The chord in bar 10 is a Cm7, with a G on top for 1 or 2 beats. The bass note is Eb but the chord is Cm7, as far as I know. Also, the chord after Bbm7 during the G7-Am7-Bm7-Bbm7 turnaround is not always called Am7. In fact, if you listen closely to the bass you hear him going back and forth, D and A. On many charts the chord is referred to as D9sus4/A, or D9sus4 with an A bass, or “D9sus4 over A.” D9sus4/A. The notes, strings 6 thru 1 @ fret 5: A-D-G-C-E-A. I’ve played, studied, and taught this arrangement for 51 years, and this is what I’ve found. They probably didn’t play it the same every time, either.
Yup, the expanded releases from the Fillmore East performances, and other recordings, show Duane and Dickey improvised quite a bit in chord phrasing and solos. And there was some editing to remove some of the harmonica and horn parts. I don't know whether much editing was done to splice the best bits together for the original double album we all knew from the early 1970s. But producers for the Doors Absolutely Live and Grateful Dead Europe '72 albums said a lot of editing and splicing was done, including dubbing studio guitar parts into the Dead album to get the best results. Comments from Gregg Allman indicate they wouldn't have wanted that kind of editing of the Fillmore East performances.
Yeah, great progression. It's a G9. No 13s. The Eb is basically the raised 5th, like G# is the raised 1 chord, and the the Bbm7 is a classic chromatic walkdown. This is one of my favorite blues/jazz techniques: you suspend the entire chord, not just a note or two. The vi to I move (Eb to G) is classic, too. Herb Alpert does it in 'Taste of Honey' as the capper before you go back to the head. Also, the longer you delay going to the V chord, the more interest you develop. In Mark Knopfler's 'Junkie Doll', he delays that 'dominant payout' until the end of the walkdown after the floaty second and third themes. He does a blues walkdown in A, then FINALLY hits the E7 in very last note, so it's ringing out while the vocal pickup signals the next verse.
I'm really confused by the E shape he does for the E flat major. I was playing it with an A-shape bar chord with my root on the D string fret 6. What is he doing?
@@GreenThingQueen At 7:20? That's a barre cowboy C shape. The index finger all the way across isn't necessary, because you're fretting the A and D strings, and only have to barre the highest 3 to make the 'Cowboy D' shape at the top. Knopfler uses it for the F chord in Sultans of Swing 2 frets up, and Badfinger uses it in Baby Blue, too. A lot of people play the 3 note voicing of it, on just the D, G and B strings.
Christopher, I really like the way you think. The way you analyze. Definitely a G9 (vs G triad) - rootless to make it easier for sliding (let the bass player play the root). And, the raised 5th analogy. 👍 Increase that tension during a perfect cadence before resolving back to the one chord (similar to using the #4 diminished chord to increase tension during a plagal cadence).
@@dougmoore5152 Thanks, Doug. I was learning the song/arrangement. It was fun. I'm catching up still on some blues and jazz tricks, and teaching more the last few years, so it's been theory time again.
@@christopherprim1973 So, here is one you might be able to help me with... During that same movement (one measure) of Eb, I, sometimes, embellish with a chromatic line (I hope this is correct) as follows - the top end of a D9 - Eb9 - E9 - F9 up to an F13 (just add the pinky), back down to the F9, then resolve to the G7(9) - C7(9) - G7(9) - D+ (basically, the 1 - 4 - 1 - 5+ turnaround). To me, that movement sounds great when the other guitar is playing the Eb. Does this make sense to you?
Perfect!!!... I'll be practicing this for sure.. this is a song that me and my brother in law used to play and it would be nice to to actually know the correct chords for the Allman brothers version.. thank you very much
Just sit down with the record. Learn what you can and put as much time into it as you feel you need to be satisfied with your interpretation of the song. People hear things differently and play differently as well. First you learn the notes then either figure out how the original guitar player played it or discover your own inversions. Only experience and tone will tell you where the note was played on the neck of the guitar. This guy has some some stuff that will work but is not teaching you exactly how it was played. You must remember 2 guitarists were playing at the same time and they blend together very well. What you have to do as a Copy Guitarist is "thoroughly listen" to the recording then decide what parts stick out and are dominant. The dominant lead fill played over a cord kind of hides the chord by blending in some of the chord notes into the fill. If you figure out the dominant parts and blend the rhythm chords with the fills it can be played with only 1 guitar without a huge dropout like with a 3 piece rock band when the guitar switches from full chord rhythm to single line lead melodies. This video is very helpful but not a 100% correct analysis of what Duane and Dickie were actually doing. And nobody else will be 100%, but they will sound great.
