#161428  by old man down
 Wed May 23, 2018 11:40 am
:wink: This post is going to show a LOT of editing over time.
This will be my crucible for tabbing all of the snippets posted above and below.
When something is reasonably correct, I'll post a bare-essence TAB below. "Just the notes, Ma'am"


Comment of the Day

Things are up to date, again. October 11, 2018 12:05 pm EDT

Posted the last TAB where it belongs and this window remains the never-ending Edit window.

Still trying to get one snippet in per day.

The good news is that this effort is currently 100.00 % through the Watkins Glen Soundcheck Jam,
I'm still maintaining the highest quality of note transcription I can pull off, and some of the
upcoming snippets are so easy that I should be able to breeze through them.

Hoping for September or October finish date. Summer chores (cutting grass, painting house, weeding) take priority.

Once finished, I will then take on the daunting task of trying to work the snippets together as a whole, for performance coherence.
(for easier flow of technique, yet each of manageable lengths for anyone else to attempt)

Still amazed at the incredible elements of technique in this single piece of music. It seems to have it all!

May add the “cut” portion that is missing on So Many Roads, but that can always come later.

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————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————12—14—————
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—14—————————————————————————————————————————————————————————————————————
If there is content, other than dashes, then this is the limit. (below line; should probably go for shorter, to buy insurance)
————————————————————————————————————————————————————————————————12—14—
In the editor, the above lines are different lengths, but post the same length after being Submitted.
If the TAB is any longer, it wraps around and is therefore unsuitable. (on my MacBook Pro 15")
Hitting <Command> + — shrinks the screen appearance and things are Ok, but hit <Command> + +, and things wrap.
Will deal with this on a case by case basis, but probably always go shorter overall lengths to accommodate smaller computers.

⎜— ○ —
⎜— ● —
⎜ ———
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .V . . . . . . . . . . . . . . . . .VII . . . . . . . . . . . . . . . .IX. . . . . . . . . . . . . . . . . . . . . . . . . . XII . . . . . . . . . . . . . . . . . . . . . . . . . XV

3 long dashes always get a space first; dash dot dash have a space both before and after dot, and then there are the fret Roman Numerals.
These four templates, and "bolding the nut," are all that are required to map the entire fingerboard.
Last edited by old man down on Thu Oct 11, 2018 9:05 am, edited 1152 times in total.
 #161429  by TI4-1009
 Wed May 23, 2018 8:08 pm
Keep up the good work! 8)
 #161469  by old man down
 Wed May 30, 2018 7:46 am
2nd Movement (continued)


29 (4:46) Settle-in, lower-mids, full command

———————————————————————————————————————————6—7(micro pause)————-———————–————
——————————————————————7—8—————7—8—7————7—8—10————————————–——————————————
—————————12\11——11————7—9——————9————————9————————————————-———————————————
—————12—14——————————————————————————————–—————————————————————————————
12h14——————————-———————————————————————————————————————————-——————————
————————————————————————————————————————————————————————————————————
Begins with a dynamic rise forward on those lush notes at 12 and 14. Then it gets a little stilted down around the 7th fret.
The micro pause is about just letting the prior 7 ring hard to try and squelch the possibly sour 6 before it.
(Jerry's first sour note?)

7——————————————————————————————————-————————————————————————————————
——8—10—7—8——7————888888—10—10—10—10 /12—12\10r—8——10—10—10—10—10r8———————–———————
—————————9——7—9—————————————————————————————————————————9—7———9—7——–———
——————————————————————————————————————————————————————————9——————9—9
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
A coherent and intuitive drop with a rise back to the four 8's (all in a row), but they get a little blurry thereafter.
The launch of the slide up to 12 is difficult to hear. The ending is a pause of sorts, setting up for the upcoming bass note triples.
A Mixolydian


30 (4:58) Trips throw around, mid-to-high, with a micro-pause end...

——————————————————————————————–——————————————————————————————
———————————————5——————————5——————7—8———7———————————–———————————
————————————————————7———————7—9—9————9————7—9—9———7—9—9——/11——————
—5—–5———5—–7———5————5—————5—————————————————————————————————————
—-5h7————5h7————5h7———5h7——–—5h7———————————————————————————————————
—————————————————————————————–———————————————————————————————
Of all the snippets I have done, this is one of the most beautiful: the technique of punctuated notes actually tabbed-out.
It is interesting that when you first try this cool technique, it resists your efforts toward mastery.
With practice it can become second nature; you might even find yourself using it where Jer did not, like at the start of the first 7 9 9.
The way to get good at it is by exaggerating the glissading over the adjacent string before the hit & hammer and the final string.
The punctuation begins with the delayed energy of the pick's travel from the initial string. The hammer then accentuates everything, like a boost, and then the forceful final note is hit extra hard for full effect.
A Mixolydian


31 (5:04) Resolution of trips throw around, setting up for flurry to follow

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8—————————————8—7—————x——————————————————————–——————————————————————
7——7————7——7h9–9————9—7——9—8–9—7———————7————————————————————————————————
————7h9–9——————————————————————9—7—9———9—7————7–7——5—7—5—————————————————
———————————————————————————————————————10——————————7–7———————————————
———————————————————————————————————————————————————————————————————
Weir chord just prior. Garcia's notes are slightly punctuated as he moves to lower notes to set up his upcoming barrage just after this.
Hand position begins at the 7th fret, and abruptly moves to the 5th fret for the last seven notes.
A Mixolydian


32 (5:09) Exceptionally tight "flurry-up," perhaps the fastest playing of the song; blur of finesse in two different pockets

—————————————————————-——————————————————————
——————————————8—————————————————8—8—10–8–10————
——————————————7——————————7—7—9–7–9–—9——————————
——————5—5—7–5–7/——————9—7—9–9–—9—————————————————
—5—7–5–7—7————————————————————————————————————
——————————————————————-—————————————————————

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —7–778r7———–———7——78r7———–——7——————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —–—10————10—8——10—10—————10—8—10—10—8———8———————–————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————/9—–—9—7——————–——————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————————————————————————————————9—7—————-————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —————————————————————————————————————————10——9——8——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————–——————————————————————————
When the Dorian-note gets played (8th fret, high e string) there is a pattern to the madness.
They all end incoherently here. Chaotic. Out of kilter. (Their general plan?)
Final 8 purports the extreme dissonance yet to come?
A Dorian


33 (5:19) Jer takes a break and lets the others give him a rest while he chords it

Jer
—x —x——x——x— —x— —x——x/x——–——x–—x—--—x———10—10— —10—10—––—9———7————————-———————
—5—5——5——5——5— —5——4/5————12—12——12———9 –– 9 – – – 9 –– 9––-–––8———6————————-———————
77——7——7——7——7——6/7————10—10——10———9 –– 9 – – – 9 –– 9—– —–9———7——9—7—9r7——7—9————
—6—6——6——6——6— —7——5/6————12—12——12———9 –– 9 – – – 9 –– 9—– —–x———x———-———-———9—————
—7—7——7——7——7— —7——6/7——-——x–—x—--—x – – - – x –– x – – – x –– x—– — –x———x———————-————————
—x —x——x——x— —x— —x——x/x——–——x–—x—--—x – – - – x –– x – – – x –– x—– — –x———x———————-————————
. E7 . . . . . . . . . . .. . . . . . . . . . . . E7...Eb7/E7 . . .. . . G7 . G7 . . . G7 . . . . . E7 .. E7 . . . . E7 .. E7 . . . . . A7 . . . . G7
Don’t have a clue about what Jerry was doing here, and why these chords sound so good… but they do.
It is like he fell out of bed, rambunctious from the last snippet, took one lick from the icing on the cake?

Weir
—7—7—\6——7—7—\6——7———7—7—\6——x————————————
8—8—\7——8—8—\7——8———8—8—\7——5————————————
—x—x—\x—-—x—x—\x—-—x———x—x—\x— —x————————————
————————————————————————————————————
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Bobby is about to come to the fore. Here’s the first taste of his messin' around.


34 (5:34) Weir chords throw-around; Jer can just be heard lightly in background at end

—————————————————————————————————————————————
8\7/—8–\7/—8\7/—8–\7/—8\7/—8–\7/—8\7—\—88—\—7—\—4——————5————
7\6/—7–\6/—7\6/—7–\6/—7\6/—7–\6/—7\6—\—7—7—\—6—\—x——————4——-——
——————————————————-————–——————————————————————
——————————————————–——————————————————5—7——————
——————————————————–—————————————————7————–————
Weir deals with only the first 3 strings, and a little mastery of sliding around. Looks cool. Audience loves it.
Familiarity with the open D shaped-chord will serve you well. Place open D chord fingers on all 3 strings.
On this time through Weir's dyslexia tripped him up; he should have stopped at the 4th fret, not the 3rd.

. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . 8–\7—\—5—\—3—/—5————5——8–\7—\—5—\—3–3—/—5——8\-7-7–\6——5——5——8–8—\7—5—5——
. . . . . . . . . . . . . . . . . . . . . . . . . . . 7–\6—\—4—\—2—/—4————4——7–\6—\—4—\—2–2—/—4——7\-6-6–\5——4——4——7–7—\64—4——
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————————————————————————————————
He made another mistake on this section, around nine notes before the end. It happens.


35 (5:48) Still Weir chord throw-arounds, here, there, and everywhere; Garcia still in background

Weir
—————————————————————–——————————————————————
5————8————10——— ———7————7————————5——5——5———–———
4————7——-——9———-———7————7———6h7—–6—4——6——4———-———
——————————————9———7——————————9———————–———————
—————————————7——7h9——7h9——7h9—————————-—————————
——————————————————————–—————————————————————
Bobby has probably changed over to the x5467x barre chord shape, and just using the index and middle.
His fills are his usual style of working the index, middle, and ring finger off an open G shaped-chord.
Very last chord is indistinct.

Garcia
1010101010101010101010101010101010\—\———
1010101010101010101010101010101010\—\———
——————————–———————————-—————————–————————————
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Jer is admiring his view of the audience!


36 (6:01) Weir single notes; successive and repeated motifs

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—————————————-—————————————0———————————————————————————
————97——–——76——–——64———4—4—4———————————————————————————
———————————————————————6—6—6———————————————————————————
—7h9—————7h9—————7h9——–—–——7—7—7———————————————————————————
———————————————————————————–——————————————————————————
Nice, easy, little segment, here. Do the hammer-on, then hit the high note, and the lower note is hammered to "pop it.”
Weir does this technique all the time to accentuate his style of play.
For the last chord, play the open string to avoid the bright high e.


37 (6:05) Weir signature chords, as continued throw-arounds (nice); Jer just starting in at end

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8p7h8—8–8p7h8—8–8p7—10—–8p7h8—8–8p7—10—–87—–8p7h8—8–8p7h8—8–8p7—10—–8p7–8p7–8p7——810—–7810—-0
7—–-–—7–7—–-–—7–7–– ––7——7—–-–—7–7—–—7——77—–7—–-–—7–7—–-–—7–7—–—7-–—7– –-7-––-7-—-—-7—-7——77–-7—–9
——————————————————————–—————————————————————————————————————————————9
————————————————————————————————————————————————————————————————————
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Spent a lot of time on this; incredibly difficult to figure out, let alone to TAB it, but once done, it made complete sense.
Index finger flat at the 7th fret, 1st three strings, with focus on the 2nd string. Pull and hammer the ring finger, and reach with the pinky.
I had wondered about this segment forever, but it was 50% speed on YouTube (even 25%) that revealed it unequivocally.
It reveals so much about Weir’s Technique. Quintessential. Timeless. One for the ages. A must for any rhythm guitarist.
Last chord is odd, but Jer might have had a part in it. (hard to tell since he launches simultaneously)


38 (6:16) Jerry comes in with staccato notes followed by rhythm-like single notes, very fast, and then more difficult notes of random blur

——————————————————–—————————————————(tremolo picking from here on >>>>>>>>>>>>>>>>>>>>>>>>>>>)—-——
—————8——8—10–8—————8——————————————————17h16-h15h17h16-h14h16h15-h13h15h14-h12h14h13-12-12
9–7—9——9——————9–7—9——9—7————7———————–——————(12 times?)—(2 times?)—(2 times?)—(2 times?)——–——
—————————————————————9————9—7———7——7————————————————-—————————————————
————————————————————————————10——9——9—————————————————————————————————
——————————————————————————————————–—————————————————————————————————
At the 17th fret, tremolo picking — coupled with hammers, pulls, and slides — begins. It is too fast to TAB, transcription is impossible.
On YouTube, slow the WGSJ down to 50% and 25% speed to help you realize the underlying cadence, pulse, waft to the beat.
To develop technique, on the 2nd string, try descending from the 17th to the 12th fret using triplet note variations.
You have to experiment with technique to find a suitable imitation of what Garcia did. Experiment a lot!
It seems that he may only pick the string once during each of the three-note series expressed.
Triplets… slides of 3 descending notes… who knows. Jerry showed his virtuosity here.
One thing’s for sure, it is bounded by 6 frets and only lasts 7 seconds. Good luck!
A Mixolydian


