#97837  by Pete B.
 Thu May 05, 2011 10:29 am
Hey I love this stuff!... Glad you guys are running it up the flagpole! :cool:
...and I've got the day off so... Here we go!... guitars around necks please...
playingdead wrote:A quick youtube clip to show the 16ths ...
It sounds like you are repeating the same lick on the first part.
Is this what you are playing on the Dm?
Here is how I hear it:
Starting around the 3min30sec mark (random '79 soundboard from Archive):
http://www.archive.org/details/gd1979-0 ... 716.flac16
mttourpro wrote: The short of it is that the last two chords, IMHO, are in fact F min b6th and Fmin 6th (the top 2 notes would then be, Db to D for guitar and keys) I believe the bass should just hang on the F and/or perhaps hit an f# just before going to the G for the jam.
Regarding the Fm>Fmb6>Fm6...
Here's how I break it down.
Play through these chord arpeggios and you'll see what sounds more pleasing to my ear.
Here is the Fm>Fmb6>Fm6 progression:

Here is the Fm>C#>Bb7 progression.

Note the difference of the 5th string... That's where the F>C#>Bb comes from (F on the 6th string, C# and Bb on the 5th string).
In my world, where i mainly play as a solo/duo/trio, I can't hang with the Bass player staying on an F, or playing an F>F#.
I need to hear that F>C#>Bb for it to sound coooool maaaaaan.
I don't have the luxury of a big band like Phil Lesh has.
My main message to most Bass players is... "What we need is...Half as many notes, an octave lower".
When the bass player goes "up the neck" in a trio, it's like kicking one leg out from under a tripod.
:wink: :smile: :cool:

One other thing.
The RuKind Tab Maker link is on the blink.
I found this one and it works even better:
 #97884  by Pete B.
 Fri May 06, 2011 7:53 am
mttourpro wrote:I'd be happy to get more detailed about why these are ( I believe) the correct chords over saying Db to F diminshed (or any other chords) if anyone is interested. Rock on. :smile:
fwiw, I'd like to hear your take on it.
Hey if you don't like F>C#>Bb, I also reccomend that the Bass can play F>C#>D... that D being the 5th of G sets you up nice for the G jam.
One other idea I use in alot of these songs is a concept I call... Repeating the cool parts.
You know those chords right before the G jam?...
I do that run 3-times.
It makes a great intro... I do the Bobby fast-strum (non-MuIII) part to a very dramatic effect (slower, with heavy emphasis on the first strum of each chord change... very much along the lines of the big intro to White Room by Clapton. Especially on the last 3 chords... Fm>C#>Bb :-)
5,6,&,[start Mu-III intro here in F#m].
Also, I use it as an ending... After a good F#m outro jam, on que, I drop to the F>A lick, run the Bm>Dm, Am>Cm, Gm>Bbm as normal... and close with Fm>C#>Bb (slower with each inversion), raise the guitar like Jerry does to signal the last note, and drop the ending on an open G. At which point I can kick off any song in G... UJB comes to mind.
Funn Stuff!

Run those chords but try playing them like this intro (I notice they repeat their cool part 3x[play Gm>F, Dm>C twice, then last chord is Am]... and for the outro jam, just move all you Music Never Stopped licks to D 8) :
http://www.youtube.com/watch?v=uGZeqwdW ... re=related
 #97894  by mttourpro
 Fri May 06, 2011 12:10 pm
Pete---as for your previous post, I play keys and can't read tab, so, I'm pretty much unable to respond to any of that except to say that what you are calling a Bb7th ( notes would be Bb, D, F, Ab) is very similar to an Fmin 6th (notes are F, Ab, D)---main difference being the bass note, which, I do think should stay on the F. That's really the only difference.....and, I have to assume if you're playing in a duet or trio, you might find it necessary to tweak a thing or two differently than a full band.

I think it is an F min6th (F, Ab, D) rather than an F dim (F, Ab, B, D) because it does not sound as correct to leave the B in that chord---IMHO, mainly because you want to top notes to be the focus rather than muddy it up with the flat 5th of the diminished chord. Although, it's not like it's gonna sound like a clam either if you do play it.

I assume that when you play the Bb7 chord your voicing would still have the top two notes being Db to D----then, the only significant difference would be in the bass if the bass is playing a Bb which I assume might sound very different though I haven't tried it since I'm here at work right now.

Ahhhh---the joys of paralysis by analysis. :cool:
 #98653  by Pete B.
 Fri May 27, 2011 8:50 am
So did you check out the Bass line on the piano?
I have a Kustom88 here at the house (a recent free-bee from a friend) and it sounds good. I never played these tunes on piano before.

fwiw, on the Studio version, it sounds like Phil goes F>C#>D slide-down to G, on the notes leading up to the solo.