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PostPosted:Mon Oct 20, 2008 8:18 am
by trking8
ok, I spent a little time with Etown "eyes" over the weekend. I'll post a vid, but here are some observations, esp. the phrasing:

1. getting fluid with the scales is a good baseline. I think pete identifies them generally as the Ionian for the Emaj7 and the Dorian for the Bm

2. there are "curls" and turnarounds within the scales. very very important

3. some walkups end with a chromatic riff. this takes a little finesse with the timing.

4. using the flatted 4th as a transition in the Bm Dorian adds a nice feel to it

5. you can get some sweet submelodies by playing different notes within a chord (not an arpeggio per se). this is more evident in the "without a net" version of eyes.

the wife isn't impressed, but I'll get the weekend chores done this week.

peace out,


PostPosted:Mon Oct 20, 2008 11:34 am
by Tennessee Jedi
I just a stack of '73 and '74 shows.
There is a Killer Eyes from 04/02/73 Boston Gardens - Jerry goes mega diminished scale crazy during the outro.

PostPosted:Mon Oct 20, 2008 2:03 pm
by jeffm725
Tennessee Jedi wrote:Do you think this is the beginnings of Jerry's diminished scale work like Slipknot ?
Not this show in particular but this era ?
Pete.B was hearing it ( ears of a rabbit ) on a 72 show ....
Also they were not "together" on the changes.
If the Dead cant do it - how can I ?
:lol: :lol: :lol:
I think its about picking and sticking with a arrangement maybe.
For tightness in a band setting.
Thanks for the input !
I'm going home to drink and play now.
Peace !
Yeah, as far as pulling this off with a band, I would highly recommend having a "set arrangement". it really sounds good and tight when your whole band hits the changes at the same times. Decide on Bar lengths and number of times through and you are all set. It really isnt that hard of a jam when everyone is on the same arrangement page. It is a great jam that is chockful of tension and release moments.

AS far as the diminished part being the genesis of slipknot. Yes, he was sure fooling around with the dimished and minor third runs during this period, however I dont think the dimished chord in these structured eyes jams was the precursor. There are some Dark Stars from 73-74 that have pretty much spot-on slipknot runs embedded in the jams.Predating the real slipknot by 18-24 months! And yes Pete is right, I think some of the fall 72 stuff has some slipknot hints.

PostPosted:Mon Oct 20, 2008 2:27 pm
by jonarobb
Pretty developed Slipknot theme in this Playing in the Band ... sbeok.shnf

PostPosted:Mon Oct 20, 2008 2:29 pm
by tigerstrat
jeff, that's eggzaggly how we (used to) do it cept we go to D#m on the 2nd break, and dim it on the 3rd break like you have. Can't speak to the riff tab offhand.


PostPosted:Mon Oct 20, 2008 9:21 pm
by trking8
got my vid together but the youtube upload is on the downlow. :|

this one is advanced, with very little instruction, but it illustrates the above comments (various techniques for "eyes")

stay tuned,


PostPosted:Tue Oct 21, 2008 10:13 am
by trking8
let's try this again...


PostPosted:Tue Oct 21, 2008 9:08 pm
by trking8
sorry for the multiple posts.

the vids are tabbed now.

peace out,


Re: woodshedding...

PostPosted:Wed Oct 22, 2008 9:01 am
by Pete B.
trking8 wrote: 2. there are "curls" and turnarounds within the scales. very very important
Yes. I find these "curls" or "circular patterns" to be very remeniscant of a "banjo roll" technique. I think the C position of the Emaj7 (Index finger on the 4th fret and ring/pinky on strings 4/5) lends itself well to this, using the pinky hammer-ons on string 1&2. Follow with slides in to multiple Bm (and A) chord forms.
trking8 wrote: 4. using the flatted 4th as a transition in the Bm Dorian adds a nice feel to it
I'm thinking you meant flatted 5th in the Dorian mode, (but I might have missunderstood what you meant).

An interesting study on this chord solo thing!... We jammed on it last night for a looooong time with my weekly Trio jam (guit/bass/drums).
One thing I came up with while playing around at home, is the relationship of the Jerry chord solo style to a Merle Travis / Chet Atkins style of fingerpicking.
Think of doing the chord solo to the beat of Southern Nights by Glen Campbell, or the ragtime hit The Entertainer, using thumb and fingers to work out the chord solo... then bring that back to the Deads E'town Eyes jam, using a pick.

Also, This whole Emaj7 chord solo thing?... move it up one fret to Fmaj7th, and you got the makings for a killer Supplication jam!
Check out the last couple min's of this vid (start approx 7:40):


Funn Stuff!

PostPosted:Wed Oct 22, 2008 9:52 am
by trking8

yeah, that's a flatted 5th (I tried to correct it with a thought balloon in the vid).

great suggestion on playing with a different feel/timing/beat - - thanks. I gotta get a loop machine to piece some of this together. any recommendations?

cool that you got guys to jam with. my buddies are in a wedding band. good; they're real musicians and they know the dead. bad; they got too many gigs with their band to jam ofter.



PostPosted:Wed Oct 22, 2008 12:56 pm
by Tennessee Jedi
Check out this Alembic guitar for sale.
The guy has a video of him and the guitar playing Eyes.
Pretty cool
Nice chords ...

PostPosted:Wed Oct 22, 2008 12:57 pm
by Emoto
Tennessee Jedi wrote:Check out this Alembic guitar for sale.
The guy has a video of him and the guitar playing Eyes.
Pretty cool
Nice chords ...

PostPosted:Wed Oct 22, 2008 1:01 pm
by Tennessee Jedi

PostPosted:Wed Oct 22, 2008 1:05 pm
by Emoto
Wow, that's pretty wacky looking.

PostPosted:Wed Oct 22, 2008 1:12 pm
by Tennessee Jedi
Check out his vid
Good stuff in there !