I see your point but I think we're talking across each other. My point is that when you're transcribing something you're transcribing exactly what the player played and as best you can how he played it there's no interpretation involved The interpretation might come along later when you're playing it with the group or something you're welcome to play all the inversions you want and make it sound the way you want but when you're transcribing something you're playing exactly what was played
That is pretty close to the way I used to play it some 40 years ago. Wow! Thanks man for reviving my heart and the thrill of playing that TBW song..keep up the great effort, you're awesome! Of course one must have a good knowledge and experience to follow you but that is perfect for guys that can manage it. I have tuned in to other channels and they are at the elementary stages of playing the guitar and so it is really refreshing to see and hear your stuff.
Very nice, really like the way you broke it out. The intro chords I believe are a G9 inversion slid up and down as you showed. I like many, played it wrong for years until finally working out the correct way. You've done a great service here! BTW I just gave you your well deserved 1,000th like!
First of all, nice work. I agree with you about the Eb note in the “chord in question,” if you will. Here is how I have heard it and played it for the longest time because I, like you, watched 99% of bands play it incorrectly (at least to me ears). Humor me for a moment and let me offer an alternative solution. The confusion comes after the Am9 (or 7) chord leading to the resolution back to the dominant 7, in this case G. Where you are playing an Eb chord and holding it until you resolve to the G, that measure is actually split between two chords. Those chords in this example would be D7#9 (the Purple Haze chord for those that aren’t great at theory) and an Abmaj7. So from the Bm7 that starts the walk back down, I suggest giving this a shot: Bm7: 7x777x --> Bbm7: 6x666x Am7: 5x555x HERE IS THE NEW SUGGESTION: D7#9: x5456x --> Abmaj7: 4x554x It then resolves to the tonic: G7: 3x343x My explanation is that you are hearing the Eb but there are two chords being played under it. It doesn’t just sit on an Eb chord until the G7. The bass line coming down would look like this instead (from the Bm7 chord where we started above): e B G D A-------5------ E-7-6-5----4-3--- I hope this isn’t too hard to understand. What I’m ultimately saying is to take the Eb chord, split it’s measure in half and play two chords (D7#9 then Abmaj7) with each getting half the original measure the Eb was played over. Play two chords in the place of the Eb and see what you think. Hope it helps someone if they like this option more. If not, then play the Eb, it’s ultimately up to you to figure out how you want to interpret the song.
I agree. It shows them what their up against and gives them a mental picture of the positions they will be playing in. Also techniques used to play the notes.
@theguitarshow I looked this up because as a sax player, I always gravitated to the Eb note on 'that' chord, and it made no sense on the chord chart where it said it was Bb7. Always trust the ears!
Edit: Below TGS* I think you're right about that chord run up, (G, Am7 etc) ascending then descending, omit the 5th string, it sounds much more correct, than trying to do something with it. One very cool thing to add though is, right after the Ebmaj , they throw in a finishing touch, particularly during the intro; when coming to the Ebmaj strum it for only two counts followed by 2 beats of s4 frt8 , s3 frt8, s2 frt8, s1 frt6 which is actually part of a std Eb bar chord at the 6th fret. *TGS, I'm barred from replies, but I can edit, so yeah, that chord run has always mildly plagued me, it worked but just felt like something was just a tiny bit off, this video nails it to my ears. No more nagging mysteries for this song, thanks!
I've always played it like this on the piano or b3. The bass drops from A to Ab then walks up from Ab, A, C and the chords are from Am7 down to Abmaj7,Am7, Cm7. I'm a piano player though and play it with different inversions, from the standard triads. Which is why I felt compelled to separate the bass notes for them. The Cm7 I play is essentially an inverted Eb (stacked- G,Bb,Eb) but I"ve always played a C bass note with my left hand on that chord. Awesome video my man.
FYI... it's not Eb Maj7 it's C minor, The Eb would be the relative major. Bass players don't always play roots in this case he's emphasizing the Cmin by playing the flat3
...Cont ..as we were talking about, this one part or the turn around, and you say eb in that one spot that everyone gets wrong, and I agree, you have that right, but also you mentioned the other guitar doing that little triad run up fret 6, 7, and 8. Well for shts and giggles, try that Eb chord as you were showing , run up from C# D# to that Eb. That takes care of that little run up , I think, and then of course topped off with the ending sparkle chord I was talking about. See what that sounds like. The voicing is part of why I explored that run up, I think it sounds pretty close, it even sounds like the first two chords are diminished, then to the Eb, but I don't think that's worth the extra effort. Once again, all your tips on this have finally made this song where I can be 100% confident that I'm playing the right flavor with no rough spots.
