#65924  by GratefulPat
 Thu Sep 17, 2009 9:17 am
ty ty! just gave it a listen and i pretty much played the uptempo ending note for note following about a second behind what jerry was playin, i didtn find there was too much crazy modulation of scales, iwas in a and b, thats about it,. it def sounds like a precursor to fire on the mountain though, that i can agree with you on.
 #65926  by old man down
 Thu Sep 17, 2009 9:38 am
GP, I think it was July 28th, 1973. It was supposed to be a soundcheck but they played a lot of songs, so like a concert. They were much better the Friday night rather than the following Saturday. The Saturday they began at noon and it was hot with almost no shade from clouds.

Here's what I've been able to breakdown:

Movement No. 1: From start of song to a light touch of chords, playing just the two high strings, which leads into a high note kick off and then he's off and running.
Movement No. 2: Off and running to dissonant note chording and note wandering.
Movement No. 3: Dissonant note chording and note wandering to Keith's first B chord/A chord setup.
Movement No. 4: B chord/A chord to end of song.

Movement No. 1: It is beautiful, especially early in the morning on my nylon string; essentially I have this completely tackled and am happy with it. Maybe 4 minutes in length.

Movement No. 2: It is the hardest because he has such weird tasty note choices and hopefully I'll figure out what he was thinking someday. I'm hoping to have a breakthrough where I learn that he is just going back and forth between two keys, but I'm woefully stumped here as a lot of stuff doesn't add up whatsoever. So, I'll just have to muddle through here, persevere, and by rote eventually get it. So, I work on a few of the elements and maybe they'll connect together as I expand them. I have a lot of this worked out but it needs brushing up so that I get the forte of his playing.

Movement No. 3: This part is so weird that it is not worth learning. It is some sort of dissonant chord arpeggio that he milks for all it's worth. It is learnable because it is just Jerry playing solo without anyone else playing. He stays in this pocket for maybe 5 minutes.

Movement No. 4: Perhaps some of his best work ever. But eventually I intend to supplant some of Bobby's part here for Jerry's part because it add so much flavor. (Bobby at one point does this B chord arpeggio, lets it ring, then goes down two frets, hits the A chord, then an immediate Asus4, and then the A chord again but only the higher strings; the net result is like a single note walkup but with whole chords, and the Asus4 isn't even in key yet it works so effectively.) The ending of this movement leaves you never wanting it to end. Jer/Bob turn it around so effectively and the song finishes with, can't be sure because I haven't gotten there yet, what may be a C chord to an A chord.

So, these days I'm just working on the 4th movement, and it is a lot of fun. A fun puzzle.
 #161000  by old man down
 Sat Apr 14, 2018 9:53 am
Ok, … well, it looks like it has been since September 17, 2009 since I gave this song a shot. But, I'm back at it.

I was searching around on the Internet and came across this thread, which inspired me to get back to it.

http://r.search.yahoo.com/_ylt=AwrJ7Fsa ... H5WSa7T6U-

That guy seems to have been equally affected as myself. It's like we are Richard Dreyfuss in Close Encounters of the Third Kind, and we have sunburns on our faces. :lol:

Anyway, I played the Soundcheck Jam last night, and then this morning I tuned up my acoustic to pitch, and since The Grateful Dead were so kind to upload So Many Roads to YouTube last year, I can practice ideas right at my computer now.

So, I'll try to start tabbing a solo acoustic version here, and see where it goes. See where I'll settle in. My guitar playing is so rusty. My collection of songs has dwindled down to just a handful of solid works. And everything else is like in the Attics of my Life. :lol:

But, I then tried a few introductory notes of WGSJ and it started to come back to me. This should be fun. I wonder where it will be by the end of summer.

Rukind is such a valuable resource when it comes to picking up where you left off, no matter how many years ago.

As I look around my house for scraps of stuff I had worked up on this song, from 8 1/2 years ago, and finding little, I did find my original notes, which show I began working on this song in late September of 2000. "Have listened to it on CD around 100 times now." (10/03/00)


 #161021  by old man down
 Tue Apr 17, 2018 12:07 pm
Before getting into it, I remember that when there, you weren't allowed on any of the speaker towers. Some people would perch themselves on the Port-A-Sans, but you wouldn't want to be on them for long. (right? And besides, they were way off to the sides, so not that great a view.)


However, I had always remembered that there was a pole right in front of the stage, and near the top of it was a cross beam, and you could sit on it. But you'd have to shinny up it, and some of those who tried it only got so far before exhaustion would kick in, and they'd carefully lower themselves back down.

At the time, one of my friends referred to it as "the a**hole pole," because you'd have to be an a**hole to try to get up it.

But as the evening wore on, it looked like such a perfect perch, like a crow's nest, with a beautiful view of the performers on stage, and this especially so because more and more people were trying to get close to the stage, and we were all getting packed in like sardines.

Over the years, I'd go Online and look for pictures of the "a**hole pole" but I'd never find any. Although I clearly remembered seeing it, talking about it, and wishing I could have been atop it, still, I'd never find a single picture of it. The photos always showed the area near the stage, but no evidence of the pole:


Until today! Here's a view from the stage (looks like The Band were playing) and here's a view from the side. These are the only two pictures, from all of the dozens of pictures that exist, that I've ever seen of it.


See? Really nice view. (But don't fall!)

