Estimated Prophet TAB

Estimated Prophet TAB
Estimated Prophet
Estimated Prophet
Terrapin Station
(Weir/Barlow)
Last Updated 03/25/96
General Rules On Chord Charts
Bob Intro
Jerry Intro
Bob During The Verse
F#m Bm6
My time coming, anyday, don't worry about me, no
F#m Bm6
Been so long I felt this way, I'm in no hurry, no
F#m Bm6
Rainbows and down that highway where ocean breezes blow
F#m Bm6
My time coming, voices saying they tell me where to go.
Verse Ending
F#m Bm6
Don't worry about me, nah nah, don't worry about me,no
F#m Bm6
And I'm in no hurry, nah, nah nah, I know where to go.
Chorus
G C G F C
California, preaching on the burning shore
G C G F C
California, I'll be knocking on the golden door
G C G F
Like an angel, standing in a shaft of light
C G C G F C
Rising up to paradise, I know I'm gonna shine.

It's gonna be just like they say, them voices tell me so
Seems so long I felt this way and time sure passin' slow
Still I know I lead the way, they tell me where I go.
Don't worry about me, no no no, don't worry about me, no

and I'm in no hurry, no no no, I know where to go.
California, a prophet on the burning shore

G C G F C
You've all been asleep, you would not believe me
G C G F C
Them voices tellin' me, you will soon receive me
G C G
Standin' on the beach, the sea will part before me
G F C
(Fire wheel burning in the air!)
G C G
You will follow me and we will ride to glory,
G F C
(way up, the middle of the air!)
Break
Dm E7
And I'll call down thunder and speak the same
Dm E7
And my work fills the sky with flame
Dm E7
And might and glory gonna be my name
Dm F A
And men gonna light my way.
Bm Dm Am Cm Gm Bbm Ab Bb


And I'm in no hurry, no no no, don't worry about me, no.
Bob Intro
(^) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend
MP3 Tab Support Audio (35K)
MIDI Tab Support Audio (estimat1.mid)
MIDI file both B&J parts
E--2---1---2--2-----2--2--5--4--2--2--0--2---2--2-----------
B--2---2---2--2-----2--2--2--2--2--2--0--2---2--2---2-2-3---
G--2---1---2--2-----2--2--2--2--2--2--1--2---2--2---2-2---4-
D--4---3---4--4-----4--4--2--2--4--4--2--4---4--4---4-4-----
A--4-------4--4-----4--4--4--4--4--4--2--4---4--4---4-4-----
E--2-------2--2-----2--2--2--2--2--2--0--2---2--2---2-2-----
Return To Base
Jerry Intro
MIDI file both B&J parts
E-----------------------------------------------------------
B-----------------------------------------------------------
G---------------------2-------------------------------------
D------------------------4---2-------4----------------------
A-----------2--4----------------4------2--4-----------------
E----2---5-----------------------------------5--------------
Return To Base
Bob During The Verse
E--2------2--2---2----2--2---2------------------------------
B--2------2--2---2----2--2---2-----2-2-3--------------------
G--2------2--2---2----2--2---2-----2-2---4------------------
D--4------4--4---4----4--4---4-----4-4----------------------
A--4------4--4---4----4--4---4-----4-4----------------------
E--2------2--2---2----2--2---2-----2-2----------------------
Return To Base
Verse Ending
Bob
E--2---1---2--2-----2--2--5--4--2--2--0--2---2--2-----------
B--2---2---2--2-----2--2--2--2--2--2--0--2---2--2---2-2-3---
G--2---1---2--2-----2--2--2--2--2--2--1--2---2--2---2-2---4-
D--4---3---4--4-----4--4--2--2--4--4--2--4---4--4---4-4-----
A--4-------4--4-----4--4--4--4--4--4--2--4---4--4---4-4-----
E--2-------2--2-----2--2--2--2--2--2--0--2---2--2---2-2-----
Jerry
E-----------------------------------------------------------
B-----------------------------------------------------------
G-----------------------------------------------------------
D-----------------------------------------------------------
A--------------------------------2-4------------------------
E--2-2-0-2-0-2-----2-2-0-2-0-2-5----------------------------
Return To Base
Chorus
MIDI includes chords
G C G F C
E-----------------------------------------------------------
B---10^12--10-----13-------10^12----10----------------------
G--------------12----------------12----12-------------------
D-----------------------------------------------------------
A-----------------------------------------------------------
E-----------------------------------------------------------
Return To Base
Break
MIDI file includes chords
Four times 1st 3 times Last time

