Grateful Dead Lyrics I Know You Rider

"I Know Yous Rider" Grateful Dead Guitar Chords and Scales

Domicile Blog "I Know Yous Rider" Grateful Dead Guitar Chords and Scales

In this gratis guitar lesson you take a await at the chords and scales used in the Grateful Dead's version of "I Know You Passenger" as featured on the album Europe '72 (listen to the track in the embedded video above). This includes a word about the vocal's cardinal and chord progression, also every bit a look at how to approach the chord changes as a lead guitarist like Jerry Garcia.

I Know Yous Rider Chords

The chords used in "I Know You Rider" are very unproblematic and consist of but four basic major chords, D, C, Yard, and F, with D performance as the master chord every bit you see in the chart beneath. What makes the progression catchy, though, is the fact that its chords don't all fit into the key of D.  The key of D consists of the notes D E F# G A B C# and the chords D Em F#one thousand K A Bm and a C#mb5 (a.k.a diminished triad). And then where then do the chords C and F come from? Keep reading for the reply…

While it'due south true that the master chord in "I Know Yous Rider" is D, and the vocal is said to exist in the key of D overall, the notes and chords are not actually drawn from the D major scale. Instead, they are fatigued from the G major scale, only centered on the 5th degree, D, making what's called D Mixolydian mode. In this mode, the notes are D E F# 1000 A B C (natural) and the chords are D Em F#mb5 Thou Am Bm C. This covers the first half of the progression, just you nevertheless haven't fit in the F chord in the side by side half. Go along reading…

When the music changes to the F chord, the calibration changes to C major, which consists of the notes C D E F G A B and the chords C Dm Em F 1000 Am Bmb5. If you still think about D equally being your tonal center, then this is the C scale's second mode, D Dorian.

All together, "I Know You Rider" uses a limerick technique chosen modal interchange or modal mixture. This is when notes and chords from parallel scales are combined to form one melody or chord progression. In this case, you combine D Mixolydian and D Dorian. With a trivial examination, you see that the only divergence betwixt these two scales is the F. D Mixolydian features an F#, and D Dorian features an F natural. In both cases F is the 3rd of D, just F# is a major tertiary and F natural is a minor tertiary. So the music toys with a major and minor tonality, and then does Jerry Garcia's guitar solo, which yous learn more about in the side by side lesson department beneath.

I Know You lot Passenger Scales

As detailed in the previous section on chords, "I Know You Rider" interchanges two types of D scales, D Mixolydian and D Dorian. These scales are so used to add melody and lead lines. In improver to thinking near scale patterns, you can also target chord tones in your solos by using related arpeggio patterns. Both of these, scales and arpeggios, are illustrated for you below in a serial of guitar neck diagrams. Here is how each example is applied:

1. The first diagram illustrates the D major pentatonic calibration, which corresponds to the main tonality of the music, D major. Pentatonic scales are extremely popular on guitar, and are often used equally base patterns while other types of scales and arpeggios are in utilize. You hear Jerry Garcia play a lot of D major pentatonic licks in this track'due south recorded guitar solos. While in that location are other positions and patterns that can be used for the same scale, you focus on this, the virtually common pentatonic design 1, for now. Exist sure to find where the tonic notes D are, and start your scale from one of these tonic notes in guild to properly hear the D major pentatonic sound.
2. The second diagram adds the notes C and Yard, which complete the D Mixolydian scale. You might recognize this design as being 1000 major scale blueprint one from my book,Fretboard Theory. Recollect, the D Mixolydian manner is drawn from the G major scale. To hear this modal scale played tonic to tonic, play D to D. Yous can freely use this design over the get-go half of the chord progression, D-D-C-G-D-D-D-D. You can actually use One thousand major/D Mixolydian calibration patterns in whatsoever position, but, again, I'1000 focusing merely on this surface area of the cervix to go you started.
3. Y'all see the same D Mixolydian pattern in the third diagram, but this fourth dimension with the notes of the D chord highlighted in black. When you play over chords, information technology'south proficient to know where related chord tones are located and practiced to emphasize chord tones as you form phrases in the scale. While yous're not limited to playing simply D related notes over the D chord, y'all can connect your pb lines more closely to the D chord past targeting chord tones now and then, like at the starting time of measures, and especially at the commencement of each chord change. In this position, the notes of D form what's called a "G form" chord shape in the so-called CAGED system, considering they have on the shape of what you know equally G in the open position. It's a good idea to play through this arpeggio pattern ascending and descending like a scale in guild to familiarize yourself with the class and the location of the D notes.
4. When the progression changes to the C chord, you withal stick with the aforementioned D Mixolydian scale, but at present if you want to target chord tones you must know where the new related notes are located. Playing an "E class" chord shape and arpeggio pattern volition enable you lot to hit on notes related to C while staying in the aforementioned position as your base scale. To strongly tie your pb line to the C chord change, hit a C arpeggio note right on the downbeat of 1 in the first C measure out.
5. The fifth diagram continues to follow the chord progression, this time by illustrating how to target notes of the next chord, G, as yous play in the base scale of D major pentatonic/D Mixolydian. Keeping with CAGED chord forms, this one is in "C grade," but, in this position, consists of notes related to G.
6. Things get a picayune tricky when the music changes to the F chord. In diagram vi, all the F# notes demand to be lowered a half-stride to F natural. When this happens, the D Mixolydian calibration pattern changes to a D Dorian scale pattern. Remember that these modes are drawn from G and C major, then it might be easier for you lot to think almost M major scale blueprint 3 changing to C major calibration pattern 1 (at least, that'south how I number the patterns when I teach them in Fretboard Theory). On summit of this, you can target the notes of an F chord by using an "A form" arpeggio design.
7. Finally, in the seventh diagram, you go along with D Dorian/C major scale notes, but this time targeting C chord tones again using an "E form" arpeggio pattern. When the music returns to D, y'all return to diagram iii (and this is a good time to hit on the F# notation in order to bring the tonality back to D major).

I Know You Rider Music Theory

The use of modes (especially Mixolydian), modal mixture, and chord tone soloing is prevalent in the Grateful Dead'south music and Jerry Garcia'southward guitar style.  As yous can see, the unproblematic chords and progression used in "I Know You lot Rider" actually make for a somewhat complicated approach to music composition and improvisation considering of the use of these techniques. These techniques also make the music sound more interesting and the song more fun (or more challenging) to play. I take outline for you one manner to approach "I Know You Passenger" as a pb guitarist, but yous're gratis to explore other options, similar playing the same scales in other positions and targeting chord tones using other chord forms.

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