I Know You Rider Gonna Miss Me When Im Gone Chords

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

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In this free guitar lesson you take a look at the chords and scales used in the Grateful Dead's version of "I Know Yous Rider" as featured on the album Europe '72 (listen to the track in the embedded video above). This includes a discussion well-nigh the song's key and chord progression, besides as a expect at how to approach the chord changes as a lead guitarist like Jerry Garcia.

I Know Yous Passenger Chords

The chords used in "I Know You lot Passenger" are very simple and consist of but four basic major chords, D, C, G, and F, with D functioning every bit the master chord as y'all see in the chart below. What makes the progression catchy, though, is the fact that its chords don't all fit into the primal of D.  The primal of D consists of the notes D E F# Grand A B C# and the chords D Em F#1000 One thousand A Bm and a C#mb5 (a.m.a diminished triad). So where so do the chords C and F come from? Proceed reading for the answer…

While information technology's true that the primary chord in "I Know You Rider" is D, and the vocal is said to be in the key of D overall, the notes and chords are not actually drawn from the D major scale. Instead, they are drawn from the One thousand major scale, but centered on the 5th caste, D, making what'southward called D Mixolydian mode. In this manner, the notes are D E F# G A B C (natural) and the chords are D Em F#mb5 G Am Bm C. This covers the first half of the progression, merely you lot still haven't fit in the F chord in the side by side half. Keep reading…

When the music changes to the F chord, the calibration changes to C major, which consists of the notes C D East F G A B and the chords C Dm Em F K Am Bmb5. If you notwithstanding recollect about D equally being your tonal center, and so this is the C scale'southward second mode, D Dorian.

All together, "I Know You Rider" uses a composition technique called 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, yous combine D Mixolydian and D Dorian. With a little examination, y'all see that the only difference 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 third of D, simply F# is a major 3rd and F natural is a modest 3rd. So the music toys with a major and small-scale tonality, and and so does Jerry Garcia's guitar solo, which you learn more than about in the next lesson section below.

I Know You Passenger Scales

Every bit detailed in the previous section on chords, "I Know Y'all Rider" interchanges ii types of D scales, D Mixolydian and D Dorian. These scales are then used to add melody and lead lines. In addition to thinking about scale patterns, you tin can too target chord tones in your solos by using related arpeggio patterns. Both of these, scales and arpeggios, are illustrated for y'all beneath in a series of guitar neck diagrams. Here is how each example is applied:

1. The start diagram illustrates the D major pentatonic calibration, which corresponds to the principal tonality of the music, D major. Pentatonic scales are extremely popular on guitar, and are oftentimes used as base of operations patterns while other types of scales and arpeggios are in apply. You hear Jerry Garcia play a lot of D major pentatonic licks in this track's recorded guitar solos. While there are other positions and patterns that can be used for the same calibration, you focus on this, the well-nigh common pentatonic pattern i, for at present. Be certain to notice where the tonic notes D are, and beginning your scale from one of these tonic notes in order to properly hear the D major pentatonic sound.
2. The second diagram adds the notes C and G, which complete the D Mixolydian scale. You lot might recognize this pattern every bit being G major scale design 1 from my volume,Fretboard Theory. Think, the D Mixolydian mode is drawn from the One thousand major scale. To hear this modal calibration played tonic to tonic, play D to D. You can freely use this pattern over the outset half of the chord progression, D-D-C-G-D-D-D-D. You tin can actually use G major/D Mixolydian scale patterns in whatsoever position, simply, again, I'm focusing but on this surface area of the cervix to get you started.
3. Yous see the same D Mixolydian blueprint in the third diagram, simply this fourth dimension with the notes of the D chord highlighted in black. When y'all play over chords, information technology's skillful to know where related chord tones are located and skilful to emphasize chord tones as yous course phrases in the calibration. While y'all're not limited to playing just D related notes over the D chord, you lot can connect your pb lines more closely to the D chord past targeting chord tones now and so, like at the beginning of measures, and specially at the beginning 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 organisation, because they accept on the shape of what yous know as 1000 in the open position. Information technology'south a good idea to play through this arpeggio pattern ascending and descending like a calibration in social club to familiarize yourself with the form and the location of the D notes.
4. When the progression changes to the C chord, y'all still stick with the same D Mixolydian scale, but now if you want to target chord tones you must know where the new related notes are located. Playing an "E form" chord shape and arpeggio design will enable you to hit on notes related to C while staying in the same position equally your base of operations calibration. To strongly necktie your pb line to the C chord change, hitting a C arpeggio annotation right on the downbeat of i in the first C measure out.
5. The 5th diagram continues to follow the chord progression, this time past illustrating how to target notes of the next chord, G, equally you play in the base calibration of D major pentatonic/D Mixolydian. Keeping with CAGED chord forms, this one is in "C form," but, in this position, consists of notes related to M.
6. Things get a fiddling tricky when the music changes to the F chord. In diagram six, all the F# notes need to be lowered a one-half-footstep to F natural. When this happens, the D Mixolydian scale blueprint changes to a D Dorian scale blueprint. Remember that these modes are drawn from Yard and C major, and then it might exist easier for y'all to think well-nigh One thousand major scale pattern iii changing to C major calibration pattern i (at least, that's how I number the patterns when I teach them in Fretboard Theory). On tiptop of this, you tin target the notes of an F chord by using an "A class" arpeggio blueprint.
7. Finally, in the 7th diagram, you keep 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, you return to diagram 3 (and this is a skilful time to hitting on the F# note 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's music and Jerry Garcia's guitar way.  Equally you can see, the simple chords and progression used in "I Know You Rider" actually make for a somewhat complicated approach to music composition and improvisation because of the use of these techniques. These techniques as well make the music sound more than interesting and the song more fun (or more challenging) to play. I have outline for you one way to approach "I Know You lot Rider" equally a lead guitarist, but y'all're costless to explore other options, like playing the aforementioned scales in other positions and targeting chord tones using other chord forms.

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