39 (6:29) Garcia takes command with bright notes, still all over the place; clearly in the thick of it

Bobby
———————————————————————————————————————————————————————————————————
-----------3———3————3—————————————————————————————————————————————10—10——-———
—4—4—2—4—-2——4—-2————————————————————-—————————————————————————9—–9——–———
—5—5—–—5——–-—5————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
. . G.. G.. D.. G. . . D. . . G. . . D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A. . . A

Jer
——————————————12—14——12——————10———————————————————————————————————————
——————————12—15————————15–14———————————8p7—7————7—8——7———————————————————
———————————————————————————————9——————9——7—9—–——9——7—9—9—9p7——————–—————
—————————————————————————————————————————————————————————9————–—————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
Wanted to keep Jer at the 12th fret, but I think he drops down to the 789 region, preparing for the Inside Out, a delicate operation.
"These things must be done delicately… or you hurt the spell.”
A Mixolydian


40 (6:34) Beginning of characteristic Garcia note walk-up, set against Weir's forceful rhythm chops

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—————————————7——–——7————————————————————————-————————————————————————
———67————6–7–9————9———9—7—6—7——6————6—7—99—7—9—6————————————–————————————
9——————9——————————————————9——7—9————————————-———————————–————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
This is a very easy setup… if you do it the right way. (have tried both the 4th and 6th fret positions many times)
The 6th fret is the way to go. Really, it is the 7th fret, and drop into the slot to get the 6, then return to the 7th.
On the return trip, in the downward direction, drop to get the 6 and stay at the 6th fret till the very end.
The ghost 9 is very important to keep things tidy, so pretend to hit it. (or hit it if you like; I do)
This is a very intuitive set of notes, and a hell of a lot of fun.
A Mixolydian


41 (6:40) Killer Garcia walk up; The (pronounced Thee) Inside Out of the Song

———————————————————————————————————————————————————————————————
——————————————————————————————————————————————11——1112—————-—————
—————————————————————————11——————11—12————11—12—14——14———————-———————
—11—12—14—14——11—12—14——11—12—14————12—14——————14————————————————————————
———————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————
For the Watkins Glen Soundcheck Jam, this is the Eye of the Storm. There is a peacefulness here. Very tranquil.
When I stumbled on this location, it fit with the correct tone, and also the capability to render it intuitively. It's beautiful.
One chromatic passing-tone note: the 11 on the 2nd string. Used twice; the second time with panache.
Thick, lush, notes, with strong fingers to handle them with authority. And you're well placed for what's next…
'Cause when life looks like Easy Street : The Eyewall of the Storm follows immediately!
A Mixolydian


42 (6:45) High notes resolve of movement; very dissonant as Weir plays bizarre chords to heighten the confusion; Jerry with good tone playing over the dissonance

Bobby
—-9––9––9—–––—9––9––9–—–—–9––9––9—–——9––9––9——————————————–————————————-————————
121212———121212———121212———121212—————————————————–—————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
Weir has chosen to employ a Major 2nd note interval (two notes, two semi-tones apart) to add dissonance, chaos, confusion.

Jer
—————————————————————1212/14—141414——14–15—12————————————-—————————————
—12—12———12–13p12—–——12–13h15——————————————————————–—————————————————————
——————-——————14–—14——————————————————————————14—12——11———————–————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————
Although Garcia walked up through the Inside Out in A Mixolydian, he now has bloomed the rise in A Dorian.
Garcia's Mixo-Dorian scale-change, juxtaposed against Weir's dissonance: They’re through the Looking-Glass.
(Music Theory can humble you if you’re not careful; I’m already in over my head.)
A Dorian


43 (6:53) Continued dissonance, everyone getting ready to climax the movement, and Jerry just starts to end it

(a) (6:53) to (6:57)
————————–————————1512————————-————————-————————
————–————1312—————————13———————————–———————————
—11—12–1214————1412———————14—12———————12——11–11—————
———————————————————————————14—12———————–———————
———————————————————————————————15————-————-————
—————————————————————————————————————————————
Slide hand up from 11th fret to 12th fret, execute, and then drop to the 11th fret again.
An easy set of notes to remember because of the exclamatory 15 cascade down.
A Dorian

(b) (6:57) to (7:00)
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
—11—–——1214/1616——14—1616——14—1617—16—14—1616————————————————————————————
——12—/14—————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
This is an important segment because the /16 slide up can be heard and the only other slide up alternative, the 2nd string /12, would not be coherent. Garcia wants to climax everything, he’s been heading higher, and at some point he'll crescendo with a 1st string, 17th fret note (upcoming), anyway. If this 17 note were not done on the 3rd string, then it would have to be done on the 2nd string; then climax coherence gets tossed out the window. Let’s just say that Alligator played fine on that 3rd string note, and Garcia, in general, had no reservations playing up there on the 3rd string. The only drawback here, at least on my nylon string, is the 17 comes off weak. It’s just too high up on a nylon string to ring well.
A Dorian

(c) (7:00) to (7:02)
——————————————————
———15—————15———15–17-—
—16——16——16——16——————
——————————————————
——————————————————
——————————————————
Short segment with a lot of power.
Last 2 notes set up the cascade.
A Dorian

(d) (7:02) to (7:05)
15—14——–——17—15–14————14—————————————-—————————————
——–——17–15——–——-——17–h15——17–15–14—17–15–14——12—15–14——12————
—————————————————————-—————————————————————14—-—
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
Everything begins at the 14th fret position, and then drops down to the 12th fret position.
The h15 is because Garcia missed the note, but fingered it.
The 12 has a distinct tonal change, obviating the position.
Note the scale change back to…
A Mixolydian

(e) (7:05) to (7:11)
Bobby
————————————————————————————————————————————————————————————————————
——–14——15–14——————————–—————————14–15–17——————–—————17–15p14h15—17——————–———————
—16——16———16–14———————–————————16————————————————————–———————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————

Jer
——————————————————————————————————1412——————12——————————12——————–—————
—————–—————1214—12–15—12–14—12–15b———————————15–14h15—————————————15–14h15—15–14–12—
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
Weir and Garcia trade off lead and fills; probably giving Bobby too much credit, but he does come in stronger, next snippet.
Volume changes, and sometimes the tone, suggest Garcia couldn’t have done it alone.
A Mixolydian


44 (7:11) Drift down, tension released, mid-to-high notes

(a) (7:11) to (7:14)
Bobby
14\12—–—12————-————12———-———
——–——14——————-——————15——-——
————————————————————————
————————————————————————
————————————————————————
————————————————————————

Jer
————–———17\15–14–15r14————14—–—
————————–————————17–15——15—
————————————————————————
————————————————————————
————————————————————————
————————————————————————

(b) (7:14) to (7:16)
Bobby
14\12—–—12—-—12————————-————————
——–——14———-———15h14—15r14————–————
————————————————————————————
————————————————————————————
————————————————————————————
————————————————————————————

Jer
————————————————————————————
—————-—————17–15–14—15–14—14———-———
—————————-——————————16—16–14—16—
————————————————————————————
————————————————————————————
————————————————————————————

(c) (7:17) to (7:23)
Bobby
14\12—–—12————————————————–———————————————
——–——14———14h15r14————————————–—————————————
——————————————14————————————————————————
————————–———————14—14—14–12–11———————-———————
————————————————————-———————————————————
———————————————————-————————————————————

Jer
———————————————————-————————————————————
15—r14———-————-———17—15–14—15—r14——17—15–14—15—r14—
————————————————————-———————————————————
———————————————————-————————————————————
————————————————————-———————————————————
———————————————————-————————————————————
Have done my best to line up both Bob and Jer’s parts on this section. It's difficult to TAB the ghostliness of their work when they share same-pitch notes.
Have gone over this snippet thoroughly, even re-doing Bob's part entirely, trying to settle on what I think his position and journey would be.
Mind boggling; have always struggled with his stuff. He's so quirky.
Together, both relatively high up on their fingerboards, innately intertwined, they give the impression of dual lead guitars.
Weir is whimsical: his short little fills; Garcia is typical pattern & position.
A Mixolydian


45 (7:23) Filler chords as Weir does a few more dissonant chords; Jerry sets up by chording in background

(a) (7:23) to (7:26)
Bobby
14\12—–—12—————————-—————————
——–——14———14h15r14——————-——————
——————————————14———————————
————————–———————1414—14–12–11—
—————————————-—————————————
—————————————-—————————————

(b) (7:26) to (7:31)
Bobby
—————————————————————————————————————————————————
——–————————————————————————————————————————————12
——————————————–——————————————111111——11h12r11———-————
—11h12r11—11h12r11——11h12r11–14—11h12r11————————————————14–12—–——
————————————14——————-———————14—————————————————————
—————————————————————————————————————————————————
Finally got this done, this Weir section. Took about two weeks (snippets 44 and 45).
Once you try the TAB, experiment with the notes at various positions; very elusive.
Jer starts in with the chords, next, and will drown out Bob in a matter of seconds.
A Mixolydian


46 (7:31) Heaviness chords by Jerry, as sets of five

Bobby
———————————————————————————-——————————————————————————
—————12\10——————–——————12\10——————————-—————————-——————————
————–———h1211h12r11————14——–—h1211h12r11——————————-———————————
———————————————h14———————————————h14—12—11———————————————
———————————————————————————————————————14—12109———————
——————————————————————————-———————————————————————————
These are the last of Bob's fills. You can do his fills, then hit Jer’s E7 chords a little at the 5th fret, go back and forth between the two.
Throw in the ghost notes as they’ll help you to get the feel of Weir’s rhythmic-style fills. (They’ll get the cadence to work out for you.)
Otherwise, you won’t figure him out, though you can get close.
A Mixolydian

Jer
———————————————————————————-——————————————————————————
—5——5———5———5——5——————5——5———5———5——5——————5——5———5———5——5
—7——7———7———7——7——————7——7———7———7——7——————7——7———7———7——7
—6——6———6———6——6——————6——6———6———6——6——————6——6———6———6——6
—7——7———7———7——7——————7——7———7———7——7——————7——7———7———7——7
——————————————————————————-———————————————————————————
E7 Chord. Listen to Jer and just try to emphasize it like he did.
Real simple, very easy. Relax and have fun with it.


Bobby
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————-—————————12——12———10——9———7——12b
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7—————————-————————12——12———10——9———7——14b
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————-—————————12——12———10——–———7————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——9—————————-————————12——12———-——-————9————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————————————-————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .——7————————————————-————————————————————

Jer
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .———————————————————-————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————5——5———5———5——5——————5——5———5———5——5——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————7——7———7———7——7——————7——7———7———7——7——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————6——6———6———6——6——————6——6———6———6——6——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .—————7——7———7———7——7——————7——7———7———7——7——
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .———————————————————-————————————————————


47 (7:44) Jerry and Weir trade chords; can't be sure who hits what, but just before a single note rhythm climax that follows

(a) (7:44) to (7:49)

————————-————————10——10—--—9——9——9——7———10——10———9——9———14——14
—5——5——————–——————8—–—8———8——8——8——8—-–-—8—–—8—-–-—8——8———12——12
—7——7———7——7——6—-—-—7—–—7———7——7——9——7—-–-—7—–—7—-–-—9——9———12——12
—6——6———6——6———-———9—–—9———9——9————–————9—–—9—————–————12——12
—7——7————————————————–————————-—————————–————————————————
——————————————————-—————————–—-———————-——————————————————
These are great chords! Have combined Jer’s and Bobby’s parts together. (only two chords belong to Bobby)
Jer transitions from his powerful E7 by thinning it to its core, and then dropping it down a note on the last note.
(He's playing rhythm and just focuses into a single string; when you finally smooth out these six sets of 5 E7s, from heavy to light, for yourself… omg! :hail: )
Then he swings up to the 7th fret (making an “open D shaped” barre chord) forming a G chord, but with a pinky extension on the high e string.
He just toggles that pinky up and down a fret keeping the rest of the chord in place, and in this way he can stay there without looking.
Weir throws in a quick-two accent chords, lending a cool kinetic to everything. (G7 and quickly G)
Jerry now repeats his chord sequence, but this time around, for the chords after the pinky extension shaped-chord, he removes the barre shape and hits the G7 chord with more finesse. (three strings, three fingers)
Then Jerry follows with thee "coolest of cool" 12th fret chord, which is some sort of G chord with a dropped down high note. A brilliant tactic! (7:49)

(b) (7:50) to (7:58)

10——10———9——9———14——14———14———1414——14——14r12——14r12-—-14——14r12-—-14——14r12——14
8—–—8—-–-—8——8———12——12———12———1212——12——12—–——12—–——12——12—–——12——12—–——12
7—–—7—-–-—9——9———12——12———12———1212——12——12—–——12—–——12——12—–——12——12—–——12
9—–—9—————–————12——12———12———1212——12——12—–——12—–——12——12—–——12——12—–——12
—————————–——————————————————————————————————————————————————————
—————————–——————————————————————————————————————————————————————
More great chords! And thee "coolest of cool" 12th fret chord? Jerry let's you have it — — both barrels! . . . :thewave: :x :hail: :cool: :lol:


48 (7:59) Multi-measure single note Jerry climax, and Weir ends with boingy-boingy-boing-boing chords

(a) (7:59) to (8:01)

1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-17-1717-17-16-1517-17-16-15
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————
—————————————————————————————————–—————————————————————————————————

(b) (8:02) to (8:08)

17-17-16-1517-17-16-1517-17-16-1517-16-15——17-16-15——17-16-15——17-16-15——17-16-1514—–9————9————9—-——9b-—
—————————————————————————–————————————————————————11b—–—11b—--—11b—-—11b—
————————————————————–———————————-—–————————————–————————————————————
————————————————————–———————————-—–————————————–————————————————————
————————————————————–———————————-—–————————————–————————————————————
————————————————————–———————————-—–————————————–————————————————————
This is definitely the climax of this movement, and very possibly the climax of the entire WGSJ. Have fun with Bob's end chords.
A Mixolydian


49 (8:09) Climax is over and low bass notes are back to clue everyone to get it together again; clear Garcia take-command notes toward end

(a) (8:09) to (8:13)

—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
————————7/9—8—7\5——5—7——5————————————————————————————————————
—5—5—5–7————————————7——7——5—–7——5————————————————————————————
———————————————————————————7—–—75————————————–————————————
Lesh starter notes. Then Jerry from there on. Easy to hear, but surprisingly difficult to duplicate.
Although the notes are correct, listen and experiment for yourself to try to get Jerry’s cadence.
The ghost 5 (light grey) may be Lesh's since it trips up the natural, intuitive descent of things.

