#168326  by bzbz
 Tue Sep 29, 2020 6:40 am
fiddling with geometric patterns, using intentional modes, etc - these are both the keys to learning how to play better, and traps that inhibit expression. No doubt.

Melody is the way to go.
 #168327  by Jon S.
 Tue Sep 29, 2020 7:13 am
>> Melody is the way to go.

I can't remember where but I read an interview once in which Jerry said, when learning a new song, he first worked out the melody line in solo notes. Then he immediately had two ways to solo over every new song: with the melody; and (for lack of a better phrase) against it.

I like this advice. Melody is one way to go. But like most things in life, a steady diet of just melody can become tedious.

So, by all means, learn the melody and how to solo using it. But also learn know how to use your scales, modes, chord tones, and intervals.
 #168331  by PurpleTrails
 Tue Sep 29, 2020 10:06 pm
tdcrjeff wrote:
franklins_timmy wrote:
Mon Sep 28, 2020 8:32 am
@Jon S. or anybody else. Jon I understand the modal stuff & know the modes but have a hard time making them sound different. Since modes share the same 7 notes just in a different order/sequence how can you make them sound different? I know start on an A note for A major/ionian, B for B dorian, E for E mixo, etc... but once you get going it's all the same notes & I end up feeling like I am just playing the parent scale (major). Not sure if I am explaing very well. Franklins Tower for example is A mixo but how do you make it sound different than D major or any of the other modes beside starting on the A? Take hitting chord tones out just for this instance & focusing on playing the correct mode.

But a big part of it is the chord tones. Check out this video:
Discovered Michael Palmisano early in the sequestration. He got turned onto the dead about a year ago, and has a series of reaction videos where he's going through videos and assessing what Jerry and the rest of the band are doing from a theory point of view. Pretty interesting stuff, and it's very cool to see his reactions as someone relatively new to the Dead seeing and hearing a ripping performance.

He's got a great one where he goes through the album version, a live Jerry version and a Mayer version of US Blues talking about what is being done on each. He's by no means an expert on playing Jerry-style, but has a good way of figuring out what is being done, why it works and how to translate the theory to improve your playing.

Think he's picked up at least 50,000 followers on youtube once he started turning into a deadhead, and passed 100,000 a while back.
 #168348  by LazyLightning72
 Sat Oct 03, 2020 5:08 pm
Been having a blast recently with some improv over backing tracks. I prefer ones where it’s the boys playing looped.

The deeper I get into the Mixolydian scale, I find myself hearing little Garcia’ish licks in my playing almost on accident. If that makes any sense.

Tonight I’m going to start making an audio catalog of my progress. Something I wish I had done for years. Better late than never though imho.

Also going to start making my own backing tracks with audacity. I heard an incredible 74 Eyes today, and would love to play along with it.
 #168640  by LazyLightning72
 Sat Nov 21, 2020 4:10 pm
So I’ve still been working on mixolydian, and have the positions down. Still working a bit on my speed, but that’s always an ongoing process for a while.

Recently when playing against a backing track, or a loop I have made, I keep finding myself doing something. Mixing it up a bit, moving back and forth between whatever position I am playing in mixolydian, and shifting over to a pentatonic shape, then back again.

Sometimes it works, sometimes not so much. However is really gives a better perspective of how they can play off of each other. If that makes any sense to anyone outside of my brain, lol!

Which got me thinking,
I think I’m going to work on some blues scales here and there too. The way I see it, blues is what gave way to rock at least imho. When “rock” really got momentum, theses guys were pulling from ideas found in blues. So in a way, the blues (and again this is just a personal opinion) is the foundation upon which early rock was built from.

I mean if I am just flat out wrong, please correct me, maybe I am looking at it the wrong way.

Also, on a side note.
Recording myself has, and going back and listening, not only to my progression, but to what I was playing at any given moment. Has given me a perspective I’ve never had. One of those things I should have done from day one, but better late than never.

Hope your all having a great weekend!
 #168652  by wabisabied
 Sun Nov 22, 2020 4:16 pm
Glad things are going well @LazyLighting72. Movement between modes and scales is a great thing to work on.

And yes you should dig into the blues scales, major and minor. It will be easy to internalize them quickly, as they are nothing more than the Pentatonic scales with one added note. Major blues adds the flatted 3rd to the major pentatonic scale (same note that makes a chord minor.) Minor blues adds the flatted 5th to the minor pentatonic scale (same note that makes a diminished chord.) These create consecutive chromatic intervals within both scales, something you won’t get in pentatonic scales or any mode.

I find the major blues scale works quite nicely along side Mixolydian mode. It fits right within its 7 notes, plus the flatted 3rd, so that’s 8 notes to work with. Align those notes with chord tones, especially the ones that define the chord changes, and you will really start to enjoy your recordings.
LazyLightning72 liked this