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"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 You Rider" every bit featured on the album Europe '72 (listen to the track in the embedded video above). This includes a word about the song's key and chord progression, likewise as a look at how to approach the chord changes equally a pb guitarist like Jerry Garcia.

I Know You lot Rider Chords

The chords used in "I Know You Rider" are very simple and consist of only four basic major chords, D, C, Thousand, and F, with D functioning as the principal chord every bit yous meet in the chart below. What makes the progression tricky, 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 Due east F# G A B C# and the chords D Em F#g G A Bm and a C#mb5 (a.k.a diminished triad). Then where and so do the chords C and F come up from? Continue reading for the reply…

While it'south true that the main chord in "I Know You Rider" is D, and the vocal is said to be in the central of D overall, the notes and chords are not really fatigued from the D major scale. Instead, they are drawn from the Yard major scale, but centered on the 5th degree, D, making what's called D Mixolydian mode. In this style, the notes are D East F# G A B C (natural) and the chords are D Em F#mb5 G Am Bm C. This covers the offset one-half of the progression, but you even so haven't fit in the F chord in the adjacent half. Keep reading…

When the music changes to the F chord, the scale changes to C major, which consists of the notes C D E F Thou A B and the chords C Dm Em F G Am Bmb5. If yous still remember nigh D as being your tonal centre, so this is the C scale's second fashion, 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 1 melody or chord progression. In this case, you lot combine D Mixolydian and D Dorian. With a little test, y'all come across that the only difference between these 2 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, merely F# is a major 3rd and F natural is a pocket-size 3rd. So the music toys with a major and minor tonality, and so does Jerry Garcia's guitar solo, which you larn more nearly in the next lesson section below.

I Know You Rider Scales

As detailed in the previous department on chords, "I Know You Rider" interchanges two types of D scales, D Mixolydian and D Dorian. These scales are so used to add together melody and atomic number 82 lines. In addition to thinking most 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 lot below in a series of guitar neck diagrams. Here is how each instance is applied:

1. The get-go diagram illustrates the D major pentatonic scale, which corresponds to the principal tonality of the music, D major. Pentatonic scales are extremely popular on guitar, and are often used as base of operations patterns while other types of scales and arpeggios are in use. You hear Jerry Garcia play a lot of D major pentatonic licks in this track'due south recorded guitar solos. While there are other positions and patterns that can be used for the same scale, you focus on this, the almost common pentatonic blueprint 1, for now. Be sure to notice where the tonic notes D are, and start 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 might recognize this pattern as beingness Yard major calibration design 1 from my book,Fretboard Theory. Think, the D Mixolydian mode is fatigued from the G major calibration. To hear this modal scale played tonic to tonic, play D to D. You tin freely use this pattern over the get-go half of the chord progression, D-D-C-G-D-D-D-D. Y'all tin can actually use G major/D Mixolydian scale patterns in any position, but, over again, I'm focusing just on this area of the neck to get you started.
3. You see the same D Mixolydian pattern in the tertiary diagram, but this fourth dimension with the notes of the D chord highlighted in black. When you lot play over chords, it'due south good to know where related chord tones are located and good to emphasize chord tones as you form phrases in the calibration. While you're not express to playing only D related notes over the D chord, yous can connect your lead lines more closely to the D chord past targeting chord tones now and so, like at the beginning of measures, and specially at the commencement of each chord change. In this position, the notes of D form what'due south called a "K form" chord shape in the then-chosen CAGED organisation, because they take on the shape of what you know as G in the open position. It'due south a proficient idea to play through this arpeggio pattern ascending and descending like a scale in gild to familiarize yourself with the grade and the location of the D notes.
4. When the progression changes to the C chord, you all the same stick with the same D Mixolydian scale, but now if you lot want to target chord tones yous must know where the new related notes are located. Playing an "E form" chord shape and arpeggio blueprint volition enable you lot to hit on notes related to C while staying in the aforementioned position every bit your base of operations calibration. To strongly tie your lead line to the C chord change, hit a C arpeggio note right on the downbeat of 1 in the first C measure.
5. The fifth diagram continues to follow the chord progression, this time by illustrating how to target notes of the side by side 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 grade," but, in this position, consists of notes related to M.
6. Things become a little catchy when the music changes to the F chord. In diagram vi, all the F# notes need to be lowered a one-half-pace to F natural. When this happens, the D Mixolydian scale pattern changes to a D Dorian scale pattern. Remember that these modes are drawn from Yard and C major, so it might be easier for you to think about G major calibration pattern iii changing to C major scale pattern 1 (at least, that'due south how I number the patterns when I teach them in Fretboard Theory). On top of this, you can target the notes of an F chord by using an "A grade" arpeggio pattern.
7. Finally, in the seventh diagram, y'all go on with D Dorian/C major scale notes, but this fourth dimension targeting C chord tones again using an "Eastward course" arpeggio pattern. When the music returns to D, you return to diagram iii (and this is a expert time to hit on the F# annotation in gild to bring the tonality dorsum to D major).

I Know Y'all Rider Music Theory

The apply of modes (especially Mixolydian), modal mixture, and chord tone soloing is prevalent in the Grateful Dead's music and Jerry Garcia's guitar manner.  Every bit you tin can come across, the simple chords and progression used in "I Know You lot Rider" actually make for a somewhat complicated approach to music composition and improvisation because of the use of these techniques. These techniques also make the music audio more interesting and the song more fun (or more than challenging) to play. I accept outline for you lot one fashion to approach "I Know You Rider" as a pb guitarist, but you're free to explore other options, similar playing the same scales in other positions and targeting chord tones using other chord forms.

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