(b) (8:14) to (8:21)

—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
——————————57/9——8——7–5—7——5—————————————————————————————————
—5——5–5———5/7—————-——————7——7–5———7-5——5————————————————————————
—————————————-—————————————7————7——5———7——7——7——7—————–——————
Lesh starters, now Jerry from here on (in the middle), and then these last four 7s are Lesh's, too.
A Mixolydian

Anecdotal Comments (while working these up)

Have improved my Tabbing ability a great deal by tackling the last 28 snippets.

There's a couple of hard ones still to come… wonder what they'll be like.


One thing I didn't realize would happen when I started this, this year, is that my understanding of scales and the application of them has increased dramatically. I used to think of things as just diatonic, and stay in key for the chords that were there. But now I realize the power of incorporating several scales when the chords are either too few to pin down one scale or the chords are not full chords, but instead just partial chords, that can add flavor or colorings, and don't completely saturate the moment or segment being explored.

Not only that, but I can tell when I'm right in Jerry's footsteps, and searching and settling for technique that he also found to offer the best foot forward.

It's all good.

//

May 31st, 2018 10:31 pm EDT

Ok, have narrowed the tremolo picking (more difficult notes of random blur) to the 2nd string, 17th fret to 12th fret. The shorter width of the frets, there, allows for less slop in the flipper-fingers (index, middle, ring), which are constantly doing hammers within the tremolo. The picking hand does a little circular motion, always hitting on the downstroke, while the flippers cascade downward on the frets, as groups of three, within the hits.

//

June 4th, 2018 3:54pm EDT

Well, well, well… I seemed to have lost my way. Have spent the whole weekend trying to resolve an anomaly in my approach.

The technique error may go all the way back to the 39th snippet, at the very end of that snippet, where I'm playing the last note as a 9 on the 4th string. (It may be better as a 4th note on the 3rd string.)

As I went "Merrily, merrily, merrily, merrily / Life is but a dream." (1852/1881; origin dates) forward from there, I finally came up against a two-by-four that hit me smack across the head!

The difficulty arose when Garcia does the 40th snippet (Beginning of characteristic Garcia note walk-up) and plays a set of notes a certain way, and then later, on the 41st snippet he plays the same sequence of notes again. What I found was if I remained in the 789 frets region, with the drop into the slot to pick up the 6, for both snippets, then I couldn't turn the end of the phrase the way Jerry did, at the end of the 41st snippet. Even though I had been convinced I was in his footsteps on the 40th, in reality I wasn't.

So, I had to go forward, TAB the following snippet, the 42nd one, and see how things were evolving. When I did that, I convinced myself that the high e string was indeed played on the 41st snippet (That 1st string has a distinctive sound, all its own… very bright, yet winnowy in a good way on the lower frets; Alligator… love that guitar!) But since I couldn't turn the phrase, wind it out at the end the way he did, from my incorrect 789 frets region, I had to approach it instead from the 456 frets region. This then meant I had to do things entirely different for the 40th snippet, too, because the odds were against Jerry using the same notes, with the same cadence, almost back to back segments, from two different regions. (For him to have done it that way, he would have had to be afflicted by Cerebral Ballsy!)

Fortunately, after working on things for the last hour, from the 4th fret, I've found the exact fingering. I had been tripped up by it repeatedly at the 789 frets region (three strings and a hand shift), but it is always butter when taken on just 3 frets below on the 2nd/3rd strings (two strings, no hand shift, and intuitive beyond belief). And I've also found a way around the 4th string, 9th fret ghost note. It won't be needed anymore because there is a hand move up one fret, from the 4th fret to the 5th fret (all on the 3rd string now) that negates its necessity.

Doing the snippet at the 12th fret region solved all the problems.

//

June 9th, 2018 12:00pm EDT (Saturday)

Was starting to lose my resolve on this work yesterday because the exciting portions had just been completed.

But then this morning I realized that my problem was that the current snippet is 18 seconds long, consisting of difficult wandering. I've just listened to it several times, and it needs to be broken down into parts that are each self contained, whole in concept before the lead continues, and this will solve things.

//

July 2, 2018

Just bumped up against the 60,000 characters limit for a single post.

Will start a new reply from here on.

//
 #161798  by old man down
 Wed Jul 04, 2018 11:31 am
2nd Movement (continued)


50 (8:22) Soft tone, mid-high Jerry motif as things are coming around to normalcy; great tone

————3–5––3——2–3–2———————–———————3——3——2——5——7r5–\3—7r5—2–5r3—2—3——2–3–3/5—5–/7—b4–b4—b3–5—-—
5r3h5——5——————5–3—3—5–5—–—3———3–5———————————–———————————5——————————–——————————
———————-———————4————4–4––2–––4—————————————–————————————————–——————————————6—
———————————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————————
For this snippet Jerry's tone is markedly different, so I moved him to lower frets on Alligator. Some of the notes sound pulled-off.
Other notes sound like he was picking them close to the bridge, their tone is so electrically charged. (high e string resonance)
He makes good use of a few bends at the end.
A Mixolydian


51 (8:35) Drifting down to the end of the Movement

———————————7——–——7———————————————————————————
—7-7—8r7—7—8—9—–—8–10——10–8–7——10\r8–7——8–7——–——7————————
——–———9—————————————————————————9–h7———9—7—-——9
————————————————————————————————————————9—-——
————————————————————————————————————————————
————————————————————————————————————————————

. . . . . . . . . . . . . . . . . . . . . . . . . . . ————————————————————————————-———————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————————-————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ——7———9———7———————————————————————-——————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . —9———9———9——9–8–7—9\7—57\—5————————————————5—7-/9—7–9—––—7h9—h9—h9—
. . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————–——————————7——7———5—7—–—5—7——————————-———————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . ——————————————————————————7————7—————7—————————–—————————
Weir and Garcia are inextricably intertwined here, and you need a little from each of them to provide context.
Suffice it to say that Bobby maybe starts it and Jer definitely finishes it. Indistinct noodle at end, hammered?
A Mixolydian


52 (8:51) Jerry offering a "call" of a possible "call and response" as everything quiets down

————————————————————————————(10–10–10–10r9—9–9–9r8—8–8–8r7)——7——7————5–5———————
——————————————————————————————————————————————————10————8———5–8—–—5—
—————————————7–9——9/11———————————————————————————————————————————7——
——————————7–9—————————————————————————————————————————————————————
1010–9—10r9———————————————————————————–————————————————————————————
—————————————————————-——————————————————————-—————————————————————
Phil ^ bass ^ notes, then a Jerry riser, and after a delay, Jer is here within the parentheses, … and Bobby has the last 6 notes.
The parenthetical Jerry enclosure ( ) gets repeated twice; the first time very lightly, the second time a little more forcefully.
End of 2nd Movement (whew!)
A Mixolydian


3rd Movement


53 (9:08) 3rd Movement start; A few oodles of noodles along with other sporadic oddities and a bass note here and there

————————17\15—-—12—12—12—14——17——14–17–17–17—17–17–17–17–17–17–17–17–17–17–17–17–17–17–17–17–17–17—
———————15—————12—12—12—12——14——12–14–14–14—14–14–14–14–14–14–14–14–14–14–14–14–14–14–14–14–14–14—
————————————————–—————————————————–—————————————————–————————————————
————————————————–—————————————————–—————————————————–————————————————
————————————————–—————————————————–—————————————————–————————————————
15r14–15——————————————————————————————————————————————————————————————
Lesh for context; he undoubtedly plays these notes on different strings, lower down, but these get you in the upper fretboard region.
Garcia with light, zephyr like chords. Some more bass (Phil) comes in at the end, but I’m just focusing on Jer from here on.
A Mixolydian


54 (9:29) Oddity upon oddity, while lost in space

————————————————————-–———————————————————7———-———7———————————-——————————
——————————————————————————————7—8——7—-—7—10—10——7–10—10–8–7—10–8–7——8—7–7——7–10–10—
———————————————————————————7—9————9—-—9————————————————————9—————9——————
—————————4————4————7—9————7—9—————————————————————-—————————————————————
————4—5—7———5—7——7——————10——————————————————————————————————————————————
—5—7——————————————————————————————————————————————————————————————————
Fun roll up. (hand at 4th fret) Keith's loud 7, Jer rolls up again, while Bobby (not shown) constantly fills in with deep space encounters.
Just stay flippery with four fingers making the spread. Very cool throughout, though the last notes are somewhat indistinct.
All in all, just a few rolls with far less than 2001 noodles of A Space Oddity.
A Mixolydian


55 (9:39) Forceful Dr. Smith Lost in Space, bouncing around to nowhere

(a) (9:39) to (9:45)

————————12—12–13–14b13^14—14–12——–——12—————————————————————–—————————————————————
—12–15–14–15—————————————————15–14————12–11–10–11–12–11–10—11–10————————————-————————————
————————————————————————–————————————————————————12–11——14–12–b14^15r14–12–14–12————
——————————————————————————————————-——————————————————————————————————14–12—
———————————————–————————————————(Weir mini noodle, pivots ^ lower here)—————————————————————
————————————————————————————————————–————————————————————————————————————
Silence! You clinking clanking clattering collection of collagenous junk! Spare me the inane innuendoes of your unceasing cackling cacophony!
Unless you’re a silly goose, remain at the 12th fret (like a pusillanimous pinhead beside a preening popinjay?) until the Weir mini noodle.
Then, don’t be a deplorable dunderhead of an unctuous underling, drop down to the 10th fret and noodle away like a nattering ninny.
Return back up to the 12th fret at the end, or suffer the woes of being a wobbling weakling for Jer's 14th fret bend and release.

(b) (9:46) to (9:51)

———————————————————————————————–———————————————————————————————
———————————12—————————————————————————-—————————————————————————
——12—12–14–12–14—14–12—————12—12–14–12—12———————-————————12————————-————————
—14—14—————–—————14–12–14—14—————14—14–12———12—12–14–12–14——14–12——–—12—12–14p12——
————————————————-————————————————14—14—14—————–——————14—14—14—————14—
———————————————————————————————–———————————————————————————————
A babbling bumpkin could have trouble here with pot-headed-prankster-Jer’s calamitous clump of misguided-mechanical-misery-meandering.
12th fret position; use the bold accents to avoid ingots of ingratitude that only a tintinnabulating tin can might tirelessly torture, interminably.

(c) (9:51) to (10:00)

——————————————————————————————————–—————————————————————————————————————
————————————————————7——87———————————————————————–———————————————————————
——-—-——6——6–7——–———6–7–9–—–9—–——9–7–6—9–7–6——7–6———6———————————————————————————2–4—4
—7–9p7–9—7—-—-—9——7–9————————-—————————9———9–7——9–7–6—9–7–6——7–6——5–7—4–5—4–2–4—2–4–5——–———
———————9————————————————————————————————————————9————————————-———————————
——————————————————————————————————–—————————————————————————————————————
"It does not compute. Where am I? Who turned out the lights? Danger, Will Robinson! My circuits are overloaded!”
"And now if you’ll excuse me, I shall retire. Good night to all, and to all a good night. Bah!"
A Mixolydian (for the most part)


56 (10:00) Dissonance comes to an end, with repeated C & Rs

(a) (10:00) to (10:06)

——————————————————-—————————————————-——————————————————
——————————————————-—————————————————-——————————————————
4–5–4——-——4———————————————————————————————9——-——7—6———9-—-—
——–——7–5–7——7–5–4–7–5–4——5——4–5–4——4—-—-—4578/9——-——-——9————7—————
—————————————————7——7——-——7——5–7—————————7———————-——————7
——————————————————-—————————————————-——————————————————
The hard 5th string 7's may be Keith's piano, but they sound good and offer context.
Surprisingly difficult partial-snippet to TAB out. (this and the other two that follow)
Jer is free-form riffing; wherever he ends up on a "pattern," well, he doesn't care.
Play it on YouTube, try to get it going on guitar, and eventually it will take shape.