There is a video 📷📸 of EC from the 1968 live at the RAH final of the CREAM 🍨🍦. I appreciate the concept of performing live songs from the late 60s that incorporate string bends, lifts, vibrato etc. I honestly I have never seen or heard anyone including Jimi Hendrix that demonstrate excellence equivocating with Eric Clapton.
I strongly disagree with that Eb ( C shape) chord you said everybody gets wrong. On the classic Live at the Fillmore East recording they play xx554x/ xx5546, you can think of it as either a Cmin chord without the root on the A string and then adding the 7 on the high E string or as an Eb6 without the root on the A string and adding the 5 on the high E string. The rest of the harmony are Berry and Gregg. I have seen Warren Haynes play a simple Cmin7 chord with root on the A string and adding the G on the low E string by barring the whole 3rd fret. Anyway the rest of the song is correct, good job. They often played things differently and improvised a lot so there is no one specific correct way of doing it. Anyway, the Cmin7/ Eb6 shapes are the ones that sound most truthful to the original recordings. Long live ABB!!
It's not an Eb. It's a Cm7 with Eb bass, or Am7/Eb. No one plays it as an Eb, especially not The Brothers. I saw them play this several times - including the original band - and they clearly played a Cm7. Berry Oakley played that Eb on the bass often, but not always.
Nice synopsis. At 6:18 you said, "we're going to listen to the bass line" and then you simulate the bass, playing b, b-flat, a. However, the bass never goes from b-flat to a. After every b-flat minor7, including both guitar solos and the harp solo, the bass starts on d with occasional alternating to a. It never begins on a. However, guitar and keyboards are playing a C-major triad (or a-minor 7) over the d bass, resulting in a D11. This unexpected shortcut to the dominant is one of the special things about this version.
Yes. Am7 clashes with Berry's bass. He is playing a root-5 pattern to a D chord. A6 works, omitting the 5 in lower register, or simply D9. So many guitar plays try to shove an Am with all six strings, including the E on the A string, and it clashes horribly with the bass line. Often what is played on the record are partial chords, and people extrapolate from those, arriving at chords that don't fit in their entirety.
Love it, thank you! Ever play that Eb as Ebmaj7? Maybe I'm hearing a flourish from an accompanying player or the wrong way that I've played for too long before this video :)
Listen to the bass again. After the G-Am-Bm-Bbm, Berry plays D-A or D-A-D, like a root-5 pattern on a D, before the Eb, which clashes with Am7 unless you omit the 5th, as you do on the walkup. The 7 is awkward there as well. I hear a D9 or A6 with the 5 in the upper register in place of your A7 reconciling with the bass line. And a Cm7 in place of the Eb is not a sin, being enharmonic to an Eb6 Guitarist who have trouble with your Eb fingerings can make Cm7 shape and omit the root.
I bought this Fillmore album 35 years ago,Ive been playing for about 14 years, think I can do this,I practis mostly solo. But I dont know so much bout theory,exept fore some scales. Is it necesary?to learn this,I guess I hear if its wrong,but sometimes I feel I need more theory when I hear people talk. At the same time I play for like therapi,and I started late in life. But nice lesson,guess I have to print out the chords,but it shure help to have the tune in my head
First string third fret open second string on the second string to the first second thumb of your left toenail to the seventh of the fifth string fret second from the top bottom of the fourth third neck of the plucking ring finger of your friends right hand finger to the second natural minor tonal third fret string to your basic final deep last E string minus the seventh basic tonal of the bridge set in harmony with the bass line of your neighbors seventh position of the first fret. Now for the chorus you want to play…..
One way at a time.its kinda confusing if you learning these guys gotta remember if your that good to move fast through a tune you probably can figure it out by youself
Great lesson and only slightly different than I've played the song from "awhile back". At the outset please just show the whole of the song for those that don't need the excruciating ANALysis.
