeable to the crowd and will also throw off any less-confident bandmates.


You have to almost feel time in a different way, be very present in the moment and 100% focused on the music. Focus fully on each and every note, if your mind is wandering it'll get exposed on a slow tune where a faster one would cover it up.

Agreed. Playing ballads isn't for chickens. If you get freaked out at the first absence of sound or open space it probably isn't for you. Also, people confuse playing slow w/ not playing at all or playing meek. To para phase Rusty, its not nap time for the rhythm section.

hogan wrote: If you get freaked out at the first absence of sound or open space it probably isn't for you.

Something to that .....
Ya know ... doing too much ....
The slower tunes have the more melodic leads/phrasing's from Jerry
the * good stuff *

Absolutely not naptime for the rhythm section! Your audience will want to slit their wrists if the bass and drums don't put energy into it. You should come out of a ballad drenched in sweat like you've been to a Southern Baptist revival.

Another weird tip I picked up along the way: I'll often synch my breathing with the tempo of a slow tune. I don't even realize I'm doing it anymore but I think it does help.

Another thing is to listen for when you should sound dominant. Think Bobby on Tenn Jed..

He comes in with an accent on the 3 then very much background

tempo nazi

Row Jimmy is a tough tune to get right. Especially the solo. It feels like there is an extra beat in there.