However, I had forgotten, or didn't realize, how far up the pole you'd have have to shinny to get up on top. That's much further than I had remembered. I thought it was about 15 feet high. But it looks like you're a good 25 feet up. Wow.

Post edited twice: 1st time to remove a photo from a different concert from May 1973 that had a near identical stage and awning, and the 2nd time to post this comment.
Last edited by old man down on Thu Apr 19, 2018 4:54 am, edited 2 times in total.
 #161034  by old man down
 Wed Apr 18, 2018 12:38 pm
MattMan wrote:
Wed Apr 18, 2018 6:18 am
Awesome pics. Great topic. Such a cool piece of music. Its got that Dark Star / Eyes / Franklin's Tower feel without those songs actually being played. I can hear Jerry's subsequent Blues for Allah soloing style evolving in this jam.
Listening to July 27, 1973 on Archive right now.

Our "caravan of 3 cars" had pulled into the general area of the Race Course with a few more hours of sunlight available. We found a place to park/camp in a lower field adjacent to the fenced off fairgrounds. Other people, already camping, brought to our attention that plenty of bottled water was available nearby, and so we went to get some. Then it was quickly set up our tents since dusk was upon us.

Off in the distance, wafting, we could just make out Sugaree being played and we realized that The Dead were playing!

So, we quickly got our acts together and rushed up toward the fenced off fairground. At this point, people were climbing over the tall gate of the fence alongside a grassy dirt road. There was no pavement anywhere. Just dirt roads and border fencing, fencing put up maybe just for the Summer Jam. (when we came back this way later that night it was completely torn down) We had our tickets on us thinking we would need them to get in, but there was no officialdom anywhere, and we quickly realized it had become a free concert from then on.

Somewhere along this timeline I dosed. (Just enough to feel it; like a quarter.)

Finally got to a viewpoint of the stage. We were all admiring the speaker towers, and the lights shinning down on the stage; reds and blues, and maybe Bird Song was playing.

We were in the second tier of people. The first tier was right in front of the stage, and then there was a parallel-to-the-stage break in people, because cables ran there, and they were like those "snakes" that bands use, of bundled wires, only much thicker… really heavy duty. So, don't mess around there.

It was nightfall now, and the stage was looking so cool in the distance, with the light show really making everything look so special.

We decided to get closer, and we could only just get a little ways into the first tier before intrusions on people already there resulted in glares of "there's no room, okay?" :-) But we were close enough.

When Tennessee Jed was played, it added a Europe '72 feel to everything, and at the time it was the album I had been listening to predominantly all Spring and Summer. So… very familiar with it.

Now, in years before, when listening to The Dead, Live Dead was the album to listen to if you wanted to see how far out they could take things.

So, when the Soundcheck Jam started, we were trying to figure out what song it was. I thought China Cat/Rider, but it didn't seem to fit. And then I thought Dark Star, but that didn't fit either. In my confusion, I decided that it was possibly The Other One, and because I wasn't extremely familiar with versions of that song, that was why I couldn't figure things out, figure what song the Soundcheck Jam was.

But, in trying to figure out what song they were playing, it really piqued my attention and concentration. Garcia had that Europe '72 tone on his guitar, and his notes were so effortless, and charismatic. I realized he could do whatever he wanted on guitar. And the blue light on him, and then red, sometimes purple, exalted his presence. It was like the mood of his playing matched the color of the lights on him at any particular time.

During the Jam, I realized Jerry was much, much, MUCH better than I had ever thought he was, on guitar.

And ridiculously, this being my first Dead Show, I thought they always played this way, played this good, because they were The Grateful Dead, they were the house band for Ken Keysey and the Acid Tests, and, well, they were the real deal, and that was why Bill Graham always wanted them to play for something epic. There was no substitute.
 #161082  by old man down
 Sat Apr 21, 2018 2:02 pm
Ok, I'm going "in."

Incidentally, the last time I tried to learn this song at all (September 2009), I didn't even own a computer. (would use my little, portable Dell laptop (from work) to log on here)

But now I have my 2011 MacBook Pro, and have developed (read: taught myself by trial and error) new technology!

The way it goes is I have my MacBook Pro turned on, and connected through the JamMan, and the JamMan connected to the Loudbox 100.

Then, I go to YouTube, pull up Watkins Glen Soundcheck Jam, and play it, and I then get the song right to where I want to begin the AUTO REC, and I play a snippet, and then hit the JamMan STOP pedal at where I think is a good stopping point. (JamMan is on the kitchen center island, so I don't use my foot, I use my hand to STOP a recording)

Snippets have to be 3.5 seconds, minimum, and I don't know how much data the flash card shipped with the JamMan can hold, so I may exceed its capacity for the WGSJ, which potentially could run 18 minutes.

But if I exceed its memory capacity, then I'll transfer the entire JamMan data over to the MacBook Pro, and then erase the loops in the JamMan, and then move on to recording new snippets.

This may take several hours to do, but I'll be happy when I get the entire WGSJ transferred over as snippets, and even with difficult portions maybe copied over in the JamMan, but slowed down to help me parse the notes.

Then, the JamMan, Loudbox 100 (all the cables and plug-ins) get put away, and I deal with only the MacBook Pro from then on.

