Blue Eyes Crying in the Rain - - Diminished walk down?

Ryan Knudson · Post by **Ryan Knudson** » 20 Nov 2009 5:42 am

Hey, all.

Not sure if this query belongs here or in tab, but since it's about six-string and not PSG, I'll put it here.

I've been trying to learn by ear the walk down after the solo in Blue Eyes. It sounds to my untrained ears like it's a walk down on diminished chords to the A. But I can't seem to make it sound right.

Any advice? Or a theory explanation of why it sounds so great?

Jim Robbins · Post by **Jim Robbins** » 20 Nov 2009 10:26 am

Bear with me because I don't know how to post tab so I'll notate string and fret like this: string number/fret number, e.g. 5/2 means fifth string, second fret. I'm pretty sure this is it:

B (5/2) C (5/3) A (3/2) Eb or D# (2/4)
B (5/2) G# (3/1) D (2/3) B (5/2)
Bb (5/1) G# (3/1) D (2/3) Bb (5/1)
A

So the first two chords are parallel descending dim chords. But I think of the progression as F7 - E7 - E7b5 A, i.e., bVI/IV, V/IV, Vb5/IV, IV. However, the "F7" can also be seen/heard as a dim7 in E so its vii dim 7, I7 = V/IV etc.

What makes it cool sounding is the bass line passing through the Bb which gives you E7 flat 5 just before the A -- not that common in country music.

He does it differently here (& you won't need tab because you can see his hands): http://www.youtube.com/watch?v=H7vaYOIKWYY , and he seems to forget about it altogether here: http://www.youtube.com/watch?v=N6wBxQVBozI , which is understandable enough given the distractions on stage.

Bo Borland · Post by **Bo Borland** » 21 Nov 2009 2:45 pm

They are not diminished chords.
After the solo resolves to the E chord (or the 1 of what ever key you do play it in) and as you resolve into the 4 chord at the bridge, try this

b6m7 5m7 b57 46
Cm7 Bm7 Bb7 A6 in the key of E

It will sound better (more like what Willie plays) if you use the same chord inversions that he uses. These are jazz chord forms that are NOT full 6 note barre chords.
Your A6 chord should be at the 5th fret

2nd finger on string 6 5th fret
1st..........................4 4th
3rd .........................2 5th
4th .........................3 6th

Let me know how that works out for you

Post by **Dave Mudgett** » 21 Nov 2009 6:27 pm

Bo's got it, but I think you'll finger that A6 chord a lot easier reversing index and middle finger - i.e.,

Index finger on string 4 4th fret
2nd (middle)..............6 5th
3rd (ring)..................2 5th
4th (pinky)................3 6th

Bo Borland · Post by **Bo Borland** » 22 Nov 2009 5:22 am

Thanks Dave, I corrected my post... I should have grabbed a guitar to actually look at my hand instead of my wrist.

So how did that work out for Ryan?

Jim Robbins · Post by **Jim Robbins** » 22 Nov 2009 11:46 am

The version I'm talking about is at 1:39 of this: http://www.youtube.com/watch?v=CJTsTwD587I

After reading Dave and Bo's posts I went back to double check and realized I made a mistake in the 3rd line -- it goes Bb - G not Bb - G#. Still has that b5 flavour in context. The rest of my notation is accurate as far as the pitches go although he probably plays it on the 6th, 4th and 3rd strings as he does in the version here: http://www.youtube.com/watch?v=H7vaYOIKWYY . In that version he arpeggiates a Bb just before the A. (Pace Dave and Bo, he's not playing C min 7 - B min 7 as the first two chords. You can hear that in the studio version and you can see it from the position of his first finger on the 4th string in the live from Austin version.)

Here's another version: http://www.youtube.com/watch?v=BTP490Cw ... re=related -- where he arpeggiates what is literally A half dim/C, G# half dim/B (or functionally, F9/C E9/C) and then just plays an octave on the Bb's -- at about 2:10.

Bo Borland · Post by **Bo Borland** » 22 Nov 2009 12:56 pm

I think we are talking about 2 different things here, the chord changes and the solo. Willie plays his lead differently all the time but the chords stay the same. It's the same way for the band every night, he may sing in front of the beat or behind depending on how "relaxed"

he is that night.

Ryan Knudson · Post by **Ryan Knudson** » 22 Nov 2009 7:37 pm

Looks like there's plenty here to chew on, and in true forum fashion, no two opinions alike!

Seriously, it's all given me some direction, has helped me approximate the mood of that passage, and has hopefully put me closer to something resembling understanding of this music and these instruments . . .

Thanks, everyone!