@@TheStompboxer Berry Oakley is playing the Eb note here on the bass over the Cm7 chord. The Eb is the minor 3rd of C, also the #5 (or b6) id it were the Eb chord. I saw them play it with the original band and that's it.
larry geetar C is the 6th of Eb, not the b6. An Eb Major scale is Eb-F-G-Ab-Bb-C-D-Eb. Cm is the relative minor of Eb major. That’s why both chords (Eb6 and Cm7) have the same set of notes. Also, the Eb is under, not “over” the chord. It’s either Cm7/Eb (aka first inversion, in which the “/“ denotes “over”) or Eb6 (root position), This is basic harmony. It’s about as rudimentary as music theory gets.
In this case the Bm7b5 voicing you're referring to also serves as a rootless G9 chord. If you think of the root as being G on the low E string , third fret, then B = 3rd, F = b7, A = 9 and D = 5. Got it ?
The Guitar Show The.bass note isn’t always necessarily the root. It could be seen as Cm7/Eb, or Eb6. I’m going to keep the voicing to myself, though. Not that it’s a secret, particularly.
I have studied this in great detail, using slow down software to catch any available clues. The chord in question is played every 50 seconds, nine times in the song. The first time, in the intro, it is clearly an Eb; you can easily pick out the arpeggiated notes G-Bb-Eb-Bb (on high E). Every other instance to my ear is an Ab maj 7. It is close to Eb6, but I hear the Ab note played on the string.
It's a Cm7 chord. The fact that the bass note is an Eb makes no difference. You can absolutely hear one of the guitar players arpeggiating through it and adding the Bb note on the 1st string. This is the real chord in their arrangement. I've seen them do it live and that includes the original band back in 1970 and '71. It's Cm7.
When you’re trying to play a Cm7 chord and the bass player comes along and makes it a major chord…I mean what is there left to do but troll other people’s videos. Yeesh!
Most of youtube lesson guys always show the back of your fingers and not the fingertips where one needs to see. A clump of knuckles is annoying to try and see through! Guitarists play by looking at their finger tips so why can't we see? What are you hiding?
Thank you great way to teach ...no unnecessary lecture
Thank you
The chord in bar 10 is a Cm7, with a G on top for 1 or 2 beats. The bass note is Eb but the chord is Cm7, as far as I know. Also, the chord after Bbm7 during the G7-Am7-Bm7-Bbm7 turnaround is not always called Am7. In fact, if you listen closely to the bass you hear him going back and forth, D and A. On many charts the chord is referred to as D9sus4/A, or D9sus4 with an A bass, or “D9sus4 over A.” D9sus4/A. The notes, strings 6 thru 1 @ fret 5: A-D-G-C-E-A. I’ve played, studied, and taught this arrangement for 51 years, and this is what I’ve found. They probably didn’t play it the same every time, either.
Yup, the expanded releases from the Fillmore East performances, and other recordings, show Duane and Dickey improvised quite a bit in chord phrasing and solos.
And there was some editing to remove some of the harmonica and horn parts.
I don't know whether much editing was done to splice the best bits together for the original double album we all knew from the early 1970s. But producers for the Doors Absolutely Live and Grateful Dead Europe '72 albums said a lot of editing and splicing was done, including dubbing studio guitar parts into the Dead album to get the best results.
Comments from Gregg Allman indicate they wouldn't have wanted that kind of editing of the Fillmore East performances.
you are correct sir !!
Nice tutorial mate. Stumbled upon this on my feed. I dig seeing how people approach this classic. ✌🏼
Yeah, great progression. It's a G9. No 13s. The Eb is basically the raised 5th, like G# is the raised 1 chord, and the the Bbm7 is a classic chromatic walkdown. This is one of my favorite blues/jazz techniques: you suspend the entire chord, not just a note or two. The vi to I move (Eb to G) is classic, too. Herb Alpert does it in 'Taste of Honey' as the capper before you go back to the head. Also, the longer you delay going to the V chord, the more interest you develop. In Mark Knopfler's 'Junkie Doll', he delays that 'dominant payout' until the end of the walkdown after the floaty second and third themes. He does a blues walkdown in A, then FINALLY hits the E7 in very last note, so it's ringing out while the vocal pickup signals the next verse.
I'm really confused by the E shape he does for the E flat major. I was playing it with an A-shape bar chord with my root on the D string fret 6. What is he doing?
@@GreenThingQueen At 7:20? That's a barre cowboy C shape. The index finger all the way across isn't necessary, because you're fretting the A and D strings, and only have to barre the highest 3 to make the 'Cowboy D' shape at the top. Knopfler uses it for the F chord in Sultans of Swing 2 frets up, and Badfinger uses it in Baby Blue, too. A lot of people play the 3 note voicing of it, on just the D, G and B strings.