When done right, the MacBook Pro "iTunes" location (no subscription, or money involved here, btw), after editing the Library, will have the song displayed in its many, many Loops, but the Loops will have all been relabeled into things (placed successively) like 1st Notes, Descend, Rise Up, Further Rise Up, Weir Doodle + Phil Bass, Garcia Down Noodle, etc., etc.

So, for something like this Project, getting organized ahead of time is really key, since you want to know where to begin and end a snippet, and which snippets need to be copied and then slowed down, too.

It's daunting to undertake, but becomes routine once you get into your session. You just keep at it, and move forward, and eventually the "song" will be transferred for ease of learning.

Anyway, I'm going "in."
 #161086  by old man down
 Sat Apr 21, 2018 6:28 pm
And I'm back…

Transfer is done, all files are in the iTunes Library, JamMan, Loudbox 100, and cables are all put away…

I'm eating spaghetti and drinking a Stella!

Very proud of myself.

Listening to the snippets. They're so cool! :-) :P :-) :P
 #161087  by old man down
 Sat Apr 21, 2018 6:41 pm
WGSJ required 94 snippets, two of which were slowed down because Jerry left me in the dust on them, and technically, that's a good thing! :hail:

It all stored on the JamMan's flashcard in one single take. :-)

Now all I have to do is go into the iTunes Playlist and give each snippet a name to aid in memorization. :D

Technical "hard-part" is over. Now it is a matter of figuring out the song, finding out what makes it "tick." :hail: :? :D :roll: :hd: :thewave: :peas: :shock: :lol: :P :roll: :drink: :drink:
 #161103  by old man down
 Mon Apr 23, 2018 1:52 pm
My humorous liner notes for the snippets…

