#162337  by handyandy
My band plays Scarlet>Fire and I'm the Bob Weir of the group and I always feel unsatisfied when I play this. I'm having trouble getting it to the spacier, jazzier next level of jamming. I focus on playing the B and A with the occasional E thrown in and it sounds dull.

My question is what kinds of chords is Bob using to comp for Jerry? I'm looking for specific ideas and such.

Also if there is a show with Bob very high in the mix for this song that you know of. Please let me know!

 #162345  by strumminsix
What's your Jerry guy doing? B mixo? E mixo? scooting around?

You can go full Jazz with 4, 5, 6 note chords, stacked chords, 11s, 13s, etc..

Or you can explore partial chords and see what's on your pallet, start playing, and listening to what's working in your band. On your pallet you have: B, A, G#m, E, F#m. That's what you play. More importantly you have your timing for when you play. Dance with it. Open up space. Listen to what's working.

I know Bobby developed into a closet jazzer with his chords, and that's great. But that was after years and playing with few notes and learning what other instruments were playing.
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 #162347  by brbadg
After about 12 bars of playing the Bob intro lick ( the beginning riff of the song) during the jam,I'll play off of that.
Omit a few notes,whatever I can work in. Then I start playing the B chord to
this chord B9sus4
I may do an E after these 2 occasionally ( like B-B9sus4-e inversions) . The jam in the middle never lasts long enough before it gets to Fire,with my people.I'd like to stretch out a bit more eventually.Try shifting different inversions of the chords. Well,it's a start.
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 #162350  by lovetoboogie
Here a vid with some fairly good camera of Weir as they build that Scarlet jam in B...before dropping into the B>A...

Weir's bag of tricks for this is not complicated chord-wise, lots of stacked piano voicings( inverted chord with root on top), only 2-3 notes at a time...occasional octaves or sus chord with open strings(his mainstay). He favors the diad(2-note voicing) and finds crafty spots on the neck to both slide into them AND hammer on to one of the two notes. Its deceiving because if you just look at his hands he looks like he has a full chord grip(at times)... But his right hand is so solid that he is grabbing just those inside notes on the chord. He rarely will play more than a 3-note voicing...

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 #162354  by strumminsix
aiq wrote: Fri Aug 24, 2018 9:38 am When people talk about modern sounding chords the often are hearing quartal harmonies or stacked fouths. McCoy Tyner. And if Weir is like Tyner's left hand?

Weir had said McCoy Tyner was one of his major inspirations! I listen to old miles with headphones and pull off the miles from my ear just to hear McCoy!
 #162368  by brbadg
It’s cool , but it barely makes a lick of sense to me. I can grasp about 5 % of what he’s saying here. If someone would like to lay this out , that would be great.