Christopher, I really like the way you think. The way you analyze. Definitely a G9 (vs G triad) - rootless to make it easier for sliding (let the bass player play the root). And, the raised 5th analogy. 👍 Increase that tension during a perfect cadence before resolving back to the one chord (similar to using the #4 diminished chord to increase tension during a plagal cadence).
@@dougmoore5152 Thanks, Doug. I was learning the song/arrangement. It was fun. I'm catching up still on some blues and jazz tricks, and teaching more the last few years, so it's been theory time again.
@@christopherprim1973 So, here is one you might be able to help me with... During that same movement (one measure) of Eb, I, sometimes, embellish with a chromatic line (I hope this is correct) as follows - the top end of a D9 - Eb9 - E9 - F9 up to an F13 (just add the pinky), back down to the F9, then resolve to the G7(9) - C7(9) - G7(9) - D+ (basically, the 1 - 4 - 1 - 5+ turnaround). To me, that movement sounds great when the other guitar is playing the Eb. Does this make sense to you?
Perfect!!!... I'll be practicing this for sure.. this is a song that me and my brother in law used to play and it would be nice to to actually know the correct chords for the Allman brothers version.. thank you very much
Just sit down with the record. Learn what you can and put as much time into it as you feel you need to be satisfied with your interpretation of the song. People hear things differently and play differently as well. First you learn the notes then either figure out how the original guitar player played it or discover your own inversions. Only experience and tone will tell you where the note was played on the neck of the guitar. This guy has some some stuff that will work but is not teaching you exactly how it was played. You must remember 2 guitarists were playing at the same time and they blend together very well. What you have to do as a Copy Guitarist is "thoroughly listen" to the recording then decide what parts stick out and are dominant. The dominant lead fill played over a cord kind of hides the chord by blending in some of the chord notes into the fill. If you figure out the dominant parts and blend the rhythm chords with the fills it can be played with only 1 guitar without a huge dropout like with a 3 piece rock band when the guitar switches from full chord rhythm to single line lead melodies. This video is very helpful but not a 100% correct analysis of what Duane and Dickie were actually doing. And nobody else will be 100%, but they will sound great.
great comment
I see your point but I think we're talking across each other. My point is that when you're transcribing something you're transcribing exactly what the player played and as best you can how he played it there's no interpretation involved The interpretation might come along later when you're playing it with the group or something you're welcome to play all the inversions you want and make it sound the way you want but when you're transcribing something you're playing exactly what was played
Many thanks Fuk.
That is pretty close to the way I used to play it some 40 years ago. Wow! Thanks man for reviving my heart and the thrill of playing that TBW song..keep up the great effort, you're awesome!
Of course one must have a good knowledge and experience to follow you but that is perfect for guys that can manage it. I have tuned in to other channels and they are at the elementary stages of playing the guitar and so it is really refreshing to see and hear your stuff.
Many thanks indeed Gerry
Huge help! Thank you so much!
Very nice, really like the way you broke it out. The intro chords I believe are a G9 inversion slid up and down as you showed. I like many, played it wrong for years until finally working out the correct way. You've done a great service here! BTW I just gave you your well deserved 1,000th like!
Well done! Thank you for this lesson.
My pleasure Mark
First of all, nice work. I agree with you about the Eb note in the “chord in question,” if you will. Here is how I have heard it and played it for the longest time because I, like you, watched 99% of bands play it incorrectly (at least to me ears). Humor me for a moment and let me offer an alternative solution. The confusion comes after the Am9 (or 7) chord leading to the resolution back to the dominant 7, in this case G. Where you are playing an Eb chord and holding it until you resolve to the G, that measure is actually split between two chords. Those chords in this example would be D7#9 (the Purple Haze chord for those that aren’t great at theory) and an Abmaj7. So from the Bm7 that starts the walk back down, I suggest giving this a shot:
Bm7: 7x777x --> Bbm7: 6x666x
Am7: 5x555x
HERE IS THE NEW SUGGESTION:
D7#9: x5456x --> Abmaj7: 4x554x
It then resolves to the tonic:
G7: 3x343x
My explanation is that you are hearing the Eb but there are two chords being played under it. It doesn’t just sit on an Eb chord until the G7.