1 1st Movement 1st Notes (0:00)
2 Slow bass descent (0:16)
3 Volume swells on notes ascension, Phil bass descent, Weir noodle (0:26)
4 Bass thrump followed by Garcia near open-strings noodle (0:42)
5 Garcia rise, Weir chord, Garcia trill, then intricate noodle, and pause... (0:52)
6 Garcia iconic notes rip descent, Weir chord, and Garcia stagger stair-step cascade down (1:01)
7 Rise up with tone to die for, and pleading repeated note refrain (1:19)
8 Tonal call and response fall down and rise up to peak (1:36)
9 Cymbals, pauses, and muted notes just before launch into 2nd Movement of song (1:55)
10 Beautiful, light, playful chords (Weir) begin 2nd Movement (2:18)
11 Weir chords continue as Garcia launches into intricate lead with high note pause at end (2:28)
12 Take control with cutting & spiraling lead, against cymbals, and ends on low notes with a pause (2:34)
13 Garcia bassy notes, cutting and very intricate, against snare drum and Weir single note rambles (2:43)
14 Staccato mid-notes rise up and plateau into beautiful tone for micro pause (2:49)
15 Bright/sharp note kick, and gentle sway lower, like a falling leaf (2:57)
16 Bright notes stair-step lower to pause (3:06)
17 Garcia clear, bell-like, mid-notes stair-step and meander to repetitious end note (3:11)
18 Jerry struggle of low-notes, repetitious, building tension against Weir's higher counterpoint note (3:18)
19 The Garcia Flat-out; very forceful, and with chords thrump exclamation mark at end (3:23)
20 Jer steps back with successive chords to regain composure while sharp cymbals, Weir noodles, and Phil bass lead fill void (3:32)
21 Comes back in with very tight low to higher notes rise; three tiers with last tier inside-out (3:43)
22 Inside-out continues with a drop, and a forceful, repetitious mid-note machine gun at end (3:49)
23 Garcia blooms the cutting bass notes, with a stair-step rise, and a note slur at the very end (3:54)
24 Bell-like mid-high notes, with thematic ring-out, stagger step, and query while Weir, Phil, and Bill embellish below him (4:02)
25 Phil, Weir, and Bill fill as Garcia gets ready for beautiful "response" from the previous "call" (4:14)
26 Garcia "Beautiful Response" (4:18)
27 Mid to lower-mid trips, repeated, and then heads higher; fast paced and done with bravado (4:25)
28 Wander down, and plummet down (4:38)
29 Settle-in, lower-mids, full command (4:46)
30 Trips throw around, mid-to-high, with a micro-pause end... (4:58)
31 Resolution of trips throw around, setting up for flurry to follow (5:04)
32 Exceptionally tight "flurry-up," perhaps the fastest playing of the song; blur of finesse in two different pockets (5:09)
32 slowed down (5:09)
33 Jer takes a break and lets the others give him a rest while he chords it (5:19)
34 Weir chords throw-around; Jer can just be heard lightly in background at end (5:34)
35 Still Weir chord throw-arounds, here, there, and everywhere; Garcia still in background (5:48)
36 Weir single notes; successive and repeated motifs (6:01)
37 Weir signature chords, as continued throw-arounds (nice); Jer just starting in at end (6:05)
38 Jerry comes in with staccato notes followed by rhythm-like single notes, very fast, and then more difficult notes of random blur (6:16)
39 Garcia takes command with bright notes, still all over the place; clearly in the thick of it (6:29)
40 Beginning of characteristic Garcia note walk-up, set against Weirs forceful rhythm chops (6:34)
41 Killer Garcia walk up; The (pronounced thee) Inside Out of the Song (6:40)
42 High notes resolve of movement; very dissonant as Weir plays bizarre chords to heighten the confusion; Jerry with good tone playing over the dissonance (6:45)
43 Continued dissonance, everyone getting ready to climax the movement, and Jerry just starts to end it (6:53)
44 Drift down, tension released, mid-to-high notes (7:11)
45 Filler chords as Weir does a few more dissonant chords; Jerry sets up by chording in background (7:23)
46 Heaviness chords by Jerry, as sets of five (7:31)
47 Jerry and Weir trade chords; can't be sure who hits what, but just before a single note rhythm climax that follows (7:44)
48 Multi-measure single note Jerry climax, and Weir ends with boingy-boingy-boing-boing chords (7:58)
49 Climax is over and low bass notes are back to clue everyone to get it together again; clear Garcia take-command notes toward end (8:09)
50 Soft tone, mid-high Jerry motif as things are coming around to normalcy; great tone (8:22)
51 Drifting down to the end of the Movement (8:35)
52 Jerry offering a "call" of a possible "call and response" as everything quiets down (8:51)
53 3rd Movement start; A few oodles of noodles along with other sporadic oddities and a bass note here and there (9:08)
54 Oddity upon oddity, while lost in space (9:29)
55 Forceful Dr. Smith Lost in Space, bouncing around to nowhere (9:39)
55 slowed down (9:39)
56 Dissonance comes to an end, with repeated C & Rs (10:01)
57 Slow melodic dissonance, very clear to hear; a nice little piece of cake-walk (10:25)
58 Tip toe, so slow, Sue slow, solely slow, Sue Ellenly sweetly slow dissonance that it is as if a slurry of bed-feathering (10:51)
59 Bass note dissonance, Heart of Dissonance, Bell-like dissonance, let me up for air already DISSONANCE (Please! Don't! Stop! Please don't stop, dissonance) (11:20)
60 Oh God! Slow Dissonance!: Give it a rest, Jerry, DISSONANCE! AHHHHHHGGGHHH! Please, please, please, for the love of God Dissonance (11:43)
61 Noodle, doodle, doo followed by doodle, doodle doo Dissonance (Will I ever be the same dissonance?) (11:55)
62 There just may be a God Dissonance. (umm, maybe not) (12:07)
63 World of Jerry and Bill dissonance (12:20)
64 Cymbals and noodles (12:28)
65 The Dissonance still isn't over?!!!! (12:33)
66 Cool, eerie dissonance bloom with final, beautiful resolve to all of this way, way, WAY out dissonance: THERE, IS, A, GOD! (12:47)
67 4th Movement; Keith B to A chords set up (13:09)
68 Start of Light and Easy, melt-in-your-mouth, drift-down melody (13:35)
69 Light and Easy, melt-in-your-mouth, drift-down melody (13:38)
70 Best Jerry staccato riffing in the jam (13:44)
71 So sweet riffing; miss Jerry so much! (13:54)
72 The Master at work (14:01)
73 No one does it better, continuation (14:06)
74 Bass note motif (14:10)
75 Bass note riff, Weir chord bloom and Weir chord walk-up, all against Jer's edgy bass notes Cutty Sark (14:18)
76 Walk up noodle (14:44)
77 Classic Garcia Watkins Glen Soundcheck Jam jam (15:03)
78 Jerry notes in full bloom (15:15)
79 The end of it all, but with maybe one more Rise and Fall of the WGSJ Empire (15:30)
80 Spiral down (15:38)
81 B-to-A evocative motif; just right (15:48)
82 End of B-to-A evocative motif (16:06)
83 Penultimate drop down, the bid goodbye to the Jam of Jams (16:12)
84 The Last Hurrah setup (16:29)
85 The Last Hurrah (16:36)
86 Turnaround with note stretch to remind you how good it was (16:51)
87 Jer won't let you go, he knows he's got you on the hook, so he reels you in as he pleases (16:57)
88 The reel in, time to go home (17:03)
89 Get the oars back in the boat (17:27)
90 Pull the chord on the motor (17:53)
91 Motor starts, so you motor home: End (17:56)

So, this is to help anyone else interested in this piece of music. Just what I've already been working on, guitar in hand while starting and stopping snippets, the song is very, very strange, and all consuming. Have found that you get into a realm of thought whereby you have to throw away normal constructs of familiar fingerboard patterns. They don't really work. This is one of the reasons why I find it difficult to understand how Jerry could just do this on the fly. He had to have had some previous background on this realm of thought because he never… not once… hits a sour note!

I mean…, how do you you do that… when this is all so completely FAR OUT!

:hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail: :hail:

Anyway, ummm, "How do you get to Carnegie Hall?"

(Really into it, and it will add a lot of fun to my Spring, Summer, and Fall.)

/old man down
 #161141  by old man down
 Fri Apr 27, 2018 11:26 am

The 1st Movement of the Watkins Glen Soundcheck Jam is a blend of two modes: A Mixolydian and A natural minor (Aeolian).
Juxtaposed together, they give the piece its dark and tragic colorings.