(b) (10:07) to (10:16)

————7–6—————————————————————————————————————————14—13—14—13–12———
——8————8——8–7————————7–108–7——-——7–8–10–11/12——121514/15—————————————15—
—9——————9——-——7—–———7——————9–7–9————————-————————-———————-————————
———————————————9————————————————————————————————————————————
——————————————————————————————–—————————————————————————————
—————————————————————————————–——————————————————————————————
The difficulty on this one is trying to understand why he is hitting the notes he is hitting.
He gets to "forks" in the "road," and just keeps on keepin' on.
With practice his obscure directions may become coherent…
But I'm not there yet.

(c) (10:16) to (10:24)

1514–12———-———14—12—————————-——————————-——————————-——————————
———————15–12———————12–10—————12-—-10———–———8-—-7—————————-————————
—————–—————14—————————12–11——————11————-————9–7–6---–7–6–—–—–6h7r6h7r6—
————————————————————————————————12—9————-————9—–—9–7–9-—-—-—-—-—
————————————————————————————-————————————————————————————
————————————————————————————-————————————————————————————
This one may start with your hand at the 14th fret and not the 12th fret. Get fluent, and see which "pattern" shape you prefer.
Too much distraction these last eight days, working on this entire snippet. Rain outside blowing sideways, high humidity.
Lawnmowers, weed whackers, house repair circular saws, and Monday: chain saw rips from my neighbor's tree removal.
Jets taking off from EWR making the WGSJ, at times, impossible to hear. And sugar ants have invaded to avoid the rain.
Nylon string Lowden guitar, new strings … out of tune instantaneously. (the woes of a TAB-ing guitarist, but I digress)
So glad to get these twenty-four seconds of seemingly aimless meandering over, and I can finally move on!!!!!!!!!!!!!!
Seems as though the world has gone mad! It's a Mad, Mad, Mad, Mad World! (What will Jerry have in store next?)
A Mixolydian


57 (10:25) Slow melodic dissonance, very clear to hear; a nice little piece of cake-walk

(a) (10:25) to (10:39)

———————————————————————7————107——-———-——710——10/1212\–10
——————————–——————————8———9—————————-———————-—————————
————————————7–h6———69——-—-——10—–—–—997\6–69———————-——————
———54-—–7–—–9————77——————————————————————————————————
7——–——7——————————————-———————————————-——————————————
——————————————————————————–————————————————————————
4th fret start, ghost notes to keep the cadence. Ring finger up to the 9. (you’re at the 7th fret position)
Drop down to the 6th fret to catch the hammered 6, and remain at the 6th fret until the upcoming 8.
After the 8, move to the 7th fret and stay there until the 7\6 drops you to the 6th fret again.
It is impossible to catch the extreme dissonance of both Jer and Weir, here. Very strange.
Return to the 7th fret to get the 710, and slide up on your pinky for the 12.
Everyday that I’d come back to this snippet, I’d have a different approach.
It sounds simple and obvious until you actually try it for yourself!
I thought it’d be easy. This version is what stuck after three days!

(b) (10:40) to (10:50)

————–————12/1414/1514—————————————————————————————————
101211/12———–———–———171514171514——13——15\13–12—13–12——-—-—-——
————————————————————————————————————————————1412—11—
—————————————————————————-—————————————————————————
—————————————————————————-—————————————————————————
—————————————————————————-—————————————————————————
This portion is straightforward because there are only so many ways since you’re high on the fingerboard.
I opted for the 17, rather than the high e string 12; it just seemed more natural. (Either approach is fine.)
A Mixolydian


58 (10:51) Tip toe, so slow, Sue slow, solely slow, Sue Ellenly sweetly slow dissonance that it is as if a slurry of bed-feathering

(a) (10:51) to (11:03)

———————————-———————————-———————————12–14–15—14–12——–——12—-—-—-—-—
———————-————————-———————-———————12–15——————————15–12—-——12——15—
———————————————————————17—16——12-12————————————————————12—–—
————–————14–17—16—14—-—-—-—19————————————————–————————————————
—14—15–16–17——-————-——15—–17-17————————————————–————————————————
——————————————————–——————————————————–——————————————————
This one is a toughie, technique-wise. Hard to believe Jer went this high on the bass strings, but the thick notes are the “tell."
(Jerry didn’t waste the opportunity of putting the august WG sound-system through its soundcheck paces, that’s for sure.)
The stacked 19 over 17 is a glissade, and the whole 17 17 19 17 is almost a rhythmic swipe, but with a “pop" to it.
If you try your luck enough times, you’ll nail it exactly, and then you’ll understand the gist of it.
Barely a second later, a similar example occurs with the stacked 12 over 12 notes.

(b) (11:04) to (11:18)

—————————————————————————————————————————————
—————————————————————————————————————————————
—12——–———12—11——————————————————7—6—–—5—6—7—6—7——6—
—–—14–12–11——–——12—14—13——14—12–11\–7\–4—-—4—–—–—4—4—4—4——4—
—————————————————————————————————————————————
—————————————————————————————————————————————
Things drift down here, and then there is a very audible sound increase on the 7\.
A Mixolydian


59 (11:19) 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)


—————————————–—————————————6–5——912111413—–—1211-—-1087————–———
————————–———————–———————6–6–5–—7-\6–—8—–8—-—-—10——-——10——-——-——10—9—–—-—
——–—-—–——5–4–0———————87——–——6–6——————————————10——-——9—————-—————9—
—-——-—6—7—-——–—-—6—5—–——5———4———————————————————————————————-—-—-—
——6—7–7——-———6—5——5—7————————————————————————————————————————-—
—5———————–———————0———————————————————–———————————————————0—–—
This snippet, to say the least, is extremely difficult to smooth out. (I'm not there yet.) TAB-ing it was near impossible.
There are eight double-stops that are fairly obvious to hear. There may be more: Jer's guitar distortion suggests yes.
I've included Bobby's notes, which create many of the double stops when combined with Jerry's notes.
You'll want to play both of their parts to capture the dissonance. (At one point the stretch is five frets!)
As they compress time with their "clean" pinched harmonics, the tension that builds is otherworldly.
Reduced to an essential singularity, is it easy to count the angels dancing on a pin?
A Mixolydian (kinda, sorta)


60 (11:43) Oh God! Slow Dissonance!: Give it a rest, Jerry, DISSONANCE! AHHHHHHGGGHHH! Please, please, please, for the love of God Dissonance

———————————0———-———1h2——1p0——————————————————————
7——-——9—8—7——0—————————————————-————————————————
—–6–8–6————————0—–—4————————–———————9—10———————————
—–——-—7————-————5\4—-—-—-—-—-—-—–——10—12————————-—————-—
———————————————————————-——12———-———–———-——–———-———
——————————————————————————————————————————————
Interesting, the possibly open-fret string-of-notes, which were too irresistible not to TAB.
Surprising ending, which is the set up for the next snippet: unbelievable up/down flurries.
(A couple of notes are Bobby’s, at the very start, and it was better to keep them.)
A Mixolydian with an A natural minor (Aeolian) finish!


61 (11:55) Noodle, doodle, doo followed by doodle, doodle doo Dissonance (Will I ever be the same dissonance?)

(a) (11:55) to (11:58)

———-————-————-———9–10–9——-——-———-————-——-——8————————-————————
——-———-——10–11–12–13—————12–11–10–9–8–9–11–10–9r8-8——————-—————-——————
—9–10–11–12———————————————-———————————————-———————————————
—————————————————————————————————————————————————————
—————————————————————————————————————————————————————
—————————————————————————————————————————————————————
This is where Jer played this. No question. You're all set to go from the last snippet: ready for take off.
I do them as flights of 4, with two hand shifts to then use the middle finger for that high e string 10.
On the fall-down you're already placed for the first 4 notes on the B string.
Your whole hand moves to the 8th fret when the 8 comes up.
Then an intuitive rise of notes follow, a small return down…
… and end with the loud 8.
You're halfway there…

(b) (11:58) to (12:06)

—7——————————————————————————-—————————————————————————
–—–10ph8——8p7————–————–————5–5h6h7–7–6–5—–—–—5—————————-————————
——————9—-—-—7——6———4–5h6/7–7—————-————7–6–7–––7–6–5–4–6–5–4–5–4–3–2–0—4—
—————————————————————————————————————————————————————
—————————————————————————————————————————————————————
—————————————————————————————————————————————————————
Damn, this ones's difficult!! The first 6 notes are not that hard, really, working from the 7th fret.
Then things slow down a little, but don't get your hopes up… because the hard part is next.
Last 27 notes, or so, work with just 3 fingers (index, middle, ring) and begin at the 4th fret.
After the first note, slide up to the 5th fret and work from there; both G and B strings.
Toward the very end it gets a little murky because of background resonance.

This whole snippet, both parts, can be smoothed out… It's gorgeous!
Just keep working it. Listen at 75% speed, and match what you hear.
The hard part's done… the TAB. 25% Speed on YouTube; brutal!
Probably fried a few neurons in the cobwebs of my brain. :thewave: :lol:
A Mixolydian (Very chromatic!)


62 (12:07) There just may be a God Dissonance. (umm, maybe not)

————————-—————————-————————5–\4——————-—————-—————-—————
—–—5—6—5—5——5—6–5—6–5—6–5—6–5—6——–——6–5-\4–3—0—————-—————-—————
7———————7—————————————————————-—-———2\1–0—4—5–4—5–4—4–5–4—
—————————————————————————-—————————————————————————
—————————————————————————-—————————————————————————
—————————————————————————-—————————————————————————
Easy day. Everything is easy to hear, here, today. Hear, hear! :-)
A harmonic minor


63 (12:20) World of Jerry and Bill dissonance

——–——10–9–7–5–4—4–\3—5-3—5–3—5–3—2—3–2—3–2————-—————
———————————————————————————————————————
—4–5–7———————————————————————————————————
———————————————————————————————————————
———————————————————————————————————————
———————————————————————————————————————
This seems best because you have to hit the high 10 and the 4—4 sounds right.
Jer is hell-bent on returning to the nut, too; upcoming, next snippet.
A natural minor/A Mixolydian hybrid


64 (12:28) Cymbals and noodles

2–2–2p0—–0–2–22p0———-————2——————————-——————————-——————————-——————————
——————3———–———3–2–2-3-5–5—–5h3————————————-——————————————-————————————
————————-———————-————————444———2p00——————————————-——————————————
—————————————-——————————————2h4—————4————————–——————————-————————
————————————————————-—————————————————————–————————————————————
————————————————————–—————————————————————-————————————————————
This is very short, but very difficult to render effortlessly. You'll have to get used to toggling on the 2nd fret high e string.
The most effective technique is to place your hand at the 2nd fret with coverage up to the 5th fret. (4 fingers capability)
Everything is easy to perfect up to the second 3, on the 2nd string… but then the problems arise with cadence.
Success comes with the 2-3-5–5 as a rapid zip, punctuate the high 2, and then get to the 4 in one fell swoop.
All that matters at the end is the 2p0, and the setup of the 2h4 works well. Ghost notes at the end… meh.
For all of this, around 5 seconds in length, picking close to the bridge may help get the tone.
A Mixolydian


65 (12:33) The Dissonance still isn't over?!!!!

—————————————————-—————————————————-————————————————-—————————————————
—-—-—1–0————————————-————————————-—————————————-————————————-————————————
———-———2–0——2–0—-——0——————————————-——————————————–——————————————3-/-/–9–9——11
—0–2——-—-——4—-–-—4–2——4–2–0—4–2–0——2–0-—–——0——–——-———-——4–5–3–0—-—-—3—–2——-——22-/-/–8—-——10
————————————————————————4—-——h4–2——4–h2–0————3—-—-——-—43–2————3–2\1——-———-———-——
—————————————————————————————————————4—3—-—2——————————————————————————
Very tricky throughout because you’re right up against the open nut, working it in and out.
The open nut suggests something’s up, and change is in the air. Just about there.
A Mixolydian with A Dorian leanings


66 (12:47) Cool, eerie dissonance bloom with final, beautiful resolve to all of this way, way, WAY out dissonance: THERE, IS, A, GOD!

———————————————-————————————————-———————————————
——————7——————9—-7——-—-——7—6——-—-—-——4–5—5—4————–————4-0—
6——7——-—7————————7———-————6————————–———6—–—9—8–—–3-3—
5——6—————8—7———-———8—-——–——-—7—5—4——-——-——7—7———-——4-4—
—————————–——————————9——————————————————9——-———3-3—
———————————————-————————————————-———————————————

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —-—-—109—————————————–—————————————–—————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————10——–——12—11b—10–11–12-b———14b——–——15b—–12——-—-——12—
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8h11—-—-—-—11–10—————————–————————18bb———–———14–12\11———
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————-———————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————-———————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————-———————————————————————
This snippet is perhaps my favorite to date. But it defied TAB-ing; I just couldn’t hear it right. (three days of effort to work out 23-seconds)
Although I included a little of Bobby, it is Jer who works the magic. But you have to keep playing the notes without pausing whatsoever.
For the first half, some of the connectivity notes are extremely light, barely there. But they can be heard. Use them to your advantage.
The stressed italic note (the 8) needs to be played hard, slightly undulated, to set up the 2nd half.