Dm E7 F A
E------------------------|----------------|-----------------
B------------------------|----------------|-----------------
G------------------------|----------------|----------------2
D------------------------|----------------|--------------2--
A--5-5-3-5---3-5-5-3-2---|---7-7-5-7-5-7--|---0--3--0--4----
E----------------------5-|----------------|-1---------------
Bm Dm Am Cm Gm Bbm Fm Ab Bb
E-------------|------------|----------|-------4-3-4---4-3-4-
B-------------|------------|----------|---------------------
G-------12-10-|-------10-8-|-----8-6--|---------------------
D--9-12-------|--7-10------|-5-8------|3-6-3----------------
A-------------|------------|----------|---------------------
E-------------|------------|----------|---------------------
-------------------------
Estimated Prophet Chords

Postby reichorn Sat May 13, 2017 5:45 pm
Here's what I've come up with for this tune. I've benefited from the tab here at
rukind and from jdark's tab. I think both of them contain errors, however.
A couple notes on how to read this. First, lower-case letters indicate notes,
whereas uppercase letters indicate chords. So the lowercase letters on the bottom
of the chords for the intro are individual notes Bobby is playing above the chords.
Second, I simplified Jerry's lick during the chorus, since I'm arranging for solo
acoustic. See jdark's tab for a more accurate rendering.
7/4
INTRO
1 2 3 4 5 6 7 1 2 3 4 5 6 7
|| : F#m C# F#m - - - - / F#m E - - F#m Bm6 - :||
a-g# - f# d b
C# = xx3121
Bm6 = x24x34
1 2 3 4 5 6 7 1 2 3 4 5 6 7
|| : F#m - - - - - - / F#m - - - - Bm6 - :||
d b
F#m Bm6
F#m Bm6
F#m Bm6
Rainbows end down that highway where ocean breezes blow
F#m Bm6
F#m Bm6
F#m Bm6
G * C G F C
G C G F C
G C G F
C G C G F C
* = a b a g c



G C G G F C
G C G G F C
G C G
G F C
G C G
G F C
Dm E7
Dm E7
And my word fills the sky with flame
Dm E7
Dm F - - / A - - - /
CONTINUE CLIMB INTO SOLO =

Bm / / Dm / / /
Am / / Cm / / /
Gm / / Bbm / / /
Fm / / *C# - D
* = x43121 - x54232
1 2 3 4 5 6 7 1 2 3 4 5 6 7
SOLO = || : G - - - - C - | G - - F - C - :||


|-Intro riff-----------------|
|----------------------------|
|-----------2----------------|
|--------------4-2---4-------|
|-----2-4----------4---2-2---|
|-2-5----------------------5-|
"Dont worry": Jerry

|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|-----------------0-2-4-----------------0-2-4--|
|-2-2-0-5---0-2-2-------2-2-0-2---0-2-2--------|
Isn't that last chord before the solo a Bb7? (not a D?)
Yes! We have a winner! That was the one chord I wasn't sure about. It would make so
much sense to resolve to G via D -- but when has Bobby ever done the easy or
obvious thing? Here's a corrected copy of my "chart." (I also corrected a little
screw up on the Intro.)
7/4
INTRO
1 2 3 4 5 6 7 1 2 3 4 5 6 7
|| : F#m C# F#m - - - - / F#m - E - F#m - Bm6 - :||
a-g# - f# d b
C# = xx3121
Bm6 = x24x34
1 2 3 4 5 6 7 1 2 3 4 5 6 7
|| : F#m - - - - - - / F#m - - - - Bm6 - :||
d b
F#m Bm6
F#m Bm6
F#m Bm6
Rainbows end down that highway where ocean breezes blow
F#m Bm6
F#m Bm6
F#m Bm6
G * C G F C
G C G F C
G C G F
C G C G F C
* = a b a g - c



