Thanks for watching Peter's Acoustic Music Channel. My cover of 'Tangled Up In Blue' is at ruclips.net/video/uLEQJFeVLGM/видео.htmlsi=XI0ReG0Zz8U3Ck40. Please support me by liking and subscribing. 🙂
I like Bob Dylan’s “New York Sessions/Blood on the Tracks” where Dylan plays the whole album in Open D tuning. Sounds the best for solo acoustic guitar!
I’m also a big fan of the New York sessions. I guess the 75 album with the Minnesota songs may have been more commercial, but for solo acoustic renditions the New York sessions are wonderful.
It's pretty difficult to sing exactly like him (for good or bad, that voice of his is pretty distinctive), and anyway he is a moving target, because he changes the way that he performs his old songs all the time. For example, I saw him play 'Tangled Up in Blue' live in the 90s with an electric guitarist playing slide (not a patch on the 'Blood On The Tracks' version in my opinion, but obviously that's just my opinion). Anyway - I digress. There is no absolute right or wrong in terms of how you cover Dylan (or anybody else). If people like it, that's good enough. Anyway, I really like your pithy comment.
Ive been playing this song for over 40 years ! ( No Capo ) I appreciate your take and arrangement of it. There is a tab out there for this song in open E. It seems most of the songs on Blood on the Tracks incorporated the open E tuning. Good Job !
Thank you. I would love to see the Open E tab. I always feel I should use alternate tunings more than I do - the main reasons that I don't are a) it never quite gets to the top of my to-do list, and b) I don't like re-tuning guitars in the middle of gigs. But I've got great respect for guitarists who master alternate tunings.
I learned about this problem from learning Dead tunes. Garcia and Weir are usually playing live, they don't play songs the same way, but most importantly they operate in different areas of the fretboard. They are complementing each other, both harmonically and rhythmically. Listening to the STEMS is amazing. The whole isn't just the parts.
@@PetersAcousticMusicChannel Definitely agree. And I find it incredibly difficult to disentangle what's going on unless you already know it or can see it. Gotta say though, I prefer Taylor. I forget the details, but IIRC Dylan used a second guitarist on his earliest albums.
On the album version Dylan played it in A without a capo and subsequently has played it in various keys ever since, all subjective really but a nice useful insight,
Great video. I've been playing this song for 20 years but I never play it in public because I've never really improved on my first year guitar student version. I will just mention that your presentation would have a lot more clarity if you didn't keep stopping to explain how other people are doing it wrong, and just showed us how to do it right. *25 years, now that I think about it. 😄😭🤮
Thank you. Appreciate the feedback. I'm discovering that YouTubing is a bit like playing guitar, in that you always have to keep experimenting. The last time I played this song in public was a few years ago, in a pub, when somebody requested it - so it was a bit impromntu. I thought I did well to remember the lyrics to every verse except one. It turned out the requester was a bit of a Dylanologist, and was peeved about the missing verse. It was a good thing that he didn't ask for Desolation Row I suppose!
Great tutorial Peter and yes it can easy to come up with YT versions that are close but not quite there. These days I'm playing TUIB in D tuning ie DAD#FAD.
Thanks Andrew. I'm planning to experiment a bit more with alternate tunings myself. At some point in the next month or two (or three!) I may put out a video about Dylan's use of open tunings.
I play this with no capo, open chords. Just A, move ring finger to A sus4 (or open D for a D sus2). Then A to G, A to G to D. Then E, F#m, A, D. Then G, D, A. Everything super simple cowboy chords, only slightly tricky part is E to F#m. Regardless, interesting voicing you’ve got there.
Until recently, I used to play it starting with a D chord with a capo at the 2nd fret (so in the key of E), but I've come to prefer it in the original key of A now. Somebody who watched the video kindly emailed me an excerpt of a transcription of 'Tangled Up in Blue' that was in Guitarist magazine, circa 1988. This is for 3 guitars. One of them plays the intro A to A sus4 with no capo, like you. Another is playing G to G / Am7 with a capo at the second fret (the magazine calls the second chord Gsus2/4 - but it's the same fingering as the chord as in the video). The third guitar is a twelve string with a capo at the seventh fret, playing D to C/D (just fretting the B string at the first fret, everything else open).