The bass line coming down would look like this instead (from the Bm7 chord where we started above):
e
B
G
D
A-------5------
E-7-6-5----4-3---
I hope this isn’t too hard to understand. What I’m ultimately saying is to take the Eb chord, split it’s measure in half and play two chords (D7#9 then Abmaj7) with each getting half the original measure the Eb was played over. Play two chords in the place of the Eb and see what you think. Hope it helps someone if they like this option more. If not, then play the Eb, it’s ultimately up to you to figure out how you want to interpret the song.
Or just play a Cm7 using the Am position and barre on the third fret.
Pro tip.....always do a demo of what you want your students to learn before you give the lesson.
I'm a pro teacher my friend
@@TheGuitarShow still a good tip tho
@@TheGuitarShow that’s awesome it he is right everyone wants to hear the demo of the song before you talk or anything else..
@@TheGuitarShow it helps a whole lot in the learning process!
I agree. It shows them what their up against and gives them a mental picture of the positions they will be playing in. Also techniques used to play the notes.
i love how confidently you tell people that others are wrong and you've got the right chords.
How gracious of you. Thanks 🙏
@@TheGuitarShow Well they were friends of mine and saw it played many times
Bloody great job mate
Great tutorial. I've just subscribed. It would have been great if you'd gone ahead and done a series on how to play iconic blues songs.
@theguitarshow I looked this up because as a sax player, I always gravitated to the Eb note on 'that' chord, and it made no sense on the chord chart where it said it was Bb7. Always trust the ears!
Really helpful, thanks.
Made easy, thanks.
Beautiful chords 👍
Thanks Norman!
@@TheGuitarShow pop
What I like about you is that you're from the UK. I however ama oboist as well as a self-taught guitarist 🎸
Thank you very mch
Edit: Below TGS*
I think you're right about that
chord run up, (G, Am7 etc)
ascending then descending,
omit the 5th string, it sounds much more
correct, than trying to do something
with it.
One very cool thing to add
though is, right after the Ebmaj , they
throw in a finishing touch, particularly
during the intro; when coming to the
Ebmaj strum it for only two counts followed
by 2 beats of s4 frt8 , s3 frt8, s2 frt8, s1 frt6
which is actually part of a std Eb bar chord
at the 6th fret.
*TGS, I'm barred from replies, but I can edit,
so yeah, that chord run has always mildly
plagued me, it worked but just felt like something
was just a tiny bit off, this video nails it to my ears.
No more nagging mysteries for this song, thanks!
Thanks for this
I've always played it like this on the piano or b3. The bass drops from A to Ab then walks up from Ab, A, C and the chords are from Am7 down to Abmaj7,Am7, Cm7. I'm a piano player though and play it with different inversions, from the standard triads. Which is why I felt compelled to separate the bass notes for them. The Cm7 I play is essentially an inverted Eb (stacked- G,Bb,Eb) but I"ve always played a C bass note with my left hand on that chord.
Awesome video my man.
You're sure right though. Berry certainly plays an Eb there. Can't believe I've never heard that before now.
3 stabs…I missed that rhythm in music school. Lol. 😂 thanks for the help on this awesome track.
Pleasure
you are amazing!!!!
thanks lol
ABB played that 1000's of times before they mastered the finer details
Great video. You have a new subscriber
One word comes to mind: a chaotic lesson.
That’s three words😂
superb
FYI... it's not Eb Maj7 it's C minor, The Eb would be the relative major. Bass players don't always play roots in this case he's emphasizing the Cmin by playing the flat3
Jeff gets it right... it's a 1st inversion C minor chord.
Great content as always. Justin Sandercoe (Guitar Techniques magazine contributor) also favours the Eb.
Thanks good to know those Guitar Techniques guys confirmed its an Eflat chord (not an Ab)
...Cont
..as we were talking about, this one
part or the turn around, and you say eb in
that one spot that everyone gets wrong,
and I agree, you have that right, but also
you mentioned the other guitar doing that
little triad run up fret 6, 7, and 8. Well
for shts and giggles, try that Eb chord
as you were showing , run up from C#
D# to that Eb. That takes care of that
little run up , I think, and then of course
topped off with the ending sparkle chord
I was talking about. See what that sounds like.
The voicing is part of why I explored that
run up, I think it sounds pretty close, it even
sounds like the first two chords are diminished,
then to the Eb, but I don't think that's worth the
extra effort.
Once again, all your tips on this have finally made
this song where I can be 100% confident that I'm
playing the right flavor with no rough spots.