1st Movement

1 (0:00) 1st Movement, 1st Notes (Garcia)

This can all be played at the 12th fret (B and G strings), too. At the 7th fret, your mindset is to get out of the box, so to speak.
(show a little virtuosity in your playing)
A Mixolydian

2 (0:16) Slow bass descent (general impression)

Garcia and Lesh combined contributions. Weir noodle, at end.
This can be done many different ways, but the essence is of gravitas, heaviness.
Embellish many of the notes with single-fret-lower slide-ups.
A natural minor (Aeolian)

3 (0:26) Volume swells on notes ascension, Phil bass descent, Weir noodle

Garcia's volume swells should be hit cleanly for purity. Weir's noodle that follows is wonderful contrast.
A natural minor (Aeolian)

4 (0:42) Bass thrump followed by Garcia near open-strings noodle

The notes-spiral requires a lot of finesse. Two of the notes are ghost notes. (the first of the two, very much so)
I've hinted at their ghostliness by casting them with a Touch of Grey.
A natural minor (Aeolian)

5 (0:52) Garcia rise, Weir chord, Garcia trill, then intricate noodle, and pause...

Easy ^ ^ here, Weir chord, still easy here, … and this… ^ ^ ^ ^ ^ is ^ ^ ^ ^ ^ the ^ ^ ^ ^ ^ hard ^ ^ ^ ^ ^ part. (Genius part here! ^ ^ ^ ^ ^)
Although the hard part is simply a trill followed by a rise to higher notes, it is clever beyond belief with the dissonant notes-spiral at the end.
There's a ghost note (high e string), to keep place on the up/down picking, so that the end notes just roll off and are easy to remember.
The final 13, 12, 13, 15… 13, 12, 13, 12 is prophetic. It resolves so well, but also portends the incredible dissonance of the jam, yet to come.

The Weir chord is outside of the A natural minor (Aeolian) scale. (So, it is Bobby who casts the first stone into darkness.)
The chord appears to be an Esus2, and can be likened to the dark chord that creates the tension inherent in Wharf Rat.
Garcia, either as planned or as having an astute understanding of the sus2-chord note, incorporates it almost immediately. (the second half of Snippet 6)
Within the tabbed-notes of this work, when I realize the sus2-chord note is used, I'll color it in Red to obviate its use.
And so the Watkins Glen Soundcheck Jam crosses over to the dark side and the audience has no idea of the "spell" they're about to be "put under."

Although Garcia introduced a dark-query with his choice of A Mixolydian opening-notes, there was no contrast as yet because it was the very beginning of the jam.
It was only when Bobby struck the Esus2 chord that the "spell" of Aeolian/Mixolydian was hinted at.

6 (1:01) Garcia iconic notes rip descent, Weir chord, and Garcia stagger stair-step cascade down

Straightforward up down picking.
A natural minor (Aeolian)

(^ ^ Weir chord) Have placed Jer in a box at the 7th fret, because the tone is so rich. Slow, deliberate notes.
Now A Mixolydian. The red highlighted notes are F# and they singlehandedly convert the second half of Jerry's iconic statement to the A Mixolydian scale. It is this intermingled contrast of Aeolian and Mixolydian which fools the senses; at one point rendering minor tones (pleasant, but sorrowful) only to then trip the listener up with dark tones of an identical scale, but everything modulated entirely a whole-note's distance above.
Who would have guessed? It is turning out that the Watkins Glen Soundcheck Jam is a wonderful piece of Dark Chocolate!!

However, the following approach is equally compelling, although I don't think Jer did it this way.
Its advantage is a hammer (on the final note) to generate an open string trill.
Learn both ways, and let time be the arbiter on your preference.

(^ ^ Weir chord) Jer with slow, clear, and deliberate notes. (Same comments as above apply.)
A Mixolydian

7 (1:19) Rise up with tone to die for, and pleading repeated note refrain

A Mixolydian

And if you had gone with the prior Snippet 6 variation, that employed the 2nd fret open hammer on the D string…

A Mixolydian

8 (1:36) Tonal call and response fall down and rise up to peak

A natural minor (Aeolian) and with the Esus2-chord note (F#) in red.

I like the above placement of notes on the fretboard, but I get a sneaking suspicion that Jerry played it all at the 12th fret.
The reason is, at the 12th fret the notes would look like this:

A natural minor (Aeolian) and with the Esus2-chord note (F#) in red.

At the 12th fret there is a natural harmonic ring inherent to everyone's guitar.
But, on my guitar the D string (4th string) 14th fret note rings like a Mother ______!
Like no other note played anywhere else on my guitar, that 14th fret E makes my guitar come alive!
On Jerry's guitar you can hear his guitar almost feedback on that note!

So, I've tabbed both, and pick your poison.

9 (1:55) Cymbals, pauses, and muted notes just before launch into 2nd Movement of song

Has the feel of Live Dead, about 1:30 into Dark Star.
End of 1st Movement.
 #161204  by old man down
 Fri May 04, 2018 6:27 am
2nd Movement

The 2nd Movement introduces yet another scale by Garcia: A Dorian.

Using "A" as the tonal center (for reference), this brings the scales in use to:

A natural minor (Aeolian), A Mixolydian, and A Dorian.