G C G G F C
G C G G F C
G C G
G F C
G C G
G F C
Dm E7
Dm E7
And my word fills the sky with flame
Dm E7
Dm F - - / A - - - /
CONTINUE CLIMB INTO SOLO =

Bm - - Dm - - -
Am - - Cm - - -
Gm - - Bbm - - -
Fm - - *C# - Bb7 --->
* = central notes: xx312x - xx313x
1 2 3 4 5 6 7 1 2 3 4 5 6 7
SOLO = || : G - - - - C - | G - - F - C - :||


|-Intro riff-----------------|
|----------------------------|
|-----------2----------------|
|--------------4-2---4-------|
|-----2-4----------4---2-2---|
|-2-5----------------------5-|
"Dont worry": Jerry

|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|----------------------------------------------|
|-----------------0-2-4-----------------0-2-4--|
|-2-2-0-5---0-2-2-------2-2-0-2---0-2-2--------|
----------------
Bobby is playing an F#m off the 4th fret primarly.
On the album and in most cases I can clearly hear him what he does is start on the
1 with a very full F#m off the 4th and let's it ring out until like the 5th beat
and then grabs a F#sus4 (but really only playing the high E and B strings and G).
uh, I'm gonna go ahead and dig up a two year old topic, just because I think I know
what this guy's talking about and messed around with it in quite the simple manner,
pretty sure it's only this:
Bobby's verse part:

|---2--2---x--2--2--2---4--4--5--5/7---|
|---2--2---x--2--2--2---2--2--2--------|
|---2--2---x--2--2--2---2--2--2--2/4---|
|--------------------------------------|
|--------------------------------------|
|--------------------------------------|
Yesterday I came across a new way (for me) to play the Estimated rhythm guitar part
and nail the timing every time (for purposes of singing the song and keeping time).
I am now counting it as 1,2,3 - 1,2 - 1,2.
The first 1,2,3 = Strum F#m and let it ring, stop it with a chuck on the 3rd beat.
The next 1,2 = Fm, chuck (the "chuck" is a muted strum/time keeping thing)
The last two (of seven) beats = Bm6, chuck.
That Bm6 is also almost an E7.

You could also just slide The F#m up to the Bm position.
I've come up with several variations on the Bm6 (basically just moving the pinky
around) to alternate the "feel" of it.
Funn Stuff!
I have finally become fluent at singing this song!
I vary the Bob/Jerry parts throughout.
I am playing/singing it with a Trio, so the Bass player is actually playing the
main Jerry lick during the verse.
On the studio cut ...

I hear a toggled G (b3 of Bm6) after the held F#m in the verse, for the penultimate
chuck...which is really easy out of that low F#m.
|---2---
|---2h3--
|---2---
|---4---
|---4---
|---X---
The other thing ...in the opening I hear it as a descending A -> G# out an F#m in
the 3rd position which also appears (to my ear) on the studio track.
|---5---4
|---7---
|---6---
|---7---
|---X---
|---X---
I tend to like the extra 3rd on the 4th string in my Dm shaped chords. For some
reason it's easier for me to set a 4 fingered chord that resembles to C or F. Jazz
guys despise repetitious 3rd's & 5th's....but I'm a long-haired hippy away from a
jazz guy.
The other thing I get from studying with jazz guys is that a single note can tell
studious listeners that you really do know where you are. The G tells the refined
ear that you know your implying that Bm6 (or at least a Bm). The G# really
says.."Hey! Check this out!"
Let me know if anyone else hears this...or knows of other ways to nab those notes.
I'm also willing to be wrong. I know there are theorists out there with decades
more experience than I possess.
------------------------
For the F#m section, Weir plays it two different ways:
1) My time comin'... He starts with individual notes, almost like playing a bass
line, and then sequences into F#m chord variations via different notes on the top.
2) Don't worry 'bout me no... Basically, it's all chords. It's exactly the same
chord sequence as the very start of the song.
Listening very carefully to the notes he plays on the top end of the chords is the
key to getting it right.
There are also some rhythmic variations between the two parts.
For a '77 example, I use this video:
https://www.youtube.com/watch?v=6BU6L0fs4q8
One day, maybe I'll find time to tab it out.