I think you will find that the entire Blood on the Tracks was recorded with acoustic guitars in open E tuning. Hence the difficulty in obtaining the guitar sound from the album using standard tuning.😊
Thank you for this comment. My son, who is in his twenties, is a big fan of the 'More Blood, More Tracks' album, which he prefers to 'Blood On The Tracks'. The songs that appeared on 'Blood On The Tracks' were originally recorded in New York City in September 1974. But then Dylan re-recorded around half of the songs in Minnesota in January 1975. When it was released in 1975 about half the songs on 'Blood On the Tracks' came from the New York City sessions, and the other half from the Minnesota sessions. So for example, 'Tangled Up in Blue' is from Minnesota (January 75), and I think 'Simple Twist of Fate' is from New York City (September 74). 'More Blood, More Tracks' has many of the Minnesota versions that didn't make it onto the 1975 album. It seems that Dylan was using Open E tuning in the Minnesota sessions, but perhaps not in the New York City sessions (?)... ...Anyway, it's a fascinating subject for us guitarists. There is an interesting New Yorker article about the making of the album here: www.newyorker.com/culture/cultural-comment/bob-dylans-masterpiece-is-still-hard-to-find#:~:text=The%20music%20that%20Dylan%20wrote,%2C%20G%23%2C%20B%2C%20E.
@@PetersAcousticMusicChannel yes Bobby Zimmerman does a lot of strange and wonderful things..that's for sure..but try Tangled up in Blue and A Simple Twist of Fate in open E and for me it sits very comfortably with the original recordings regardless of how many guitars are playing on the original record. The Stones also used the open E tuning extensively on Beggars Banquet and Let it Bleed. You really can't play You Got the Silver, You Can't Always get what you Want or the original version of Jumpin J Flash unless you're in the E groove..cheers 😁
Wow, I’ve listened to this song a 1000 times and never thought of doing it. You’ve made it perfect for a one man band. Thanks so much. Have you heard the KT Tunstall version. I think a looper could be used to add some percussion effects.
So that would make a total 30 guitar strings on the track, plus the bass guitar of course - which is what gives the track its harmonic complexity. BTW, I think the capos must have been at the 7th fret to convert a D to an A. When I first learned the song (years ago), I played it starting with a D major chord and using a capo. It sounds good like that too.
I find it difficult to clearly pick out the individual guitars on the left and right, as they are a bit low in the mix, but whenever I play a major and a major sus4 in the intro, the sus4 feels like it is missing something. My best guess is that one of the guitars in the 'Blood On the Tracks' version is throwing in a note of B as well as the D that makes the sus4. When I listen to Dylan playing 'Tangled Up in Blue' solo on 'Real Live', it sounds more like a straight sus4 (not my favourite version, but I enjoy listening to the variations in the lyrics he throws in). Anyway, that's my two cents :-)
Well I suppose with Dylan, there isn't really a 'right' way to play it (despite the title of the video!). There is just the way he played it on one particular day, and on another day he might play it differently... ...I quite like seeing if I can work out how a guitar part is put together, as I often feel I learn something that way. But there is also a lot to be said for coming up with your own interpretation.
Thanks for watching Peter's Acoustic Music Channel. My cover of 'Tangled Up In Blue' is at ruclips.net/video/uLEQJFeVLGM/видео.htmlsi=XI0ReG0Zz8U3Ck40. Please support me by liking and subscribing. 🙂
This was terrific. It not only helped me finally play something that sounded like the song, I also learned a lot
Thank you.
Well done. Harmonics are the closest using this for solo guitar. Thank you for doing the hard work.
Thanks - glad you liked it!
I like Bob Dylan’s “New York Sessions/Blood on the Tracks” where Dylan plays the whole album in Open D tuning. Sounds the best for solo acoustic guitar!
I’m also a big fan of the New York sessions. I guess the 75 album with the Minnesota songs may have been more commercial, but for solo acoustic renditions the New York sessions are wonderful.
I don't think anyone t&at covers Dylan tries to play or sing exactly like Dylan..that's kind of the beauty of playing Dylan
It's pretty difficult to sing exactly like him (for good or bad, that voice of his is pretty distinctive), and anyway he is a moving target, because he changes the way that he performs his old songs all the time. For example, I saw him play 'Tangled Up in Blue' live in the 90s with an electric guitarist playing slide (not a patch on the 'Blood On The Tracks' version in my opinion, but obviously that's just my opinion). Anyway - I digress. There is no absolute right or wrong in terms of how you cover Dylan (or anybody else). If people like it, that's good enough. Anyway, I really like your pithy comment.