There is a video 📷📸 of EC from the 1968 live at the RAH final of the CREAM 🍨🍦. I appreciate the concept of performing live songs from the late 60s that incorporate string bends, lifts, vibrato etc. I honestly I have never seen or heard anyone including Jimi Hendrix that demonstrate excellence equivocating with Eric Clapton.
great comment thanks
GMaj7-Am7-Bm7-Bbm7-D11(Am7 sub) Cm7/Eb but the bass has😊 the Eb so you can play the Cm7 fragment on the top 4 strings
excellent
Pretty anyone who came is aware of the track. But full demos do help for visual guitarist to all of it up front in context.
Thanks
I strongly disagree with that Eb ( C shape) chord you said everybody gets wrong.
On the classic Live at the Fillmore East recording they play xx554x/ xx5546, you can think of it as either a Cmin chord without the root on the A string and then adding the 7 on the high E string or as an Eb6 without the root on the A string and adding the 5 on the high E string. The rest of the harmony are Berry and Gregg.
I have seen Warren Haynes play a simple Cmin7 chord with root on the A string and adding the G on the low E string by barring the whole 3rd fret.
Anyway the rest of the song is correct, good job. They often played things differently and improvised a lot so there is no one specific correct way of doing it. Anyway, the Cmin7/ Eb6 shapes are the ones that sound most truthful to the original recordings.
Long live ABB!!
The Eb Major really makes it. The borrowed flat-six from the parallel minor.
Thanks
It's not an Eb. It's a Cm7 with Eb bass, or Am7/Eb. No one plays it as an Eb, especially not
The Brothers. I saw them play this several times - including the original band - and they
clearly played a Cm7. Berry Oakley played that Eb on the bass often, but not always.
Excellent video. Did you ever do the solo video?
Nice!
thanks bro
Nice job...... question......how popular were the ABB across the pond...... I'm old enough to have seen Duane play a number of times with the boys
gOOd stuff
Nice synopsis.
At 6:18 you said, "we're going to listen to the bass line" and then you simulate the bass, playing b, b-flat, a. However, the bass never goes from b-flat to a.
After every b-flat minor7, including both guitar solos and the harp solo, the bass starts on d with occasional alternating to a. It never begins on a. However, guitar and keyboards are playing a C-major triad (or a-minor 7) over the d bass, resulting in a D11. This unexpected shortcut to the dominant is one of the special things about this version.
You are correct about that. Also the chord that follows that chord is not Eb but it is actually Cm/Eb. I play it as X6554X.
Yes. Am7 clashes with Berry's bass. He is playing a root-5 pattern to a D chord. A6 works, omitting the 5 in lower register, or simply D9. So many guitar plays try to shove an Am with all six strings, including the E on the A string, and it clashes horribly with the bass line. Often what is played on the record are partial chords, and people extrapolate from those, arriving at chords that don't fit in their entirety.
Love it, thank you! Ever play that Eb as Ebmaj7? Maybe I'm hearing a flourish from an accompanying player or the wrong way that I've played for too long before this video :)
Pleasure Nick
Yes ive seen it written as an Ebmaj7 before.
Listen to the bass again. After the G-Am-Bm-Bbm, Berry plays D-A or D-A-D, like a root-5 pattern on a D, before the Eb, which clashes with Am7 unless you omit the 5th, as you do on the walkup. The 7 is awkward there as well. I hear a D9 or A6 with the 5 in the upper register in place of your A7 reconciling with the bass line. And a Cm7 in place of the Eb is not a sin, being enharmonic to an Eb6 Guitarist who have trouble with your Eb fingerings can make Cm7 shape and omit the root.
decaf version please
merci !
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I bought this Fillmore album 35 years ago,Ive been playing for about 14 years, think I can do this,I practis mostly solo. But I dont know so much bout theory,exept fore some scales. Is it necesary?to learn this,I guess I hear if its wrong,but sometimes I feel I need more theory when I hear people talk. At the same time I play for like therapi,and I started late in life. But nice lesson,guess I have to print out the chords,but it shure help to have the tune in my head
Great lesson, what brand guitar are you playing?
nice
Spot on!
First string third fret open second string on the second string to the first second thumb of your left toenail to the seventh of the fifth string fret second from the top bottom of the fourth third neck of the plucking ring finger of your friends right hand finger to the second natural minor tonal third fret string to your basic final deep last E string minus the seventh basic tonal of the bridge set in harmony with the bass line of your neighbors seventh position of the first fret. Now for the chorus you want to play…..