--------------------------
Verse
||-----------------------|---------2-2-2-||
||-----------------------|---------2-2-3-||
||-----------------------|---------2-2-2-||
||-----------------------|-4-4--4--4-4-4-||
||-9\--7---5-5-----------|-4-4--4--------||
||-------------7--5-5-7--|-2-2--2--------||
Don't forget to tell your Bass players that the last two notes before the solo in
G, are C# > Bb.
------------F----------A
'Light my Waaayyy-Ayyy...
B > D
A > C
G > Bb
F > C# > Bb
G (start solo jam)
(These are single notes for Bass, so I left off the "minor" designation.)
FWIW, we (me and my guitar player) just hashed this out at length and, for good
measure, we dragged JDarks into the discussion via email. The short of it is that
the last two chords, IMHO, are in fact
F min b6th and Fmin 6th (the top 2 notes would then be, Db to D for guitar and
keys) I believe the bass should just hang on the F and/or perhaps hit an f# just
before going to the G for the jam.
I play the last (three) chords over that F minor as a partial barre across the
first fret:
F minor
F minor add a C# (2nd fret on B string)
F minor add a D (3rd fret on B string)
Bass should stay on the F.
Hit the big G.
To be even more authentic, do a B-string pull off on the last two notes (C#-C-C#
then D-C#-D) as sixteenth notes, but a rest on the first sixteenth -- rest-C#-C-C#
then rest D-C#-D).
t sounds like you are repeating the same lick on the first part.
Is this what you are playing on the Dm?
|--10------------10---------
|-----10------------10------
|--------12-10---------12-10
|---------------------------
|---------------------------
|---------------------------
Here is how I hear it:
|--10--------------------------
|-----10----------10-----------
|--------12-10-------12-10---
|----------------------------12
|------------------------------
|------------------------------
Starting around the 3min30sec mark (random '79 soundboard from Archive):
http://www.archive.org/details/gd1979-0 ... 716.flac16
Regarding the Fm>Fmb6>Fm6...

Here's how I break it down.
Play through these chord arpeggios and you'll see what sounds more pleasing to my
ear.
Here is the Fm>Fmb6>Fm6 progression:
-------Fm----------Fmb6-------Fm6-
|------------1-----------1-----------1--
|----------1-----------2-----------3----
|--------1-----------1-----------1------
|------3-----------3-----------3--------
|----3-----------3-----------3----------
|--1-----------1-----------1------------
Here is the Fm>C#>Bb7 progression.

-------Fm-----------C#--------Bb7---
|------------1-----------1-----------1
|----------1-----------2-----------3--
|--------1-----------1-----------1----
|------3-----------3-----------3------
|----3-----------4-----------1--------
|--1-----------1-----------1----------
Note the difference of the 5th string... That's where the F>C#>Bb comes from (F on
the 6th string, C# and Bb on the 5th string).
In my world, where i mainly play as a solo/duo/trio, I can't hang with the Bass
player staying on an F, or playing an F>F#.
I need to hear that F>C#>Bb for it to sound coooool maaaaaan.
I don't have the luxury of a big band like Phil Lesh has.
My main message to most Bass players is... "What we need is...Half as many notes,
an octave lower".
When the bass player goes "up the neck" in a trio, it's like kicking one leg out
from under a tripod.
wiw, I'd like to hear your take on it.