The 2nd half launches quickly and moves to the 12th fret note. Jer employs some bends thereafter. They’re very choice.
The double bend note (18bb) you may wish to render differently if you’re using an electric.
A Mixolydian

//

Anecdotal Comments (while working these up)

Early Evening July 28, 2018

The TAB method of approach these days is to have several sets of “six-string dashes” (with no numbers filled in) copied out onto my MacBook Pro Notes, and I've partitioned the computer screen so that YouTube is on the top and MacBook Pro Notes is on the bottom. Each snippet of interest has already been outlined long before I began this individual TAB, and so it has a Title and a known Length of Time because it is bounded by the previous snippet and the (yet to be done) following snippet.

I’ll listen on YouTube at Normal speed to get my bearings, and I’ll calculate the Length of Time for the snippet to decide if I’ll need several sets of "six-string dashes" to complete the TAB for the snippet.

Next, I’ll tune up the nylon string guitar (Lowden S 35 X Jazz) and play around with the general idea of the music for the segment at hand, listening to it and attempting to find where the notes occur, over and over. I found an old ALTEC LANSING computer amplifier/speakers system (circa 1992) that I had forgotten about, and these days it now gets plugged into the earphones jack of the MacBook Pro. With YouTube already cued up, I can adjust the volume from the computer, and not have to play around with the amplifier/speakers volume-knob. YouTube quality is set to 1080p for highest fidelity.

Then I begin in earnest.

Jerry tends to like the mid-section of the fingerboard, and so I usually start in with notes there. Most of the WGSJ is A Mixolydian and that means I’m working out of the 5’s, 7’s, 9’s, and 12’s.

In YouTube Settings, I slow the YouTube video Speed down to 0.5. That is usually slow enough to pick out the pitch of each note. But if it doesn’t obviate what is going on, many times I’ll go all the way down to a Speed of 0.25. So, things are always 0.25 or 0.5 Speed for the first run-throughs. During this phase, I’m not concerned about the spacing of the numbers as the TAB gets laid out, and I’m mostly focused on separating Jerry from Bob, with primary focus on what Jerry is playing.

Ok, so the notes are laid out. They’re a mess. Really.

It is daunting, ofttimes, to think that I’ll pull them together into a coherent transcription, but I just have to persevere, take my time, and if I get tired, then put it all aside for a while. Sometimes what I’ll hear is so dizzying to comprehend, that I’ll definitely have to put things aside until the following day! After a night's sleep, and with a fresh mind, after a little warm up, things can progress quickly.

So, as a snippet begins to take shape, I’ll find myself becoming more and more fluent with the notes involved. The beginning portion has usually been listened to — and attempted — many, many times. But there can be "mission creep" that sabotages my efforts. I'll begin to think maybe it should be played here instead of there. When these notions get the better of me, I have to Copy what I’ve already done and Paste it just below where I was TAB-ing… and then correct it to reflect my new thoughts. Sometimes I’ll have 4 sets of the same idea, with different fingerboard position notes, and the whole process can become mind boggling.

After a while, things are far along, and now I have to speed up the YouTube video to 75%. This is when the spacings of the notes get corrected. If Jerry has two quick notes, like an obvious cadence-keeper note, adjacent (and just prior) to the note he wants to run with, then these notes have to be paired up. With the dashes of Notes software, any time you type two dashes in a row and hit the spacebar, the two dashes convert to a long-dash, which is the Standard long-dash for TAB. If you type a number, type two dashes, and type a number, then a 3/4th dash results. There are many tricks like this that come into play.

After all of this, and sometimes during this, I’ll start to introduce bold font onto the notes to help me keep my place. (but not in phpBB code; that comes in at the last second)

Finally it is done.

Well, not quite. Now, I have to take the codes (phpBB) for Italic, Bold, Color, Underline… everything — the works, which I’ve saved versions of (just simple type) on the template MacBook Pro Notes page that I work from, and I insert the phpBB codes into a copied version of the snippet I’m going to post.

I work from right to left as I Paste the Bold (or Italic) phpBB-code onto the TAB, just in front of a bold-highlighted note. Then I either type into the center of the phpBB code, or “drag" the note-numbers into it. I usually alway type the note-numbers into the phpBB code’s center because sometimes when "dragging and dropping," things don’t go as planned, and you can find yourself losing, or completely misshaping, work you’ve spent a lot of time on. And then I’ll delete the notes not in the code, and everything is good to go.

Then it is time to Paste into Rukind. It is simply Copy the work and Paste it in. No big deal. But then you have to check to make sure the spacings in Rukind line up as you originally intended. They never do line up, and to get things right, maybe another hour goes by of very fine "clean up" detail.

This is where you can get seriously “tripped up.”

Do not work out of the Editor only using the Preview screen. For one, the final Submit screen almost always looks different on “spacings" compared to the Preview screen, but the real reason you want to use the Submit screen is because you are periodically saving your work. There is nothing more annoying than getting everything perfect, and maybe it’s taken too long, you were using Preview (because it’s offered), and you click Submit, finally, and Rukind informs you that you must be logged on to Post on Rukind. What? You try back-swiping to the page you were on, you accomplish that, but something else suddenly happens, and all of your corrections have vanished.

The drudgery never ends, it seems. And yes, I have had my corrections get lost many times in this thread.

But when all is said and done, beautiful snippets result, and my efforts are, imho, works of art. It really is very, very satisfying.

P.S. I’ve also looked into copying directly from Rukind the snippets I’ve posted, not from the Editor screen, and I’ve found I can save very accurate semblances of my efforts, in case Rukind updates their software and my past efforts get ruined. But, I’ll cross that bridge later, if and when it comes.

//
 #162224  by old man down
 Tue Aug 14, 2018 9:24 am
4th Movement


The final chapter in the WGSJ, and some of the sweetest music The Boy's ever played. Enjoy.


67 (13:09) 4th Movement; Keith B to A chords set up

————————————————————0—0—0———0—0—0——0——————————————————————————————————
5———————————————-———————————————–————-———————————————-———————————————
—7p6—7–6—7————————————————————————————————————————————————————————————
7————7———————————————-———————————————-———————————————-———————————————
—————————————————————————————————-——————————————————————————————————
——————————————————————————————————-—————————————————————————————————
Bobby Asus4 and A chords (done a few times); Jerry is tuning his high e string by ear to Keith’s organ (“does-it-sound-sweet-to-him” contrast technique)
Nothing to really TAB here; a couple of guitar chords are tried, like a 7th fret B chord and a 5th fret A7 chord. (A barre chord, pinky removed)
Keith is holding sway here with repetitive B to A chords, allowing the others to come in when they want.


As soon as Keith began with the B to A chords, that was a cue to everyone that A Mixolydian wasn't going to “cut it” anymore.
They were in D Major (before) and now they would be going to E Major, and hence they would need to modulate two frets up.
Bobby didn't transition immediately. He was still in A Mixolydian. But oddly enough, everything still sounded good!

Why?

Let's take a closer look, “under the hood.”

A Mixolydian (before)

———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —
———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —
———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .V . . . . . . . . . . . . . . . . .VII . . . . . . . . . . . . . . . .IX. . . . . . . . . . . . . . . . . . . . . . . . . . XII . . . . . . . . . . . . . . . . . . . . . . . . . XV

B Mixolydian (after)

———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———
— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———
— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———
———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ○ —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜— ● —⎜ ———⎜— ● —⎜ ———
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .V . . . . . . . . . . . . . . . . .VII . . . . . . . . . . . . . . . .IX. . . . . . . . . . . . . . . . . . . . . . . . . . XII . . . . . . . . . . . . . . . . . . . . . . . . . XV

Ignoring each scale's root notes (but including them as black solid-circles for completeness), the commonality of the two scales is:

Intersection of A Mixolydian and B Mixolydian

———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———
———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———⎜ ———⎜— ● —⎜ ———⎜— ● —⎜ ———
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .V . . . . . . . . . . . . . . . . .VII . . . . . . . . . . . . . . . .IX. . . . . . . . . . . . . . . . . . . . . . . . . . XII . . . . . . . . . . . . . . . . . . . . . . . . . XV

Ok, so Keith comes in — very heavy handedly — playing a B chord followed by an A chord, repeatedly.
But looky here, as the transition quickly unfolds, anyone who plays a full A barre chord or a B barre chord (but omitted 3rd string (or play a Bsus4 barre instead)) will seamlessly blend in.

No one else can really be heard right away. Phil has backed off, perhaps pausing entirely.
Jerry… he's just hitting the open, high e-string, over and over. (seamless, btw)
Bobby is doing some sort of Asus4 chord fragment followed by a C# note. But he's barely heard.
(still, C# is seamless for the intersection of the two scales, too)

Mind boggling, to think they actually just do this instinctively, having “serious fun” with everything. (after all, it's only a “soundcheck” :thewave: :hail: :wink: omg! )

And so this is an ingenious, seamless-transition to the Final Movement of the WGSJ.


68 (13:35 oops; 13:32 actually) Start of Light and Easy, melt-in-your-mouth, drift-down melody

Bobby (mostly, if not entirely)
7——7—————————5——5———————7——————————————————————————————————————
7——7——5p4—-—-—-—5——5———————7——————————————————————————————————————
9——8——4——6—4— —7——6——6——-——8——————————————————————————————————————
9——9——4———-———7——7————7—-—9——————————————————————————————————————
9——9—————————7——7———————9——————————————————————————————————————
7——7—————————5——5———————7——————————————————————————————————————
I just checked my JamMan looper-derived-snippet for this snippet, and it comes in at (13:32). I'm usually pretty good at start/stops.
So, something was up, something I noticed back when I stored the loops, and then transferred them to the MacBook Pro.
The “Light and Easy” really starts a full six seconds later, and I have that stored as snippet 69. Six seconds is a long time!
So, have just been listening to 68 more intently. Bob doesn't sound like he's going to give up his Asus4 chord!!!! :thewave: :hail:
This changes everything. Everything! Oh, this is going to be so good! I can tell right now!! :thewave: omg! :hail: :hail: omg! :thewave:
Bobby! Bobby! Bobby!… you the man! No wonder you and Jer were so good!
(and everyone thinks this is just a precursor of Fire on the Mountain)
Think again!


69 (13:38) Light and Easy, melt-in-your-mouth, drift-down melody

119119—-—11p95h75–4–—–4-—--—-7—————————————————————–—————————————————————
11—————12-—-—-—5—-——-—7–—–7–5—7–5—5—4—-——-—4h55——————————-—————————-——————————
————-————-————-———-————–————-————6–4h6—4——-—6——————————————–——————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
Jer’s opening riff… I thought it would be easy. Nope! You need those ghost notes between the eleven-nine centurions. The ghosts will keep things right.
For the 5h7, it will be an upstroke, hand at the 5th fret. Then move your hand to the 4th fret for the index, middle, and ring finger cadence-workouts.
After the solo 5, you’re pretty much home free since the 4’s and 6’s that follow are intuitive. Then listen anew, practice anew, and so on, and so on.
With enough practice… eventually… this may all blend together into a smooth opener, it will sweeten up, and the extra effort will be worth it.
Jer pulled this all off without even thinking. He was prescient in time and space. Lucky him. YMMV.
B Mixolydian


70 (13:44) Best Jerry staccato riffing in the jam

—————————————————————————————————————
5–4——-——-——7—7—–—–7——7—9——10–9—–—9———9–9——-——
——-—6–4—6/8—–—-–—8————–———–————11—-—11———11—-—
—————————————————————————————————————
—————————————————————————————————————
—————————————————————————————————————
This lead has a rhythm quality to it. Important. About 14 notes in, the texture is extremely smooth,
with a slight tremolo. Reveals Jerry is in a sweet spot, indicating he is right over the notes, so both
the index (9th fret) and middle fingers are in play. The 6/8 slide up may not have happened exactly
as shown. (possibly some other technique involving those notes) Still, Jer gets to the 9th fret, so…

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . —————————————————————————–————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7—-—-—7—————————————————————–——————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——9–8–9-–-9——9–8–h6–8–9p8——6—————————————————–—-———6–8–9—8——6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ——————-———————-——————9–7–6–9–7–6-—-7-h6—7p6—6—-—6–7–9—————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ———————————————————————-—-—-—9—-——-—-——-—9——————–——————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ————————————————————————–—————————————————————————
There are 3 segments here, with the third one very long. (double spaces just to show segments more obviated)
The first 7 to 7 (including the 9 just afterwards), your pick will naturally give the notes their respective volume.
The second segment shows an h6 which should be interpreted as an open-string hammer, and not picked.