10 (2:18) Beautiful, light, playful chords (Weir) begin 2nd Movement

This is as close as I can get to show Bobby's phrasing of these light and whimsical ditones and tritones.
There's a cadence to them, and the only tonal reference going on elsewhere is Phil's base line, so I borrowed from that.
Basically, you have to fool around with these, syncopate them a little, see what captures the feel.
Personally, I do them slightly different all the time. I really like the last one. (his guitar gets a ching ring to it (not sure how))

11 (2:28) Weir chords continue as Garcia launches into intricate lead with high note pause at end

This is a fun high-notes rip. (even someone in the audience let's out a whoop) At the 12th fret, just stay in the pocket there.
When your ring finger hits the 3rd-string, 14th-fret-note slide-up, slide your whole hand up until your index finger is at the 14th fret.
Then, continue with the high notes there, which will just roll off your fingers, perfectly within reach.
And you even get a pause right afterwards. Nice.
(Btw, I tried it at the 7th fret, it comes out stilted; lacks the fluidity found at the 12th fret.)
A Mixolydian (with a couple of chromatic, walk-up, passing notes)

12 (2:34) Take control with cutting & spiraling lead, against cymbals, and ends on low notes with a pause


. . . . . . . . . . . . . . . . . . . . . . . 15——15—17——14————14————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . —————————————————17———15—17———14—15—————14——————14—15————14————
. . . . . . . . . . . . . . . . . . . . . . . ——————————————————————————————————16——————16——————16————16
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Had to split this snippet in two to stretch it out, so that the cadence could be implied when transcribed.
Kept Jer up at the index-finger-on-the-14th-fret position.
Very beautiful, the second half, as he steps out onto the high e string, way up there on the neck, and that guitar just rings-out those notes.
You can tell he's in a groove there because there are a few ghost notes that can just barely be heard. (did not tab them out)
The ghost notes may have come from him fingering the strings, but at the time he wasn't picking them.
Mentally, however, he's keeping his place in his solo by depressing the strings so that they give him a little feedback.
A Mixolydian

13 (2:43) Garcia bassy notes, cutting and very intricate, against snare drum and Weir single note rambles

Explosive snippet from the get-go, and then tight as can be in the thick of it; up and down, all around the town.
Index-finger (whole hand) drops down to the 12th fret to generate the pyrotechnics.
In the confusion, keep your place by that midway hammer, serving as a signpost to new space just before the 4th string pause, 'twixt fourteens.
Btw, this is merely the first half of this whole tight-element as the following phrase is equally as fierce, and matches this one's slashes with bravado.
A Mixolydian (with one additional passing note on the slide-down)

14 (2:49) Staccato mid-notes rise up and plateau into beautiful tone for micro pause


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————————————————————————————12/14—14—12—12—11—11—11—
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —————12—14—12—141514—12—14—15———————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————
To work this, you'll have to listen to it many, many times. It is fleeting, but exquisite with it's punchiness, and trailing micro notes into the zephyr.
The 5th string, 16th fret note is a good landmark for playbacks, to get your bearings, as you try over and over to comprehend the phrasings.
It makes a lot of sense when you come back to it on each following day, having had time to cool off, take it in, and accept it.
On the 6th string, the third 15th fret note, I've colored it extreme light grey to hint at its ghostliness; it's not even played but makes sense of how everything fits.
A Mixolydian (with an added, chromatic, walk-up, passing note)

Get the feeling Jer is still fooling around with the 12th fret position; really growly notes, and testing out the Glen's whole sound system, too.

Both halves combined (upper and lower), this is one of the hardest snippets so far! Not so much to play, but to learn by ear.
Have listened to various parts of it, combined totals, around 100 times over the weekend, almost all at 50% speed.
A lot of it is so difficult that I had to drop down to 25% speed, and then it is Twilight Zone weird, … but useful.
At 75% speed you can appreciate the phrasing. At 100% speed, well, forget it…it's Jer.
("Forget it, Jake, it's Chinatown." Enjoy this music, btw: https://youtu.be/TjSshSvQWQA?t=133)

15 (2:57) Bright/sharp note kick, and gentle sway lower, like a falling leaf


. . . . . . . . . . . . . . . ————————————————————————————————————————————————————————————
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. . . . . . . . . . . . . . . 12b—14—12b————————12b———12—14—14/16——16—16———16——1616———1614——12—12——14
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Cool as Hell riff! One of my favorites in the whole jam. Have tried to phrase it the best I can, to capture it.
But you have to do some experimental picking because of the hard to hear ghost notes (in grey), to get the cadence to flow.
Break it up into the two stanzas shown, to help learn it. Why is it so cool? The reason is…we're back to…
A natural minor (Aeolian)

16 (3:06) Bright notes stair-step lower to pause

No hand shifts required. Final 10th fret notes rely on pinky finger, and Garcia hits the note awkwardly. Makes sense.
Tried these notes at many other places, that seemed much more intuitive, but they all had hand shift drawbacks.

On second thought, I'm including this other way because it is so much more intuitive. (I prefer it; you decide for yourself.)

