Over the D#dim chord he uses notes of the D#diminished arpeggio. Over the E and D chord, he uses notes of the A major pentatonic scale, while focusing on scale tones that happen to be within the chords that he’s playing over. He addresses each one like they’re unique, because they are. That means that Jerry treats the first three chords as three completely distinct little entities. Then he targets notes of the F#m arpeggio over the F#m chord. He plays an A major arpeggio over the A chord, a C#7 arpeggio over the C#7 chord. Let’s look at how Jerry improvises the beginning solo. That is crucial, because this solo is completely improvised, he is composing the notes as he plays them. He put years of hard work instilling that muscle memory. He could play pretty much any arpeggio or scale, in any key, in any position on the neck. This means that jerry has mastered access to the fingerboard. Jerry Garcia in Guitar Player Magazine, July 1988 But if you look at it right, patterns start to melt into each other pretty soon you can hit anything from anywhere.” I’m just getting into being able to get a good sound, regardless of the structure or mathematics. In other words ‘What Key am I in? What scale interval am I at?’ You need to be able to let that go past you. “You need to have enough access to the fingerboard that you’re not hung up about what where you are. A song like this is challenging for many soloists because each new key presents a different set of notes to work with.Ī year ago from this performance, Jerry sat down with Guitar Player magazine to share some secrets behind his approach That leaves us with 5 key changes in 8 measures. then we’re in the key of B, then we’re back going back to the key of A for the D chord. In the next four bars, we have one key change going from A to F#. Once from A to the C#7, once from the F#m to the E. This diminished chord almost tricks the ear into thinking that we’re going from D to E, but we’re not! We’re going back home to A.īy the time we Get to that A, we have already changed keys twice. Then we’re briefly back to they key of A for two chords, and then we have a passing chord, D#dim that is outside the key of A. Jerry Garcia likes to think of the C#7 and the F#m chords as a V-i progression in F#m, and we know that, by the chord tones and scales that he uses in this solo, which we’ll talk about later. We start off with an A, and end up with C#7. Before we go on, keep in mind that there are multiple ways to interpret this song, and this is just one of many ways to look at these chords.
JERRY GARCIA BAND DEAL FULL
The chords you see here are Jerry’s canvas.ĭeal is full of very sophisticated and beautifully written chord movements. Here are the chords in this song, and the progression that the rest of the band is playing underneath Jerry. It is one of the more challenging rock songs to solo over. Deal was written by Jerry Garcia and Robert Hunter, and debuted in 1971.
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