All of these notes roll off easily, once mastered. But you need to come back and experiment with these notes often.
Try them elsewhere. Try them with a little rhythm enhancement. Catch a little of adjacent-string notes, too.
Get this snippet to flow wherever you decide to play the notes. Wonderful, and Fun!
B Mixolydian


71 (13:56) So sweet riffing; miss Jerry so much!

———-————-———4–—-—-—–4x—-—-—-1112p11—-—-—–11–12–14—12–11–12——11h12———11——12p11———————
————–————4–7——7–4——5712-12———-———12–14—————————————————————————————————
8——6——6–4—-—-—–—-—-—44———————————————————————-———————————————————————
—————–—————–—————66———————————————————————-———————————————————————
—(priors)————————————————————————————————————————————————————————————
—————————————————————-——————————————————————-—————————————————————
The first two notes are from the prior snippet's end, to set up the frame of reference for seamless play on these current notes.
After the “priors,” it may seem that there should be more notes in play, but everything can be rendered with what’s shown.
The red colored chords are embellishment from Weir(?), not Jer. They fit in nicely; just a D-barre shape and pinky-stretch.
These chords maintain tempo as you jump to the 11th fret for the high notes, so throw them in since you're right there.
Jer’s high note continuation begins with an upstroke on that first 12. (remember, he's got a rhythm quality going on)
It’s a ghost note, and almost blends into its extremely-adjacent, intended-12; typical Garcia “in the moment” play.
Then, work the high note lead. It’s a little peculiar, difficult to nail exactly, but nevertheless, it’s very easy to hear.
Work out the eccentricities, and in so doing, you’ll get the notes memorized; and you're playing Garcia! 8) :lol:
B Mixolydian


72 (14:01) The Master at work

11——–———————————————-———————————————-———————————————-———————————————
—––—12———————————————————————————1412h14—————————————————————————————
—–—–—–14-13-11-14–13–11—13—11–13–11-——-11-11-h13————————-—————————-—————————-————————
————————-———————-————————14—————————————————————————————————————————
——————————————————————————————————————————————————————————————————
——————————————————————————————————————————————————————————————————
Well, I was hoping to keep this simple, but there was a “mystery tell” that was preventing me from taking an easy, simple route.
There are two “tells,” actually: the 1st one is right after the first 12, and the 2nd one is at the very end, the 12h14: the hammer.
I was hoping to do this snippet on the 1st three strings, the region of frets 9 to 12, quickly be done with it, but it doesn’t work.
(That would have ruled out the ending of the “heard” hammer of 12h14, with the only alternative being the 1st string 7h9.)

The other “tell,” the “mystery” one, really kept nagging at me. It could clearly be heard on YouTube, but only at 0.25 Speed.
They are 3 notes after the 12, as a mere lilt of sound. (and like Lord Banquo’s ghost, they haunt this snippet’s ease. Aghh!)
Could they be “Apparitions of The Glen” or tape-reel phantoms, betrayed as (((echoes))) even before ever being played?
So I worked the the notes incessantly, different locations, looking for intuitive fingerings; things that could make sense.
Could Jerry have actually played these 3 notes? I’ll never be sure. (but they may have been fingered, and then picked)
I finally settled for the 11th to 14th fret region because the snippet that follows works well as dovetailed to this one.
So, for me, the 3 “mystery notes” will be remembered as the Three Witches. (as availed in MacBeth by Sir William)
Once you get used to the snippet, btw, do it wherever you want; I will. Garcia & Shakespeare; kinda like that! :wink:
B Mixolydian


73 (14:06) No one does it better, continuation

————————-—————————-————————
12————————————-———————————
—-—-14–13—14–13—————-—————-—————
———-————-———14—13—11—11–11–14—13
————————-—————————-————————
————————-—————————-————————
When you’re good, you’re good.
Short & sweet drop-down.
Right to the point.
No muss, no fuss.
B Mixolydian


74 (14:10) Bass note motif

———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————
————————————–————————————–————————————6———————-———————-———————-———————
9h11–11-11–9—7–996h7–7-7–6—7–6————-————677h9–9——————————————————————————————
———————————–———————————9-97h9–9-9——————————————————-———————————————————
———————————————————————————————————————————————————————————————————
The bass motif is very clear through the first 17 notes. Lesh then overwhelms everyone with his bass notes on the return trip back up.
Generally speaking, there is incredible room for improvisation; just keep repeating the groove, changing it up slightly with each pass.
After the first 17 notes, have borrowed ideas from everyone to help complete the motif. Have fun with this: it is rich beyond words.
For improvisational ideas, appropriately throw in B and A barre chords, and work them with the notes already presented above.
But, you have to come out of the groove eventually. Bob Weir will demonstrate how with the next snippet.
(Will probably take me a week to transcribe it; it's his best stuff ever, imho.) :hail: :thewave: :hail: 8) :-) :lol: omg!
B Mixolydian


75 (14:18) Bass note riff, Weir chord bloom and Weir chord walk-up, all against Jer's edgy bass notes Cutty Sark

Here is a little “taste” of Jer and Bob at the very start: Jer's bass-note riff, followed by a nice “ring” on Bob's chord bloom.
It was abandoned because their parts overlap and it posed difficult challenges. Nonetheless, keep it in mind for Bobby.
The 12th fret “ring” is so tempting. (You could maybe incorporate it later, after mastering Bob's entire chord sequence.)

—————————————————————————————x—--—x––x––x––x———————————–———————————
——————————————–——————————————12——12-12–12-12———————————-———————————
—————————————-————————————9h1111——11-11–11-11———————————-———————————
7–9-9-9–7—79-9——7–9-9-9–7—————————————————————-——————————————————————
——————–——————–——————9–7-9———————————————————-———————————————————
——————————————————————————————–——————————————————————————————
B Mixolydian

(a) (14:18) to (14:30)

Bobby
5/7-7-7-77\5-5-7555—-—-—7—7–5–7—5–5–7—–——7777—5–5–75/7-7-77-7\5-5-5-7555
5/7-7-7-77\5-5-75555h77—7–5–75575h777775575/7-7-7–7-7\5-5-5-7555
6/8-8-8-88\6-6-8666———-———6–8—679———–———8—8—6796/8-8-8–8-8\6-6-6-8666
5/7-7-7-77\5-5-7555———-———7–9—779———–———9—9—7795/7-7-7–7-7\5-5-5-7555
7/9-9-9-99\7-7-9777———-———79—7–7–9———–———99—7–7–9—7/9-9-9–9-9\7-7-7-9777
5/7-7-7-77\5-5-7555———–———57557———–———775575/7-7-77-7\5-5-5-7555
Ok, here's the deal. Bob is working an “open-E7th-shape” chord around, and his execution is absolutely beautiful.
He does a full chord slide-up and slide-down, for all its worth, then “blooms” the high end of a B-chord, swishes a
few chords in, and then he dramatically marches everything up from the lower A-chord. Just punches it out.
And if that wasn't enough, he then repeats the whole process all over again, to leave no doubt in your mind
that he just did what you thought he just did, to let you know it wasn't any accident, it was all deliberate!
The colorings of the chords are to show emphasis. That lone “crimson-5” at the end can be heard; use it.
And don't forget… Jer is cutting it up with some really edgy bass notes underneath. They're all on Fire !

(b) (14:31) to (14:45)

Bobby
5-5/77\57\57-5-75-57-7--5-5-55/7-77-7\5-75-5--7-77-75-5/77-77-7\5-5-75
5-5/7–7\5–7\5–7-5-7—5-5–7-7–5-5-5—5/7-7–7-7\5-7–-5-5–7-77-7—5-5/7–7-7–7-7\5-5-7—5
6-6/8–8\6–8\6–8-6-8—6-6–9-97-7-66/8-8–8-8\6-8—6-6–9-99-9–-6-6/88-88-8\6-6-8--6
5-5/7–7\5–7\5–7-5-7—5-5–9-97-7-55/7-7–7-7\5-7–-5-5–9-99-9—5-5/7–7-7–7-7\5-5-7—7
7-7/9–9\7–9\7–9-7-9—7-7–9-97-7-77/9-9–9-9\7-9—7-7--7-77-77-7/99-99-9\7-7-97
5-5/77\57\57-5-75-57-7--5-5-55/7-77-7\5-75-5--7-77-75-5/77-77-7\5-5-75
Bob begins this segment with a chord slide up that has a really cool oomph to it. He slides up before the strum.
Then it is more weaving in and out on the chords, in the heart of the strings. Complete statements; definition.
The last chord… the 7th can't be heard. It's not needed. The pure A chord signals finality; Jerry takes his cue.


76 (14:45) Walk up noodle

(a) (14:45:) to (14:53)

5—————————————————————————————————————————————————————————————————
5——————–—————9———109——9—–9–10–9—–9–12——9–12–10–9—10–9—9———9\7—7–9p7—7——7\6\5\4—5——–——
6—6–8—8–9—9–11—11——11——————11————11——————————11—-—11——11——9———————————6——–———
7—————————————————————————————————————————————————————————————————
7—————————————————————————————————————————————————————————————————
5—————————————————————————————————————————————————————————————————
5th fret hand position at start — Weir’s last chord — inch your way higher as the notes rise. Then camp out at the 9th fret until the \7.
For the big drop-down, keep pressure on the string-slide to accentuate the zipper. (gaps of —— between phrases are exaggerated)

(b) (14:53) to (15:02)

—————————————————————-—————————————————————-—————————————————————7–9
——4——4——5–4——4——————————————————————————————————4——————-——————7–9p7——–——
—6——6—————6——6——4—————4————————————————————4–6—4-6———6–4—4–6p4—6–8–9—-——-——-——
—————————————7———6–7—-—6–4–6-6-6-6–7—6—4—4–6—4—4————-————-————7—————–——————————
———————————————–————————————————7————7—4————————————————————————————
——————————————–————————————————————————————————————————————————————
There are many ways to “turn” the ending of this snippet. Slow things down on YouTube to 50% Speed and listen over and over.
Then try as many different approaches as possible to get the delay just before the final 7–9 ring at the end. (just a fine point)

Was dreading this entire snippet from the start. Jerry was hard to hear “out of the blocks” and there were so many difficult subtleties.
As it started to come together, especially at 50% speed, I started to get an incredible appreciation of the “beauty of the notes.”
This is an extremely rewarding snippet to master, and very satisfying to perform. Highly recommended!
B Mixolydian


77 (15:03) Classic Garcia Watkins Glen Soundcheck Jam jam


11–12–11———11–121212p11———14–12–11–1211-12———117
—————————-—————————-—————————-——————————
——————————-—————————-—————————-—————————
—————————-—————————-—————————-——————————
——————————-—————————-—————————-—————————
—————————-—————————-—————————-——————————

. . . . . . . . . .77 Sunset Strip . . . . . . . . . .7—7–9——7———7———————-————————-———————-————————-———————
. . . . . . . . . . . . . . . , , , , . . . . . . . . . . . . . . . . —–10——-——10-10—10–9–7——10–9–7———9——7–9—7——7–9–(10)—7———7—-—-—-—-—-—
. . . . . . . . . . . . . . . ~_~ . . . . . . . . . . . . . . . . —————————–———————————9—-—-—9————————————(9)———9—8-8–8-(8)—
. . . . . . . . . . . . . . . ♓︎ . . . . . . . . . . . . . . . ———————-——————-———————-———————-———————-——————-———————
. . . . . . . . . . . . . . . ⎰⎱ . . . . . . . . . . . . . . . ———————-——————-———————-———————-———————-——————-———————
. . . Shake it, shake it, Sugaree! . . . ———————-——————-———————-———————-———————-——————-———————
Please notice that the notes consist of 4 — 5 notes per grouping, and that the spacings between groupings have been exaggerated.
This is to help with memorization of the phrasings, and to suggest pauses associated with note stressing and accenting.
The parentheses occurring around a few notes are for vibrato finger-technique. Tricky stuff from Trickster Jer.
B Mixolydian


78 (15:15) Jerry notes in full bloom

(a) (15:15) to (15:23)

———————-———————-———————4————————————————————7—–—7—–—7—–—9——-—-——9—————9–/11—
————-———4-0—-—4–5——4–5–7p4—7–—5–7——710p9–9p7–—7———7–9–10-—h10-—h10-—h10—–10–12—-—h12-10-12—-—-—
—2–4–6—4–6—–—–6-——-6—————————-——————————9——8–9—————————-———————————–—————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
After the first 2, slide up to the 4th fret. “Momentum notes” are in this “march up.” The open note after the first 4 is one of them.
With practice, this “march up” can take on an aggressive, fast paced, hurried aspect to it, reminiscent of a young Jerry Garcia.
Right in the middle, you’ll need to smooth out the 710p9–9p7 jumble. It is double-spaced to the right to forewarn you.
You can learn a lot in this half-snippet about the “feel” of “accelerators,” and how they can make music leap forward.
Low to high note dynamics, open string carom-interplay, and the availability of “key” notes right at your fingertips.