The two hand shifts down are the way you think, rather than trying to be clever in a "box."
In this version, the final 10th fret notes fall on the ring finger, giving you much more authority, especially for the next snippet.
This stair step down seems to be a bridge between central themes, a way of maneuvering to a different fretboard location.
A Dorian

17 (3:11) Garcia clear, bell-like, mid-notes stair-step and meander to repetitious end note

Classic Jerry mid-notes stair-stepping. It all rolls effortlessly right after the 8\7 which sets your index finger right at the 7th fret.
You'll need a lot of listen to it, play it, listen to it, play it practice, but once you get it under your fingers, you'll love it.
And that just-prior low 10th fret note is a perfect anchor.
A Dorian

18 (3:18) Jerry struggle of low-notes, repetitious, building tension against Weir's higher counterpoint note

Take right up where you just left off: ring finger on the 3rd string, 9th fret. Pinky rolls over it to the 4th string, 10th fret.
And so on, and so on… and a little syncopated at the end, tending to inside-out itself. Really nice genius stuff.
Work on this a lot, as it is very satisfying to feel the potential pulling of the inside-out. (Go into a trance with it.)
I added the final 10 way to the right just as a harbinger of the next snippet, but leave it alone while Searching for the Sound.
A Dorian

19 (3:23) The Garcia Flat-out; very forceful, and with chords thrump exclamation mark at end

This is a really unique riff. After the first 5 notes, and the up-and-downs begin, it is extremely compressed, chromatic, and never releasing.
It is because of this compression, the slide up, the stilted sync and punctuation of the notes at 10 and 12, that there’s got to be a blowoff.
That blowoff follows right after a 7 fret drop-off, like falling off a cliff, where the chords below resound like a thunderous volcanic eruption!
For the chords at frets 5 and 7, barre the first four strings and use strings upstroke downstroke technique to exactly match the sound.
Jerry was so impressed with his execution of this that he then laid back, chording it, and took in the view of the audience’s response.
He was only 30 years old this Friday night, though his birthday would be the following Wednesday.
A Dorian (with an added, chromatic, passing note)

It should be noted that I reviewed the posts in this thread, yesterday, and one of my first posts stated that I thought WGSJ was in the Key of D.

This got me to thinking that maybe it is not based around "A" as A natural minor (Aeolian), A Mixolydian, and A Dorian.

Basically, it is a meandering jam, and different ideas are expressed by different scales being applied. By choosing "A" as the center of everything, then you just look at scales based on A and see what fits. But suppose it is really based on "D" and that should have been chosen as the center of things. What would result in that case? Transposing would yield the following:

A natural minor (Aeolian) >>>> D major (Ionian)
A Mixolydian >>>>>> > > > > > > D Dorian
A Dorian > > > > > > > > > > > > > D Mixolydian

I'll come back to this later, but it is pause for thought.

20 (3:32) Jer steps back with successive chords to regain composure while sharp cymbals, Weir noodles, and Phil bass lead fill void

The chording here, by Jerry, is just a single string, though he has a D barre chord on (open “A” shape, ring finger, 7th fret) with nearby D string muted.
He may occasionally lift his ring finger slightly, to get a "Stronger than Dirt" motif to sound.

5——————————— 5—5————7————9———
Weir has a few notes, and then settles in with rhythmically “plucked” ditones (sometimes just the high fretted-e string) that ascend as series of three.

Phil is messing around on extensions of a D chord, but solely bass notes.

As a solo guitarist, you can stay here an extended time, and fool around with various ideas of each of these tools, before continuing with Jer’s next lead.
A Dorian (fits best, except for Weir's 9th fret ditones)

21 (3:43) Comes back in with very tight low to higher notes rise; three tiers with last tier inside-out

A clever riff to get back into the fray after chording it in the last snippet. The launch is near invisible.
The tight 14's give it a lot of forward momentum, and then he just moves on up quickly.
Nice, the way Jer keeps his place in the rush of things, the 15 surprised me, and that light, lone 12 afterwards tidied things up.
Overall, very easy once you see it laid out. (Had to work it from the end forward to TAB it; it wasn't easy at all.)
The 1st string notes are the inside-out — simply stated, yet so effective — and they perfectly cap this 12th-fret hand-position finesse.
A Dorian

22 (3:49) Inside-out continues with a drop, and a forceful, repetitious mid-note machine gun at end

Big bend on that first bend, like a bend up to 16 but done on the 14th fret, with the release to 12, and then a small bend on the following 14.
The lone ghost note (5th string, 14th fret) is a must to transfer the energy back onto the 4th string for the machine gun.
Very stylistic Jerry technique here, to bring things back front-and-center, and everything is followed by a literal free fall right into the thick of things.
A Dorian

23 (3:54) Garcia blooms the cutting bass notes, with a stair-step rise, and a note slur at the very end

—————————————9——7——————7——797——999———9—————9——9—7——777—7—(tremolo picking)—\—
A lot of notes here. This riff packs a punch. The landmarks are the 7/9 slide up, the trip 9’s, the 7 Up 8 peak, and the many 7’s at the end.
Hand at 5th fret at start, then the slide up moves your hand to the 7th fret, and you stay there from then on, until the very end \.
The hard part is the very subtle 7 9 9 7 9 7 just after the 7/9 slide up. That takes a lot of work to smooth in.
Once you’re at the trip 9’s, you’re home free. Very intuitive from then on.
A Dorian

24 (4:02) Bell-like mid-high notes, with thematic ring-out, stagger step, and query while Weir, Phil, and Bill embellish below him


Even if you’re not interested in learning the whole WGSJ, this is an extremely fun riff to have a go at.
This is especially the case because the notes are right where they’ll make a guitar literally come alive.
Four of the strings are left bare and their harmonic overtones will ring out incessantly. Really cool.
And the characteristic groups-of-four phrasings, followed by cutting note-ascenders are memorable.
Then it caps off with multi-note slide-ups and slide-downs which just add a shimmer to everything.
A Mixolydian (with one additional passing note on the slides)