He never plays anything the same way twice himself 😂
Indeed he doesn't.
Especially since Dylan doesn't try to play like Dylan.
Ive been playing this song for over 40 years ! ( No Capo )
I appreciate your take and arrangement of it.
There is a tab out there for this song in open E.
It seems most of the songs on Blood on the Tracks incorporated the open E tuning.
Good Job !
Thank you. I would love to see the Open E tab. I always feel I should use alternate tunings more than I do - the main reasons that I don't are a) it never quite gets to the top of my to-do list, and b) I don't like re-tuning guitars in the middle of gigs. But I've got great respect for guitarists who master alternate tunings.
You nailed it.. Thanks boss for a fun and enlightening lesson, You're appreciated.
Glad you enjoyed it!
Enjoyed the lessens and how you break in down. Well, now i need to work on yet another chord progression of this song!
Thank you.
Great lesson!
Thank you!
That was terrific. Thanks I could figure that song out
Thanks - glad you enjoyed it!
I learned about this problem from learning Dead tunes. Garcia and Weir are usually playing live, they don't play songs the same way, but most importantly they operate in different areas of the fretboard. They are complementing each other, both harmonically and rhythmically. Listening to the STEMS is amazing. The whole isn't just the parts.
It’s a skill to complement another guitarist isn’t it? (Richards / Wood, Lennon / Harrison etc).
@@PetersAcousticMusicChannel Definitely agree. And I find it incredibly difficult to disentangle what's going on unless you already know it or can see it. Gotta say though, I prefer Taylor.
I forget the details, but IIRC Dylan used a second guitarist on his earliest albums.
Great break down and super video editing! New sub here.
Awesome, thank you!
thanks, i dont play enough Dylan, that changes from now
Thank you!
On the album version Dylan played it in A without a capo and subsequently has played it in various keys ever since, all subjective really but a nice useful insight,
Thank you - Dylan never seems to stand still, does he? Even in his eighties he is reinventing his old songs.
That's how I learned it.
Much less complicated fingerings as long as you can bar an F# minor
Great video. I've been playing this song for 20 years but I never play it in public because I've never really improved on my first year guitar student version.
I will just mention that your presentation would have a lot more clarity if you didn't keep stopping to explain how other people are doing it wrong, and just showed us how to do it right.
*25 years, now that I think about it.
😄😭🤮
Thank you. Appreciate the feedback. I'm discovering that YouTubing is a bit like playing guitar, in that you always have to keep experimenting.
The last time I played this song in public was a few years ago, in a pub, when somebody requested it - so it was a bit impromntu. I thought I did well to remember the lyrics to every verse except one. It turned out the requester was a bit of a Dylanologist, and was peeved about the missing verse. It was a good thing that he didn't ask for Desolation Row I suppose!
Great tutorial Peter and yes it can easy to come up with YT versions that are close but not quite there. These days I'm playing TUIB in D tuning ie DAD#FAD.
Thanks Andrew. I'm planning to experiment a bit more with alternate tunings myself. At some point in the next month or two (or three!) I may put out a video about Dylan's use of open tunings.
I play this with no capo, open chords. Just A, move ring finger to A sus4 (or open D for a D sus2). Then A to G, A to G to D. Then E, F#m, A, D. Then G, D, A. Everything super simple cowboy chords, only slightly tricky part is E to F#m. Regardless, interesting voicing you’ve got there.
Until recently, I used to play it starting with a D chord with a capo at the 2nd fret (so in the key of E), but I've come to prefer it in the original key of A now. Somebody who watched the video kindly emailed me an excerpt of a transcription of 'Tangled Up in Blue' that was in Guitarist magazine, circa 1988. This is for 3 guitars. One of them plays the intro A to A sus4 with no capo, like you. Another is playing G to G / Am7 with a capo at the second fret (the magazine calls the second chord Gsus2/4 - but it's the same fingering as the chord as in the video). The third guitar is a twelve string with a capo at the seventh fret, playing D to C/D (just fretting the B string at the first fret, everything else open).
