#87280  by jeffm725
 
Like you said strummin, I am sure that Bobby changed stuff up especially later on. I always thought this particular Lost Sailor>Saint I posted was the perfect one to learn from because it was so soon after the song was written (maybe a year and a half old tops). So Bobby was still playing it as written. As you pointed out, they definitely changed stuff over time.

The other reason this is a great version to learn from is you can hear his guitar perfectly. It is clean recording and he cuts right though. You combine that with some good hand shots and you have probably the best example of sailor>saint that you are gonna find.

By the way. For me, that is the pinnacle of his guitar tone.
 #87289  by jeffm725
 
yes radio city 10/31/80
 #87291  by strumminsix
 
jeffm725 wrote:Like you said strummin, I am sure that Bobby changed stuff up especially later on. I always thought this particular Lost Sailor>Saint I posted was the perfect one to learn from because it was so soon after the song was written (maybe a year and a half old tops). So Bobby was still playing it as written. As you pointed out, they definitely changed stuff over time.

The other reason this is a great version to learn from is you can hear his guitar perfectly. It is clean recording and he cuts right though. You combine that with some good hand shots and you have probably the best example of sailor>saint that you are gonna find.

By the way. For me, that is the pinnacle of his guitar tone.
Wow, holy lesson in Weir thumbage! Nice and yes, crystal clear. Thank you!

I'm still much more of a 73 & 76 fan myself on his tone but I like how this has more upper end chime than shrill. I find I get that much easier with EL84s than any 6L6 or 6V6 tube.

BTW, I'm working on a new theory with this. And that is we see fingers in position but not always fretting. This buys into your theory of "embellising" and mine of not "seeing it". Work with me "hear", I'm hearing 4 potential chords and I wonder if he uses them all or my ears are overloaded by many instrumentalists.
Code: Select all
e ----8---------8---------8-----------8--------
b --5--------5---------5-----------6-----------
g --5---------6----------7-----------7---------
d ----8---------8---------8-----------8--------
My ears are clearing hearing the 1 3 & 4. 2 sounds like okay and I think I see him chording that?!
 #87296  by jeffm725
 
strumminsix wrote:
BTW, I'm working on a new theory with this. And that is we see fingers in position but not always fretting.
A BIG FAT YES!!!! to that. Very perceptive on your part. That is the tough thing about front view videos. it can look like things are being fretted when they arent!

out of your chord charts 1 and 4 seem to "sound the best" I agree, but it looks like he is playing "2" much of the time!
However, that middle finger could just be hovering above the string and not actually fretting. Thats when listening along with seeing goes a long, long way.

Which goes back to my first post on this topic:
I hate quoting myself :-) "Obviously you dont play all 6 strings at once, you can go for the bottom 3 or for, the middle few, or the top few depending on the portion of the chord tones you want to highlight at that time, but this full 6 string shape is the basis of what he is doing in my opinion."

E|--8--
B|--5--
G|--5--
D|--5--
A|--8--
E|--6--


it really does all start with this shape and then he is just mixing and matching tones within the shape . Alterations within this shape are warranted and expected.
I think your #1 shape is the most prevalent.
 #87298  by strumminsix
 
jeffm725 wrote:A BIG FAT YES!!!! to that. Very perceptive on your part. That is the tough thing about front view videos. it can look like things are being fretted when they arent!
Double Thanks!
jeffm725 wrote:out of your chord charts 1 and 4 seem to "sound the best" I agree, but it looks like he is playing "2" much of the time!
However, that middle finger could just be hovering above the string and not actually fretting. Thats when listening along with seeing goes a long, long way.
That's what I've come up with as well. So far it's sounding like I hit that upward progression in the opening and hold 2 during other parts.
jeffm725 wrote: E|--8--
B|--5--
G|--5--
D|--5--
A|--8--
E|--6--

it really does all start with this shape and then he is just mixing and matching tones within the shape . Alterations within this shape are warranted and expected.
I think your #1 shape is the most prevalent.
Agree with your theory but I'm struggling with your:
D|--5--
A|--8--

I am more hearing:
D|--8--
A|--x--

Like he's grabbing the root with his thumb(something I'd never have seen without your help) on the low E, muting the A string (likely again thumb) and the rest we are aligned with :)


BTW, Jeff, this has been great collaborating with you on this! Thank you!!!
 #87311  by jeffm725
 
strumminsix wrote:

BTW, Jeff, this has been great collaborating with you on this! Thank you!!!
Hey, Likewise! So many Jerry's around here. Somebody's gotta keep the Bobby candle lit! Might as well be you, me, and MK :wink: :wink: :smile:
 #87319  by strumminsix
 
mkaufman wrote:Ironically, this is one song I have never attempted to play. Maybe I should take a stab at it.

mk
It was next in my chronological Weir line-up and didn't start it til a month back. Esau was just before this. Victim too this summer. Skipped over Money Money, will get to it one day along with Corinna, Picasso moon, Eternity, Easy Answer if any of my other Weir brothers are keeping score at home :lol:
 #137598  by Dozin
 
move to 7:30



|--------8-8-8-8-----|
|--------5-5-6-5-----|
|--------5-5-5-5-----|
|----------------------|
|---8------------------|
|---6------------------|

Use your thumb to hold the E string, Fret 6 - Bb note
 #166230  by __b_turner__
 
9 years too late I'm afraid... Anyway, to me, it matters more about what chord he's thinking of rather than the actual chord itself. Like how in every dead song Bob isn't just thinking I play this G chord here, he thinks, hmm the harmony is G major, how can I show that in an interesting way?

What I hear is Bob is really trying to get across a Bb Lydian sound. You know how major chords are made of 1 3 5? Play 1 3 b5 (technically it's supposed to be a #4, but for practicality sake it's a b5. So when I play this part I play some chords that sound really great in a Lydian context like maj7#11, maj9, etc.