25 (4:14) Phil, Weir, and Bill fill as Garcia gets ready for beautiful "response" from the previous "call"

- 10—--5——2—————————————————————————————————————————
—9——-—— 2—————————————————————————————————————————
Bobby's chords seem to be based in the Key of D Major: D, Em F#m, G, A, Bm, C#dim.
As fragments, they’ve been tabbed for ease of notation: A (9th & 5th fret), and F#m (2nd fret).
However, he plays the fragments wherever he wants. (sometimes very intricately)
Phil messes around on the bass line, solidly anchoring things.
(This just happens to be a very short snippet.)
A Mixolydian

26 (4:18) Garcia "Beautiful Response"

———————————12—— — ——12——12—--—12— —-— —12——————————————————————————————————
There’s a bass line, Weir has a couple of chords (not shown), and Garcia comes in with chording, and then the Beautiful Response.
The notes are very simply stated, but understated, too. Up there at the 15th/14th frets, all alone, they're just perfect.
First time I heard it on So Many Roads, it became my favorite part of the entire WGSJ piece. (something about it)
A Mixolydian

27 (4:25) Mid to lower-mid trips, repeated, and then heads higher; fast paced and done with bravado

There are three major approaches to this snippet. They all have to do with the starting notes.

Hand position at the 9th fret
Hand position at the 12th fret
Hand position at the 14th fret

It comes down to familiarity, fluidity, and comfortability. They all resolve to the 14th fret for the ending.
A Mixolydian

Version 1
Most comfortable for an acoustic guitar. Slightly stilted on voicing of transition away from the second set of 3 reps in a row.

Version 2
Possibly the best candidate version. Only drawback is the stiltedness of the 12 15 12 reach. It changes the voicing of the phrase.
The transition away from the second set of 3 reps in a row is interesting.

Version 3
This version is too high on the fingerboard for acoustic guitar, but Jerry may have played it here.
It is further coherent by the fact that the Beautiful Response was played here moments before.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Continuation for all above versions.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14——1415r14———14bb15r14———————14b15151514———————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —–—17———-———17————————17—15—17—————————————17—15—17————————
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28 (4:38) Wander down, and plummet down


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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12r11——11———-———11—12———11—————————–—————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——-——14———12–12h14——-——14———12—14—11—12———11——-———
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————–——————————–——————————14———12—14
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Here we have Jer coming down out of the stratosphere, and with that Alligator Stratocaster, the Glen sound system, and his "up" attitude, he's really enjoying the triple-note slides he's getting around the 12th to 14th frets. Not much else to add except that these notes are all very intuitive, and the 11th fret lower notes make the reach of the pinky to the 14th fret 5th string feel so comfortable. Wonderful tone in all this, too.
A Mixolydian

Anecdotal Comments (while working these up)

Saturday Morning, May 5, 2018
Originally, I had decided this piece of music was centered around the "A" note because of Garcia's volume swells on the 3rd Snippet. (Two clean, "pure" A notes were hit there, almost back-to-back, and I was drawn to that.) The piece seemed to fit into the A natural minor scale (Aeolian), and so I went with that page in my "Gig Bag" guitar-scales book. (just kept it open to that page)

When things fell apart, that scale no longer fitting notes I was hearing and tabbing, it was only then that I stumbled on A Mixolydian, two pages later.

To help with my word descriptions of these scales, I hoped that Wikipedia would offer the words I chose (dark and tragic), but that was not the case. Instead, Wikipedia only offered other examples of music in Aeolian or Mixolydian. But, unbelievably so, at the top of their list on the Mixolydian page was Dark Star in A Mixolydian. Seeing that, I then thought I was on the right track.

This piqued my interest just now (early morning, still lying in bed), so I went back to the Wikipedia Mixolydian page. (thought it was the A Mixolydian page, but it's just Mixolydian) I found the Dark Star mention again, but then noticed that there was a reference citation number at the end, so I went to the index at the end of the page, and there was the reference. I clicked on it, and a YouTube video opened of a New York City music teacher (Dave Frank) giving a one and one-half hour master class lesson on Dark Star, and how its focus is A Mixolydian and other modes!!! So, watching this right now; you never know where you'll get your inspiration, and information, when you attempt something difficult that you're obsessed with!

Other than this, still playing around with Bobby's first notes (chords) on the 2nd Movement. How to parse them out, present them, … and my progress yesterday was hampered by airplanes flying low into Newark, lawn mowers, a metal cutting saw or grinder from some neighbor, and on and on.

May 22, 2018 12:07 pm EDT

Bursitis has finally healed and I'm back to 95%.

Still working off a Lowden S35 X Jazz nylon string. (custom order)

To all who may be working on some of these snippets, you should pull up the Watkins Glen Soundcheck Jam on YouTube.
Set the Settings Speed to 0.5. Then make that window the upper half of your computer screen.

Open another separate window and pull up this thread and go to the TABs I have transcribed.
Find one of interest, and have a guitar tuned to A=440 in hand.
Note the Time I have listed for each snippet, and listen to it on YouTube, and then try to recreate it using the TAB.
If you have difficulty, try lowering the Speed to 25% on difficult to hear portions.

Good Luck.