I think you will find that the entire Blood on the Tracks was recorded with acoustic guitars in open E tuning. Hence the difficulty in obtaining the guitar sound from the album using standard tuning.😊
Thank you for this comment. My son, who is in his twenties, is a big fan of the 'More Blood, More Tracks' album, which he prefers to 'Blood On The Tracks'. The songs that appeared on 'Blood On The Tracks' were originally recorded in New York City in September 1974. But then Dylan re-recorded around half of the songs in Minnesota in January 1975. When it was released in 1975 about half the songs on 'Blood On the Tracks' came from the New York City sessions, and the other half from the Minnesota sessions. So for example, 'Tangled Up in Blue' is from Minnesota (January 75), and I think 'Simple Twist of Fate' is from New York City (September 74). 'More Blood, More Tracks' has many of the Minnesota versions that didn't make it onto the 1975 album. It seems that Dylan was using Open E tuning in the Minnesota sessions, but perhaps not in the New York City sessions (?)... ...Anyway, it's a fascinating subject for us guitarists. There is an interesting New Yorker article about the making of the album here: www.newyorker.com/culture/cultural-comment/bob-dylans-masterpiece-is-still-hard-to-find#:~:text=The%20music%20that%20Dylan%20wrote,%2C%20G%23%2C%20B%2C%20E.
@@PetersAcousticMusicChannel yes Bobby Zimmerman does a lot of strange and wonderful things..that's for sure..but try Tangled up in Blue and A Simple Twist of Fate in open E and for me it sits very comfortably with the original recordings regardless of how many guitars are playing on the original record. The Stones also used the open E tuning extensively on Beggars Banquet and Let it Bleed. You really can't play You Got the Silver, You Can't Always get what you Want or the original version of Jumpin J Flash unless you're in the E groove..cheers 😁
Wow, I’ve listened to this song a 1000 times and never thought of doing it. You’ve made it perfect for a one man band. Thanks so much.
Have you heard the KT Tunstall version. I think a looper could be used to add some percussion effects.
Thank You. I hadn't heard the KT Tunstall version, but just had a listen... ...and loved it! Thank you for introducing me to it.
Dylan was studying Lightfoot...
Interesting!
Nice video... I believe at 9:11 you are playing an F chord with G in the bass... that would be denoted as F/G... not G/F
Yes, thank you. It’s a F with a G in the bass. I got the notation wrong.
Nice slim bodied guitar
It's a Bourgois OM Denise. I'm lucky to have it :-)
@@PetersAcousticMusicChannel Wow !!!!
The other two guitars have the twelve string capo'ed at the 5th playing D shapes and Dylan's un-capo'ed playing A shapes.
So that would make a total 30 guitar strings on the track, plus the bass guitar of course - which is what gives the track its harmonic complexity. BTW, I think the capos must have been at the 7th fret to convert a D to an A. When I first learned the song (years ago), I played it starting with a D major chord and using a capo. It sounds good like that too.
@@PetersAcousticMusicChannel Yes - 7th fret capo. My mistake.
@@PetersAcousticMusicChannel I think, but am not sure the 12 string and Dylan's are just using a major and major sus4 in the intro. Any ideas?
I find it difficult to clearly pick out the individual guitars on the left and right, as they are a bit low in the mix, but whenever I play a major and a major sus4 in the intro, the sus4 feels like it is missing something. My best guess is that one of the guitars in the 'Blood On the Tracks' version is throwing in a note of B as well as the D that makes the sus4. When I listen to Dylan playing 'Tangled Up in Blue' solo on 'Real Live', it sounds more like a straight sus4 (not my favourite version, but I enjoy listening to the variations in the lyrics he throws in). Anyway, that's my two cents :-)
I play it in A with no capo and it sounds “perfect”.
If it works for you, that's perfect!
I didn't think people still listened to Bob Dylan
I guess interest from the 'general public' waxes and wains, but he has had a hard core of fans since the 60s.
I'm
I never could understand why anyone would want to play anything exactly like the record. Why not just play the record? 😁
Well I suppose with Dylan, there isn't really a 'right' way to play it (despite the title of the video!). There is just the way he played it on one particular day, and on another day he might play it differently... ...I quite like seeing if I can work out how a guitar part is put together, as I often feel I learn something that way. But there is also a lot to be said for coming up with your own interpretation.
I think your notation G/F should be F/G. You’re playing an F chord over a G bass note, F over G, F/G.
Thank you.