(b) (15:24) to (15:30)

11-h12—12p11–11-11–12-1212-1111-11–11————11–11———————————————–———————————————
—————————————–————————————14-14——–—14–12——12–14p12——12–14p12——————–———————
———————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————
Clearly, these are “Jerry Notes.” I’ve tried to capture their cadence, but the Best Teacher is YouTube at 0.5 and 0.75 Speed.
Do a lot of start/stop listening, followed by immediate attempts at small portions, and then come back; rinse and repeat.
Everything is easy to hear. Just get extremely familiar with the notes, and this will be in your repertoire in no time.
B Mixolydian


79 (15:31) The end of it all, but with maybe one more Rise and Fall of the WGSJ Empire

——————————1614-16p14—14-14-14-16p14—14-16-16-16h17–19-19-1919-19-1919-19-19—\—\——
—12—12——12-14————————————————————————————————————————————-—-—
—————14——————————————————————————————————————————-—-—-—-—-——
————————————————————————————————————————————————-—-—-—————
———————————————————————————————————————————————————-—-—-——
————————————————————————————————————————————————————-—-—-—
Ends with three sets of three in a row of piercing high notes …
19th fret, 1st string; highest note of the WGSJ
… and then falls off a cliff.
B Mixolydian


80 (15:38) Spiral down

16-17p16–14-16p14-16p14–16-17p16–14—–—14–16–14—–—–—14——————————–———————————
——-——-——-——-—-—-—-——-——-——-——17—–———–—17–16—-—17–16–14———-————-————-————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————
On the previous snippet, Garcia fell off a cliff, which is why this snippet begins with your hand at the 14th fret.
The two ghost notes, they are so faintly heard on YouTube at 0.25 Speed; but they set you up for the 2nd half.

. . . . . . . . . . . . . . . . . . . . . . . . .11———————————————————————————-——————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . .—-—-14–12—10–12p10—-—9-9—-——-—9-9-—-7-7–—5—–-4–5–4–––4–––4-—-4———5——4–5——–—4–5—-—
. . . . . . . . . . . . . . . . . . . . . . . . .——————–——————11–——–11–11-——-9-——-6—–-6—–—–—6-—-6–––6–––6–4———-———6–6———6—
. . . . . . . . . . . . . . . . . . . . . . . . .——————————————————-———————————————————-——————————————————
. . . . . . . . . . . . . . . . . . . . . . . . .——————————————————-———————————————————-——————————————————
. . . . . . . . . . . . . . . . . . . . . . . . .——————————————————-———————————————————-——————————————————
Garcia just wants to — Get Down! — off the Mountain. Very interesting interplay at the bottom. All set for what's next. Whew, baby!
(This took a lot longer than I thought it would. Had to put a plastic bag over one of the ALTEC LANCING speakers to cut out Bobby.)
B Mixolydian


81 (15:48) B-to-A evocative motif; just right

(a) (15:48) to (15:56)

———-——-———7—————-——————-——————-—————7———————————–———————————
———-———4–7–—–7–4-5-7——4-5-4-——-4-5-4———————4—-—7–4–—–—–—4-5-4—–—4-5-4———————
4—6p4–6——-——-——-——6—-—-—66-—–—-6——4—4–6——————6-4—6————66-—–—-6——————
————————————————————————————————————————————————————————
————————————————————————————————————————————————————————
————————————————————————————————————————————————————————
All 4 of these (first 4 out of 5 total) motifs (above two and below two) are slightly nuanced from each other.

(b) (15:57) to (16:05)

—-—-—-——7———————————–———————————7——————————————————————————
—-—–——4-—–7–4—–—-—-4-5———4-5-4———————4——7–4——-—-——4h5———4-5-4——————————
4—4–6—–—-—–—4—66—–—66—-——6——4—4–6———–——4-466———66-—–—-6—————————
————————————————————————————————————————————————————————
————————————————————————————————————————————————————————
————————————————————————————————————————————————————————
By the time you get to these last two, there should be a psychological rhythm affect in your playing of them.
There are a couple of ghost notes toward the end; Jer’s spirited play compels him to add extra micro-beats.
It’s almost a guarantee that he was very pleased with his playing, and this portion was a “piece of cake.”
Btw, I do my best with the Bold accents, but they’re a personal quirk; they may or may not help you. :cheers:
B Mixolydian


82 (16:06) End of B-to-A evocative motif

———-———7——————————-———————————
—–———-4——7–4—-—-—4-5p4———4-5p4-—4-5-7——
446——–———46——–——66—-—-—6—-—-—-—
——————————————-——————————————
——————————————-——————————————
——————————————-——————————————
The 5th motif.
B Mixolydian


83 (16:12) Penultimate drop down, the bid goodbye to the Jam of Jams

(a) (16:10) to (16:19) Fasten your seatbelt…

———————————————14-12–12-11–11-9–—–7—————————————————–——————————————————————
7——10p9—–—910p9——————-——————10—-10–7-9h10p7-7–10b–7-9-7—-—7———————————-———————————
———–———11—–——–—11—————————————-——————————————8-9——8—–—86——-———6–98-6–8h6—-—-—
———————————————————————————————————————————————9——–—–——7–9————————9–7—
——————————————————————————————–————————————————————————————————————
———————————————————————————————————–———————————————————————————————
Garcia’s last note from the last snippet — the 7, for reference — is followed by Weir (in Cayenne), who has a quick context fill at the start.
Then there’s Garcia's “rip,” executing the drop down. There are many techniques to accomplish this; only the essential notes are shown.
Jer’s 7 9h10p7 7 10b is really neat. Near the end, Jerry’s 8h6, means that he did a pull off, but hammered the 6, so not a “pure” pull off.
And then he's just “roll you down the line boy, drop you for a loss.”

(b) (16:19) to (16:28)

——————————————————————————————————————————————————————————-—-———————7
————————-————————-————————-—————————7———————9—–—–—10-10p9—7—9p7-—-7——7-9—–7-9-10—
6———————————————————————6—6—–8—-—6–8–9——8h9h11-11——9–11—————–—————9——-———9——–——
––9–7–6–9–7–6–––7–––6–7–6——6-6—–6-7-9—-—7h9——9———————————————————-——————————————————
————–————9-—-9—–—–—9——7h9———————————————————————————————————————————————
——————————————————————————————————-—————————————————————————————————
Jer continues on the smooth low notes; very intricate down there at the bottom, and then the very beautiful riser begins with the lowest 7h9.
Notice that there is a 6 just a tiny beat left of the 7h9… this is an accelerator: it punctuates the rise. Another one follows almost immediately.
His playing was so spirited at this point that he felt he could do no wrong. And he was right!
B Mixolydian

Nota bene: Apologize for the stanza breaks, mid-phrase at the ends of both Parts (a) and (b): He just kept going and going…


84 (16:29) The Last Hurrah setup

7—————————————————————————————-————————————————————————————
——10–9—9–7————7b—7b————————————————————————————————————————————
————————9–8——————6-9h8-6–8b—6b—-—–—–6b—————-————-————-————6———-——-——-——
——————————————-—-————9—–9–—9–6-7-9—-—9–7–6–9–7–6–7——6-—–—-6–7–9——————-—————
——————————-—————————-—————————-——————————9-—-7-h9————–—————-—————
———————————————————————————————————————————————————————————
Initial 7 from end of last snippet. (reference point) As with all of these snippets, as you work up to Normal Speed,
many of these notes will dissolve into their surrounding phrases, and may not even be necessary.
By knowing of them, realizing that they were actually pronounced, no matter how slight,
you will get closer to Garcia’s stylistic phrasings.
B Mixolydian

//

September 22, 2018

Had a feeling this was going to happen soon…

For the 2nd time in this thread, just bumped up against the 60,000 characters limit for a single post.

Will start a new reply from here on.

//
 #162665  by old man down
 Sat Sep 22, 2018 10:31 am
4th Movement (continued)


85 (16:36) The Last Hurrah

Version 1 (electric)

This is done with the 19 pinky reach. It is probably the way he did it. (one or two “tells”)
Have highlighted (and color coded) the extreme high and low notes to help keep place.
Have not done as Bold the rest of the high note lead because it would be too busy.

(a) (16:36) to (16:42)

. . . . . . . . . . .(seconds intervals):. . . . . . . . . . . . . . . . .:39. . . . . . . . . . . . . . . . . . . .:40. . . . . . . . . . . . . . . . . . . . .:41. . . . . . . . . . . . . . . . . . . .:42
——————————–——————————16-17-16——16——16——16——-———16——16-17-16——-———16——16——16-17-16—–—
———–———10————10—–—12/14-17—–——–—19——19——19——19-17-19–—–19—–——–—19-17-19——19——19——-———19—
————9-11–—–11–11–—–11————————————————————————————————————————————————————
—9h11————————————————————————————————-———————————————————————————————
———————————————————————————————————————————————————————————————————
———————————————————————————————————————————————————————————————————

(b) (16:42) to (16:46)

. . . . . . . . . . .(seconds intervals):
. . . . . . . . :43. . . . . . . . . . . . . . . . . . . . . :44. . . . . . . . . . . . . . . . . . . . :45. . . . . . . . . . . . . . . . . . . .:46
—–—–—16——16-17-16———-——16——16-17-16———-——16——16-17-16——16-17-19
17-19——19——-———19-17-19–—-19——-———19-17-19——19——-———19——-—-——
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————

(c) (16:47) to (16:50)

. . . . . . . . . . .(seconds intervals):
. . :47. . . . . . . . . . . . . . . . . . . :48. . . . . . . . . . . . . . . . . . . . .:49. . . . . . . . . . . . . . . . . . . . . . :50
—16-17-16——-———16——16-17-16——-———16——16-17-16——16-17-18-19——-—-——
——————19-17-19——19———-——19-17-19——19———-——19——————-——————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
B Mixolydian

Version 2 (acoustic)

This is done with the high e string, instead. Perhaps it is better for acoustic guitar renditions.
Have highlighted (and color coded) the extreme high and low notes to help keep place.
Have not done as Bold the rest of the high note lead because it would be too busy.

(a) (16:36) to (16:42)

. . . . . . . . . . .(seconds intervals):. . . . . . . . . . . . . . . . .:39. . . . . . . . . . . . . . . . . . . .:40. . . . . . . . . . . . . . . . . . . . .:41. . . . . . . . . . . . . . . . . . . .:42
——————————–——————————16-17-16-14-16-14-16-14-16-14——14-16-14-16-17-16-14–—–14-16-14-16-14-16-17-16-14—
———–———10————10—–—12/14-17————————–————————17——–———–———–——17—————-—————-—————
————9-11–—–11–11–—–11————————————-—————————————-—————————————-—————————————
—9h11————————————-—————————————-————————————-—————————————-————————————
—————————————————-————————————————-————————————————-—————————————————
————————————————-—————————————————-—————————————————-————————————————

(b) (16:42) to (16:46)

. . . . . . . . . . .(seconds intervals):
. . . . . . . . :43. . . . . . . . . . . . . . . . . . . . . :44. . . . . . . . . . . . . . . . . . . . :45. . . . . . . . . . . . . . . . . . . .:46
—–—14-16-14-16-17-16-14–—–14-16-14-16-17-16-14–—-14-16-14-16-17-16-14-16-17-19
17——–———–———–——17————————————17—————————-————————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————

(c) (16:47) to (16:50)

. . . . . . . . . . .(seconds intervals):
. . :47. . . . . . . . . . . . . . . . . . . :48. . . . . . . . . . . . . . . . . . . . .:49. . . . . . . . . . . . . . . . . . . . . . :50
—16-17-16-14–—–14-16-14-16-17-16-14–—-14-16-14-16-17-16-14-16-17-18-19——-—-——
———–————17————-———-————17————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————
——————————————————————————————————————————————

Both Versions Summary

There are a lot of notes and it is easy to get lost in the number of up-and-downs. The light-yellow 17 doesn't exist.
I included it because it is a place keeper. (Jerry missed the note in his picking sequence for reasons unknown.)
Some of the notes may be pull-offs, but it is hard to tell. You want the “lead” to come alive, so work it up.
The seconds intervals may be helpful to insure that you know where you are in the run of notes.
Without question, this snippet was the WGSJ climax because of the breadth of notes played.
B Mixolydian


86 (16:50) Turnaround with note stretch to remind you how good it was

17p16–17-16—–—16—————————————————————————–—————————————————————————
——–———–——19—–—19p17-16-17p16————————————-————————————-————————————15^^^^
—————————————————————18–16–18————16-18p1614-16p14-16-14——14——-———14——14—-—-—-—
—————-—————-—————-—————-—————14/16—————-————-—————16——16-14-16——16——-——-——
————————————————-———————————————-———————————————-———————————————
———————————————-————————————————-———————————————-———————————————
Important: After the first 19 there is a slight pause, which sets up the carom of the pull-offs of the following 19p and 17p.
Careful listening reveals that it was Weir who did the 14/16; Garcia remains up high. Note the ghost note 16! (so needed)
Sets up the cadence change, the punched hard 14; very important to get things to flow, and sets up for the note stretch.
That final 15^^^^ got pushed up to around 16, but then Jer didn't think it was far enough, so he pushed it even further.
I’ll repeat the note stretch on the next snippet, because it is needed for context there.
B Mixolydian


