![]() I also use eye contact and the intensity of my dancing or bouncing to reinforce my musical message). Last, think about non-verbal communication with band members (I often switch to downstrokes for a measure to signal a transition - quarter notes can slow it down, eighth note downstrokes for a high energy change, etc. Ear training and music theory study are awesome for all of these. Knowing when to use two chords and when to use 10. Recognizing cadences and progressions so you know where the song is going. Random other thoughts: Know how loud to be, what registers to use, when to be quiet, how to complement, when to stand out. Vocal Participation (effective, even if you "don't sing"): G F Look for a while at the China Cat sunflower, G F Proud walking jingle in the midnight sun. The ear training is key for knowing what to play, and how to use each chord type / inversion / voicing effectively. You want to be able to use chords in all inversions on all part of the neck, and you want to know when to use them. Play with guitar, piano, ukulele, or any instrument you choose. Haven't seen it mentioned yet, but start ear training rigorously. G F Chords for Grateful Dead China Cat Sunflower Backing Track in G Mixolydian with Key, BPM, and easy-to-follow letter notes in sheet. TL DR learn chords, have good rhythm and timing, and play AROUND the groove. A note on Alex Allan’s Grateful Dead Lyric and Song Finder site says: Robert Hunter played Saint Stephen>Alligator>China Cat Sunflower>The Eleven>China Cat Sunflower on 18 March 2003 to illustrate how the songs had originally been conceived. ![]() While you do, listen to what they play and react to it, drawing from your knowledge of chords and rhythms. Finally, if you ever want to learn how to play like Weir you're going to have to play with people. The next step would be to listen to a lot of jazz records, particularly small groups featuring a piano, and see how each instrument builds around each other (in jazz, the bass is the center timekeeper everyone else plays around each other). You're definitely on the right track with learning as many inversions as you can. Bob's playing stands out like it does because he builds off of what the rhythm section does. Comping does require great rhythm and timing, but its role is different, in that a comper plays AROUND the groove, adding color and dimension to it, whereas a rhythm player IS the groove. There's a difference between comping and rhythm playing. Weir's role in the Dead was that of a comper, in the vein of jazz piano greats like Bill Evans or McCoy Tyner.
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