Hey if you don't like F>C#>Bb, I also reccomend that the Bass can play F>C#>D...
that D being the 5th of G sets you up nice for the G jam.
One other idea I use in alot of these songs is a concept I call... Repeating the
cool parts.
You know those chords right before the G jam?...
I do that run 3-times.
It makes a great intro... I do the Bobby fast-strum (non-MuIII) part to a very
dramatic effect (slower, with heavy emphasis on the first strum of each chord
change... very much along the lines of the big intro to White Room by Clapton.
Especially on the last 3 chords... Fm>C#>Bb :-)
5,6,&,[start Mu-III intro here in F#m].
Also, I use it as an ending... After a good F#m outro jam, on que, I drop to the
F>A lick, run the Bm>Dm, Am>Cm, Gm>Bbm as normal... and close with Fm>C#>Bb (slower
with each inversion), raise the guitar like Jerry does to signal the last note, and
drop the ending on an open G. At which point I can kick off any song in G... UJB
comes to mind.
Run those chords but try playing them like this intro (I notice they repeat their
cool part 3x[play Gm>F, Dm>C twice, then last chord is Am]... and for the outro
jam, just move all you Music Never Stopped licks to D 8) :
http://www.youtube.com/watch?v=uGZeqwdW ... re=related
Pete---as for your previous post, I play keys and can't read tab, so, I'm pretty
much unable to respond to any of that except to say that what you are calling a
Bb7th ( notes would be Bb, D, F, Ab) is very similar to an Fmin 6th (notes are F,
Ab, D)---main difference being the bass note, which, I do think should stay on the
F. That's really the only difference.....and, I have to assume if you're playing in
a duet or trio, you might find it necessary to tweak a thing or two differently
than a full band.
I think it is an F min6th (F, Ab, D) rather than an F dim (F, Ab, B, D) because it
does not sound as correct to leave the B in that chord---IMHO, mainly because you
want to top notes to be the focus rather than muddy it up with the flat 5th of the
diminished chord. Although, it's not like it's gonna sound like a clam either if
you do play it.
I assume that when you play the Bb7 chord your voicing would still have the top two
notes being Db to D----then, the only significant difference would be in the bass
if the bass is playing a Bb which I assume might sound very different though I
haven't tried it since I'm here at work right now.
is the pre-jam chord progression right here?... works for me until the Ab & B...
sounds more like fm F# G to me... ???
Here is what I play:
|F A |Bm Dm |
|Am Cm |Gm Bbm |
|Fm Abm Bb|
For that last line (Fm>Abm>Bb) I've been using a voicing for the Abm that is
basically a C# (like a basic D barre chord at the 5th fret, but at the 4th fret).
This way you can have a 3 note ascending bass line on the 5th string.
Fm chord at first fret with root on string 5, fret 3.
C# chord at the 4th fret with the root on string 5, fret 4.
Play the Bb with your index finger covering strings 2,3,4 at the 3rd fret, play the
root on the 5th string, 5th fret.
I basically play each chord in groups of two strings, strings 5&4, 4&3, 3&2, in an
ascending arpegio manner with the Envelope filter on (I slide up one more position
for the last beat of the Bb).
Land on the G for the next segment.
I like to do it like this:

after the chorus you play Dm to E a few times. both barred
you accent the Dm with C and the E with A (on the B string)
then
Dm again but instead of you play F to A with you open Cmajor voicings.
then it goes to the double arrpegios, but you can voice both guitar parts easily at
the same time
the actual chord progression is
Bm Dm Am Cm Gm Bbm Fm Db Ddim7 bach the chorus (G)
the double voicings go as such (starting after F to A)

Bm Dm Am Cm Gm Bbm
E-----7-10-------5-8-------3-6--
B---7-7-10-----5-5-8-----3-3-6--
G-7-7--------5-5-------3-3------
D-9----------7---------5--------
A-------------------------------
e-------------------------------
Fm Db Ddim7
E-----------------1-1-1-
B-----1---2-2-2---0-0-0-
G---1-----1-1-1---1-1-1-
D-3-------3-3-3-0-------
A-------4---------------
e-------------------------
back to chorus.
after the arrpegios I usually stum slightly on the five chord ie.
E-----7-10--10-10-10-
B---7-7-10--10-10-10-
G-7-7-------7--7--7--
D-9---------7--7--7--
A--------------------
e--------------------
the double voicings go as such (starting after F to A)
Bm Dm Am Cm Gm Bbm
E-----7-10-------5-8-------3-6--
B---7-7-10-----5-5-8-----3-3-6--
G-7-7--------5-5-------3-3------
D-9----------7---------5--------
A-------------------------------
e-------------------------------
Fm Db Ddim7
E-----------------1-1-1-
B-----1---2-2-2---0-0-0-
G---1-----1-1-1---1-1-1-
D-3-------3-3-3-0-------
A-------4---------------
e-------------------------
back to chorus.
after the arrpegios I usually stum slightly on the five chord ie.
Bm Dm Dm
E-----7-10--10-10-10-
B---7-7-10--10-10-10-
G-7-7-------7--7--7--
D-9---------7--7--7--
A--------------------
e--------------------
My take on the bridge notes, although I don't think I've really made a study of
this. Ear all the way.
(/) Slide Up (\) Slide Down (h) Hammer On (p) Pull Off (b) Bend (r) Release (v)
Vibrato
--F------A-------Bm----Dm
E|---------------------10--------------------
B|-------------------7----10p8----10-8p6-----
G|-------------2---7-----------10--------7---
D|-----------2---9---------------------------
A|---0-3-0-4---------------------------------
E|-1-----------------------------------------
---Am----Cm-------------Gm----Bbm
E|-------8---------------------6-
B|-----5---8p6---8-6p4-------3---
G|---5---------8-------5---3-----
D|-7---------------------5-------
A|-------------------------------
E|-------------------------------
-----------------Fm-Fm#5------Fm6
E|-------------------------------------
B|-6p4---6-4p2-------1---2---2---3---3-
G|-----6-------3---1---1---1---1---1---
D|---------------3---------------------
A|-------------------------------------
E|-------------------------------------
Solo:
Anyone know what scale Jerry uses for the solo to this song?
It seems to predominantly be in G mixolydian. Or is it mixodorian? Well I play G