87 (16:57) Jer won't let you go, he knows he's got you on the hook, so he reels you in as he pleases

————————————————————-————————————————————16–—–17p16——17—16-17–17-16-17–17-16-17–17-19
15^^^^-b15r-14————————————————————1716——16-17p-19–—–19————19——————————-——————————
————–—————16–14-1616h14——14——-———-———-——18———————————-————————————-———————————
———————————————————16——16h14-16/18—————————-——————————–——————————-——————————
—————————————————————————————————————————————————————————————————————
—————————————————————————————————————————————————————————————————————
Begins with the last snippet's major bend. Note: If attempting this on acoustic guitar, the major bend should be from the 16th fret.
The dip down to the low notes requires careful listening on YouTube at 25% and 50% Speed to appreciate the technique.
The last note of this snippet is a blue nineteen because that high-note fret-position will not be visited again: toodleoo.
B Mixolydian


88 (17:05) The reel in, time to go home

(a) (17:05) to (17:11)

19-17-16-17-17-17p16——16-16—————————————————————————–—————————————————————————
——–————–———–——19—-—-—19-17-1617p16–—–16————————————————-———————————————16b-14—-——
—————————————————————————–—18—-—18-16-14-16-16–14–—–16-16–14——-——-——16-14–—–14—————16-14
—————————————–—————————————–—————————————16——-—-——16—14h16——-——16———-———-———
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Weir here
(b) (17:11) to (17:18)

————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
—–—14-14–—–14b–—-—14b–—-—14b–—-—14b–—-—14b–—-—14b—-—-14-1614-14–—-14–14–—–14–14–—-14–14—-——-——-——
—16—-—-—16–—–—–16–—-—–16—-—-—16—-—-—16—-—-—16—-—-—16———–————16—-—-—16—-—-—16————-———-————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————

(c) (17:18) to (17:24)

————————————————————————————————————————————————————————————————————
17p16-14–16b14———————–———————17p16-1416b1416b—14–16b—14-16-17b16-17b—16-17b16-17b——-———
———-——-——-———16h14–—-14-—–14-14-16——————————————-———————————————-——————————————
———————–———————16–—–16————————————————-————————————————-————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————

(d) (17:25) to (17:27)

—–—14-16b—14-16b—14-16b—14-16b—–—14-16b——————————————-—————————————-——————————————
17——————-——————-——————17———————————————-———————————————-———————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
————————————————————————————————————————————————————————————————————
The first note, the blue nineteen, is from the last snippet. (for reference)
“Goin' home, goin' home, by the waterside I will rest my bones…”
B Mixolydian


89 (17:27) Get the oars back in the boat

(a) (17:027) to (17:41)

———-———-———11——————-—————-——————-——————-—————-——————7—–———2——3p2————-———-————
———-———-———12———-————-———-————-———-———7————————10————7———–—3—————3——-——-——-———
———-———-———11————–———–————6-7—6–7—–——–—7——7-9–7-9/11——-—-——7h8–——–2—————2———-——-——-——
——–———9-—-9———-——-———7–—7——9——-—-——7-9-7-9–7——————-———————7—————————————————————
—–—–7h9-—-9———–———7h9-7–—9—-9—9————————————————————————9—————————————————————
—7-7—–—–—7——–——7-9————————————————————————–————–————7——7-7————————-—————————
. . .• • • • Phil • • • • . . Jer. . • • Phil • •.< < < < < < < Keith > > > > > > >.Bob . . . < < Keith > > . . . . . . . . Jer . .Phil . K . . . .Bobby
Collection of the various band members, as best as can be rendered for solo acoustic guitar; possible, compelling, but difficult. Phil can be worked from a 7th fret hand placement and an “open E shaped barre chord” concept for the B barre chord. Jerry and Keith cut in on Phil, and to appreciate Keith's encroachment, slow the YouTube down to 50%: it's very subtle. Jer's high B triad was actually done at the 16th fret, but that was too far to work in. Bob cuts Keith off with an “open A shaped barre chord” for the D chord, but Keith’s piano immediately continues and adds colorful contrast since it is so easy to distinguish. Bob finesses the open D chord at the end. Bill rides the music, omnisciently, throughout.

(b) (17:41) to (17:53)

777-77-7\——0h22–—-00———7——7———–————–———0h222-27—————————————–————————————
777-7—7-7\——3–-–-3–—-3——3——7——7——-—-—-—-——7—3-3–––33-37————7—-—7——————————————————
888-8—8-8\——2———2—2——2——7h8–8————–————7——2–––22-27————7h8—8——————————————————
99—9-9—9-9\——0———0—0——0——7——9—-—9–7–9-9-77———-——-———7h9—9—9—-—9——————————————————
999-99-9\——————-——————9——9–7-9———-———5———-——-———7h9—9—9—-—9—9————————-————————
779-99-9\——————-——————7——7————–————5———-——-———7—————————————–————————————
. . . ( ( ( ( ( ( ( ( ( ( ( ( ( ( Bobby ) ) ) ) ) ) ) ) ) ) ) ) ) ). . .! ! ! ! Jerry ! ! ! ! .Bob. ! ! ! Jerry ! ! ! . . ( ( ( ( ( Bobby ) ) ) ) )
Parts (a) and (b) (above) provide the means for transposing the WGSJ away from its former Key of E to its new Key of G.
To bring about this Key change, B and D chord-segments are repeated, back and forth, over and over.
B Mixolydian/D Mixolydian


90 (17:53) Pull the chord on the motor

——————-—————-——————5/75——————————-———————————-———————————-———————————
—7——-——-——-———10——7——5/75—7–7——87——-———–———-——7––7-8———————————–———————————
—7——–———79/11—-—-—7———-———7–7-7—7–7—–—–—77-97-9–9-–-9————-————-—————-—————-—————
—7———7h9——-——-——–—7———-———7——————7h9-9—–—7—————————00—–—0-0——-——00—–—0-0–—–—–—
—5——-—-—-—–—-—-—-—-—5———————————————–———————————————2–0—–—42–0———2–0—–—42–0—
—————————-—————————-—————————-—————————-—————————-—————————-—————————
.Bob. . . . . .! ! ! ! Jerry ! ! ! !. . . . . ( ( ( ( ( ( ( Bobby ) ) ) ) ) ) ) . . < < Keith > > . . ! ! ! Jerry ! ! !. . . • • • • • • • • • • • • • • Phil • • • • • • • • • • • • • •
This snippet is wonderful in many ways. There's so much going on. Bob hits a reference D chord at the start, and Jer fills the gap between Bob's next chord. Jer's riff is charismatic and splendid. Bob then fills a little more, and Grateful Dead Productions sound-engineers were nice enough to boost Keith's signal next, since Jerry played there, too. Jerry then takes over, and with his end note (the high "8"), the sound-engineers then made the "cut" in the WGSJ to some point near the end where Phil comes in with a really dynamic bass-rhythm section. Work this up for yourself; it is fun beyond words, and can really make your playing come alive. And we now come to the last snippet of the Jam…next!
Mama, mama many worlds I've come since I first left home.
D major (Ionian)


91 (18:09) Motor starts, so you motor home: End

(a) (18:10) to (18:18)

—10—————10-10—-—-—-—9/10-10————————–—————————10-10-10———–————–———10-10-10———————————
10—————10-10—————9/10-10—————1210——-——–——-——10-10-10—————10—————10-10-10—-——-—12–10———
11—————11-11—————10/—11—————1210h11—-—-——-—-—11-11-11—————10h11———11-11-11—————1210h11
10—————10-10—————9/10-10—————12–10——–——-——–——10-10-10—————10—————10-10-10—————12–10———
————————————————-—————————————————-—————————————————-—————————————————
———9—7———-———9—7———-———9—7——————12-10-12–12b———————9—7————9—7———————9—7————————

(b) (18:18) to (18:31)

—————10-10-10————-——————-————–————-——————-————10-10————————-—————————-————————
—————10-10-10—-——-—1210—–——–—–——–——–—1210———————10-10————————-—————————-————————
—————11-11-11—————1210h11——–—-——-—–——1210h11—————11-11———-———-———-———-———-———-———-——
—————10-10-10—————12–10————————————12–10——7-9-9p7—10-10———–——–——–——0-0-2p0—0——–——0—–—0—
———————————————————7/9—9-9h10p9–7-9———————-——————9\7-5-75-5—4–2–0——–——4—–—0h2—–—4—–—
—9—7———————9—7—————————-—————————-—————————-—————————-—————————-—————————
Jerry dominates this snippet. Phil (and Bob?) continue with their bass-line refrains from the last snippet.
To get this to work, settle for the best of everything: Jer’s staccato rhythm alternated with the bass line.
Jerry at the 10th fret, index finger barre on, and only the middle finger placed: a “rocking-chair” chord.
Hit the D barre chord first strings, and then “rocking-chair-it” over onto the descending bass notes.
Just keep playing with it, and eventually it will become second nature, and very natural to affect.
After you get it down, start to embellish Jerry’s chords with his ever-so-cool follow-up accents.
Fare you well, my honey, fare you well my only true one.
D major (Ionian)
 #162911  by old man down
 Sat Oct 13, 2018 10:24 am
Good Afternoon.

Those of you who have been following this thread, or anyone looking casually… as you can now see, I have “turned the corner” on the “Jam.”

This means I have tabbed it out in its entirety, and essentially I may be done tabbing it. Remember, the overall goal is not to TAB it, it is to learn it.

And specifically, to learn it for solo acoustic guitar for personal enjoyment or even performance capability, for others to hear, and so on, and so on.

Now What?

Over the last day or so, I went back to the beginning of the TAB, and tried some of the TABs at the start. What I found is that my Tabbing abilities at the start of the effort pale in comparison to my abilities at the end. (took six months) My end TABs are much more fluent, the spacings make more sense, some portions are Bold, and there are Colorings added to further enhance the RUKIND appearance.

As I’ve tried some of the TABs anew, I’ve found that my preferences have changed, or are in flux, for where I might want to play the music on the guitar fingerboard.

This is the way TABs go. You attempt them until they offer little further benefit, and then you move on.

Here is how I intend to move forward, and it may help you if you are trying to learn this piece of music, too. My knowledge comes only from my use of a 15” MacBook Pro.

I can’t try to learn the WGSJ by going onto RUKIND every time I want to practice it. This would be too laborious an approach. So, instead I just worked out another approach, and it is killer!

On a Mac computer, you have Pages software. Open it up and select the Blank Landscape format by clicking on it.

A white page will open up before you.

On the Pages toolbar, click on File, and down near the bottom of the menu, select Page Setup…

Within the Setup window you’ll see Scale:, and it will show 100% by default. Click on the little box, type in 50, and hit < return >.

Then, come here to RUKIND and find the snippets you want to copy. (all of them, in my case, but done piecemeal because they’re on several pages in the thread)

You go to the upper right corner of a section to copy, bring the arrow to the beginning of the first line, click the touchpad, and drag the arrow downward and you will begin “blue-highlighting” whole sections of many snippets.

Then go up to the Safari Header, click Edit, the menu opens, and click Copy.

Now, go back to your Blank Landscape page in Pages, and Paste what you just copied, and paste it as just a Paste, and not as Paste and Match Style.

Everything you highlighted gets pasted in, and because you already made the scale 50%, there is plenty of room, and no wrap of text for the snippets.

Make them 18 font; there’s plenty of room for this because you’re at 50% scale. They’re gorgeous!

Edit them however you want. (They’re yours to keep.) Get rid of my comments, if you like, and even edit the “number notes" to different phrasings that you may prefer on your guitar fingerboard.

One thing you will notice is some of the notes, in the transfer from RUKIND to Pages, do not line up perfectly. And black always transfers as just regular grey. You’ll have to fix any of this on your own; it is too difficult to explain.

Also, there are three versions of dashes — short, medium, and the standard long — but the only way to add more of the medium and standard long dashes is by Copy from nearby regions and Paste where you need them. It takes practice to get good.

However, I will add that when you finally get everything laid out the way you want, and change the grey-bold to black-bold, and everything looks really good…

…when you go to Full Screen the WGSJ will be stunning to learn from.

Best of luck!
brianb liked this
 #162912  by waldo041
 Sat Oct 13, 2018 11:13 am
True Deadication! Awesome work and thank you for all your efforts in bringing to us this great and very detailed piece of work! Although I have not dove full steam into it just yet, i have been paying attention and have never really wanted to interrupt so that it stays streamlined as you are making it for FREE to the public! That in itself is, the effort of giving of something of substance of yours, is much appreciated by me. You do not have to do this, and I am sure some have ignored it, but if you want to know if one soul will use it one day, count me in!

The GD were so amazing at what they did, that even their Practices are tabbed by someone so others can have it! AMAZING!

If i might suggest to the admins here that maybe we can get some sort of PDF reader so that properly formatted bodies of work like this could be had by all without the cumbersome "programming" it takes to share the entire piece in one post? If there is another preferred way to achieve that i am all for that as well. I think that would help fellow heads accomplish a better sharing and viewing experience here in this regard.

~waldo
brianb, old man down liked this