{Intro}
[A G vamp]
{Verse}
[A G vamp]
Dark star crashes, pouring its light into ashes
[Em7 D vamp]
Reason tatters, the forces tear loose from the axis
[Em7 D vamp]
Search light casting for faults in the clouds of delusion
{Chorus}
A A A A D Em D A D
Shall we go, you and I while we can
A< A D Em D A D A G G Em
Through the-a transitive nightfall of diamonds
{Intro}
[A G vamp]
{Verse}
[A G vamp]
Mirror shatters in formless reflections of matter
[Em7 D vamp]
Glass hand dissolving in ice petal flowers revolving
[Em7 D vamp]
Lady in velvet recedes in the nights of good-bye
{Chorus}
A A A A D Em D A D
Shall we go, you and I while we can
A< A D Em D A D A G G Em
Through the-a transitive nightfall of diamonds
{Jam}
Key D Major
Play on the ii chord -> Em
The V chord A would become A7, or you can just play A
Notes/Resources
This is a modal song. The jam uses any modes from key of D.
Those modes and chords are:
| Roman Numeral | Chord | Mode |
|---|---|---|
| I | D or Dmaj7 | Ionian (Major scale) |
| ii | Em or Em7 | Dorian |
| iii | F#m or F#m7 | Phrygian |
| IV | G or Gmaj7 | Lydian |
| V | A or A7 | Mixolydian |
| vi | Bm or Bm7 | Aeolian |
| vii | C#dim or C#m7b5 | Locrian |
The trick in the jam is to leave any sense of form (progressions, patterns, resolving chords etc.) behind.
1. Grateful Dead master class with Dave Frank: Exploring “Dark Star” - Really starts at about 20 minutes in 2. ruKind discussion 3. The Gear Page - with comments from Steve Kimock
Steve Kimock's comments that are particularly helpful in shedding some light:
"First half of the verse is A, G. Second half is E minor, D.
A to G all the way through is incorrect in the sense that any terminology can be right, wrong, or optional. Em7 to A7 is on the cusp of optional if you consider root motion against "modality" at least insofar as it might happen, not by design but as an accumulation of errors. Otherwise, it's also incorrect.
The link posted, at least as far as E-7 to D is concerned is what you'd be instructed to play if you played something else instead. Assuming you were playing with "those guys" and the issue was triads or seventh chords.
Swapping tonality between A something and E- something in mid verse is what sets up the unambiguous A major at the top of the next section. Swapping back to E- something to finish the text of the tune before the fanfare at the top of the form is what sets up the reintroduction of the A mixo bit that takes you back to the text.
And just generally the idea that you're rotating between those two literally harmonically polarized points of view to bring harmonic perspective "meaning" to the same melody notes is a principal feature of the improvisational portion of the program.
The back-and-forth between A and E minor is that part of the text you take with you when you venture off the page."
- Steve Kimock