Great lesson ....great to have it without some windbag droning on about checking out their other videos 😉
One way at a time.its kinda confusing if you learning these guys gotta remember if your that good to move fast through a tune you probably can figure it out by youself
The Mountain way is the only way (in heavy, raspy, New York accent)
have you done a lesson on the solo ? I'd love to see it !
simple.right.
Great lesson and only slightly different than I've played the song from "awhile back".
At the outset please just show the whole of the song for those that don't need the excruciating ANALysis.
Where is the solo and other 9 songs?
I’m more confused now than when I started this video.😜
Not quite bro but close remember there are 2 guitars playing the rhythm as well
the chord is a vanilla Eb6 ( x 6 5 5 4 x )
Wrong. Cm7.
larry geetar I call it Cm7, too, but it is the same set of notes, even though that particular voicing isn’t what either guitarist plays.
@@TheStompboxer Berry Oakley is playing the Eb note here on the bass over the
Cm7 chord. The Eb is the minor 3rd of C, also the #5 (or b6) id it were the Eb
chord. I saw them play it with the original band and that's it.
larry geetar C is the 6th of Eb, not the b6. An Eb Major scale is Eb-F-G-Ab-Bb-C-D-Eb. Cm is the relative minor of Eb major. That’s why both chords (Eb6 and Cm7) have the same set of notes.
Also, the Eb is under, not “over” the chord. It’s either Cm7/Eb (aka first inversion, in which the “/“ denotes “over”) or Eb6 (root position),
This is basic harmony. It’s about as rudimentary as music theory gets.
are you playing the tape for you or for us cause you are louder than the tape so we cant hear it
Everyone always gets the chords wrong. Before Eb seems like bass is playing as D
Third fret.....
Cm7/no root = Eb/g, so it's easy to understand why people might get that confused, no?
Correct. The chord is really a Cm7 with Eb bass, or Cm7/Eb.
@@larrygeetar9309 Thats how I see it.
I thought the intro was chromatic m7b5 chords.
In this case the Bm7b5 voicing you're referring to also serves as a rootless G9 chord. If you think of the root as being G on the low E string , third fret, then B = 3rd, F = b7, A = 9 and D = 5. Got it ?
@@jazz_addict7079 Great answer.
Could have moved the laundry basket..
I was a bachelor when I made this video
Try de caf
Your E flat major chord should be a A flat Maj 7th with an A flat in the low E string.
Mike Cooper the bassist is playing an Eb note therefore it's a Ebmajor chord
The Guitar Show The.bass note isn’t always necessarily the root. It could be seen as Cm7/Eb, or Eb6. I’m going to keep the voicing to myself, though. Not that it’s a secret, particularly.
I have studied this in great detail, using slow down software to catch any available clues. The chord in question is played every 50 seconds, nine times in the song. The first time, in the intro, it is clearly an Eb; you can easily pick out the arpeggiated notes G-Bb-Eb-Bb (on high E). Every other instance to my ear is an Ab maj 7. It is close to Eb6, but I hear the Ab note played on the string.
Brian Hemphill Duane and Dickey are playing different voicings. Pan to the left to hear Duane more clearly, to the right for Dickey.
It's a Cm7 chord. The fact that the bass note is an Eb makes no difference. You
can absolutely hear one of the guitar players arpeggiating through it and adding
the Bb note on the 1st string. This is the real chord in their arrangement. I've
seen them do it live and that includes the original band back in 1970 and '71.
It's Cm7.
When you’re trying to play a Cm7 chord and the bass player comes along and makes it a major chord…I mean what is there left to do but troll other people’s videos. Yeesh!
Talker
One word writer
@@TheGuitarShow that's Boulderdash
ADD much?
Diagrams
Maybe if he tried it sober...???
Most of youtube lesson guys always show the back of your fingers and not the fingertips where one needs to see. A clump of knuckles is annoying to try and see through! Guitarists play by looking at their finger tips so why can't we see? What are you hiding?
Not convinced you can play it. Confused....but this is way closer than marty music. He's never right. Try decaf next time.
Just when you thought you'd seen the worst ever tutorial. Astonishingly bad and ego driven.
Thanks Chris
Dude.. Tune your guitar.
Great lesson but next time don't drink a pot of coffee beforehand You jitteriness is very distracting.
I disagree on the Eb, imo its an Abmaj7 there