maj with the flat 7th (F) whatever that is. Straight maj (F#) works also but as
usual cohesion is everything. It would be best to start out in G maj pentatonic.
Heavy emphasis on the chord notes for F (F, A, C) and C (C, E, G) when playing over
those chords. Chromatics especially transitioning between chords, i.e. from G to C,
and from G to F then C back to G.
Jerry would add the flat 3rd (A#) strategically placed to start getting a little
nasty. This would sometimes lead to some G minor or G blues pentatonic chromatics.
In short Jerry would draw from a broad spectrum of approaches and wittle it into a
cohesive, stampeding herd of cattle. I'll try to tab some examples soon.

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Estimated Prophet TAB

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Estimated Prophet TAB

Last Updated 03/25/96

General Rules On Chord Charts

Bob During The Verse

My time coming, anyday, don't worry about me, no

Don't worry about me, no no no, don't worry about me, no

California, a prophet on the burning shore

My time coming, anyday, don't worry about me, no

Don't worry about me, no no no, don't worry about me, no

MP3 Tab Support Audio (35K)

MIDI Tab Support Audio (estimat1.mid)

MIDI file both B&J parts

MIDI Tab Support Audio (estimat1.mid)

MIDI file both B&J parts

Bob During The Verse

MP3 Tab Support Audio (20K)

MIDI Tab Support Audio (estimat2.mid)

MP3 Tab Support Audio (29K)

MIDI Tab Support Audio (estimat3.mid)

MP3 Tab Support Audio (27K)

MIDI Tab Support Audio (estimat4.mid)

MIDI includes chords

MP3 Tab Support Audio (12K)

MP3 Tab Support Audio (25K)

MIDI Tab Support Audio (estimat5.mid)

MIDI file includes chords

Four times 1st 3 times Last time

MP3 Tab Support Audio (33K)

Estimated Prophet Chords

My time coming, anyday, don't worry about me, no

Don't worry about me, no no no, don't worry about me, no

California, a prophet on the burning shore

CONTINUE CLIMB INTO SOLO =

My time coming, anyday, don't worry about me, no

Don't worry about me, no no no, don't worry about me, no

"Dont worry": Jerry

My time coming, anyday, don't worry about me, no

Don't worry about me, no no no, don't worry about me, no

California, a prophet on the burning shore

CONTINUE CLIMB INTO SOLO =

My time coming, anyday, don't worry about me, no

Don't worry about me, no no no, don't worry about me, no

"Dont worry": Jerry

Bobby is playing an F#m off the 4th fret primarly.

Bobby's verse part:

That Bm6 is also almost an E7.

On the studio cut ...

For the F#m section, Weir plays it two different ways:

For a '77 example, I use this video:

One day, maybe I'll find time to tab it out.

Bass should stay on the F.

Hit the big G.

Regarding the Fm>Fmb6>Fm6...

Here is the Fm>C#>Bb7 progression.

wiw, I'd like to hear your take on it.

Here is what I play:

Land on the G for the next segment.

I like to do it like this:

the double voicings go as such (starting after F to A)

the double voicings go as such (starting after F to A)

It seems to predominantly be in G mixolydian. Or is it mixodorian? Well I play G

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