Pony pee 7 BEYOND AtelROBBEN FORD II THE BLUES CONTENTS Part | Rhumba Bives Rhumba Blues Transcription . Chord Usage... Scale Usage. Transposing Scales Comparing The Three Scales Focusing on the D7 (V) Chord.. Comping Examples DAWN 0 dwW omoYoauus Part Il Revelation Revelation Transcription Chords For Revelation. ying It All Together Part II! Diminished Scale Usage Dimi ished Scale Usage Part IV | Ain’t Got Nothin’ But The Blues 1 Ain't Got Nothin’ But The Blues Lead Sheet ‘Chord Voicings ‘The D Altered Scale. ‘The G Harmonic and Melodic Minor Scales Bring The Scales Together The Bridge AND BEYOND CD Directory ‘Transcriptions by Kenn Chipkin ‘Additional transcriptions by Dave Hill ‘Additional Text by Ken Chipkin Editor: Aaron Stang Book Design: Joann Carrera, Copyright © 1992 CPP/Belwin, inc. 15800 N.W. 48th Avenue, Miami, FL 33014 WARNING: Any duplication, adaptation or arrangement of the compositions contained in this collection, without the written consent of the owner, is an infringement of U.S. ‘copyright law and subject to the penalties and liabilities provided therein.ROBBEN FORD TOM BRECHTLEIN ROSCOE BECK ROBBEN FORD & BLUE TRAIN INTRODUCTION Welcome to The Blues and Beyond, Robben Ford's follow-up to Playing The Blves, from REH VIDEO. Playing The Blues dealt with basic approaches to blues, while only touching on more advanced concepts. The Blues and Beyond begins where the other left off, taking further steps towards joining the more sophisticated harmonic and melodic language of jozz and gospel styles with traditional blues.—_— = — This is a traditional 12 bar blues in G, played with a thumba feel. Following the transcription we will ‘examine the scales and chords used. Ast Chorus:2nd Chorus:4th Chorus: @ cr us a pr Z . : _ ee aS ee $: SEs Zire epleee f—f= Ex = 3Sth Chorus: c? —p-is—3— Fe -$ 3fu Bee CHORD VOICINGS The chords we are using in this particular blues are os follows: I chord - G7 (GBD F} (13547) WV chord -C7 (CEG BH) (13547) V chord - D7 (D F# A C) (13 547) Although Robben uses many interesting voicings in this blues, these are the three basic chord voicings: c7 G7 x o xD?SCALE USAGE G Mixolydian The G mixolydion mode is derived from the C major scale. It encompasses the notes of the C scale, beginning ond ending on G. G is the Sth degree of the C scole, and therefore, G mixolydian is soid to be the "Sth mode of the C major scale.” {Just as, for example, E mixolydian would be the Sth mode of the A major scale): Let us look at a few more positions of this scale in diagram form: 10th pos. 12th pos. 3rd pos. Tih pos 8th pos. (begins on Sth) (begins on 7th) (begins on 1000) (begins on root) (begins on 3rd)G Minor Pentatonic w/6th Replacing b7th Another scale that Robben uses frequently is a variation on the minor pentatonic scole. In this variation on the G minor pentatonic (G B* C D F G) Robben replaces the F (the +7) with E (the 6th): G Minor Pentatonic G Minor Pentatonic w/6th in place of ¥7th — —__ CC ———— iG ~— be. Ee ——— 1 3 1 owe ss ee ee Lr so —— Ea 3 2 CE: This voriation on the minor pentatonic scale is very useful in blues because it works for the | chord, ‘adding the 6th color (borrowed from mixolydian), and is especially well suited for the IV chord (C7) because the éth (E) is the 3rd of the C7 chord: C EG Bb. As a matter of fact, the notes in this scale con be thought of as a C9 chord: C EG BD. Therefore, all five of the notes could be considered chord tones. This scale will work for the V chord (D F# AC}, however, the G minor pentatonic scale would be o better choice. Here ore fingerings for the two scales, beginning on each scale degree: G Minor Pentatonic Fingerings Ya, 10 12%,eT G Minor Pentatonic Scale w/b5th Lestly, we have the minor pentatonic scale, with the addition of the +S (or #4, depending on the contex!) This scole is commonly referred to as the Blues Scale. The Blues Scale in Six Fingerings: From: Root nf. $5 5 7 All of these scales can be woven together, so that you wind up with a combination of all these different elements. The key to making them all sound right is to realize the relationship of each of these notes to the chord that is being ployed at that particular time. ‘Attention and awareness to the scale/chord relationship ct cll times is the key to moking these theories work in practice. Let your ears be your guiding factor.Deer Transposing Scales to the D7 (V) Chord The preceding three scales can be successfully transposed fo the D7 (V] chord. For example, instead of using G mixolydian for the V chord, we can use D mixolydian since i fis the chord the some way G mixolydian fits G7. D Mixolydian: 2 ras eens ws rr 4 1 Se oe 09 oN ee Ee 404i 7 40—t+—43 EBs 10419 You should, of course, follow through and transpose cll of the remaining fingerings shown in the diagrams for the G mixolydian, minor pentatonic (both types), and blues scale to the key of D. Transposing Scales to the C7 (IV) Chord We were able to transfer all of the scale shapes played over the G7 chord to the D7 chord and they all work nicely. This concept of transposition does not apply as easily to the IV (C7) chord where the minor pentatonic scoles are concerned. If you try to play the C minor pentatonic scale against the C7 chord it starts to sound litle strange, largely becouse the E* clashes with tho E¥ in the C7 chord. The Eb is also very foreign to our basic G mixolydian scale which is the fundamental scale used in the G blues. Also, when using the G mixolydian over the C7 chord be careful in your use of the B4 ; Bb is a far better choice over this chord. CC Mixolydian: As before, complete the transposition by working out all of the fingerings.Comparing the Three Scales The following is a transcription of the performance example which Robben plays isolating the aforemen- tioned scales. First we have the mixolydian example, followed by the minor pentatonic (with 6th in place of $7) and finally, the minor pentatonic with the +5 (the blues scale) Mixolydian: SMinor Pentatonic w/6th in place of b7:COLO Minor Pentatonic w/+5 (Blues Scale): 7 ~ | i. f Pere) Focusing on the D7 (V) Chord At this point, Robben focuses on the D7 chord by extending the standard 12 bor blues progression to 18 bors, with on added six bars of D7. This gives us the opportunity to reclly hear how each of the scales sound over the D7 chord. Again, Robben avoids the use of Eb and B¥ over the C7 chord, (Only the first chorus has been transcribed here.) Ist Chorus:Ww eMComping Examples In this next example, Robben shares his opproach to a very essential, and offen neglected, aspect of guitar - rhythm playing (or comping). Here, we are shown some solid rhythmic approaches to playing some very interesting chord voicings. The first four choruses of this comping demonstration have been transcribed. Study one chorus at a time, and get familiar with the voicings before moving on to the next chorus. Note that in the Ist chorus example, Robben is applying pressure with his left hand only long enough to sound the chord, then pressure is quickly released. This is what gives you that “breathing” quelity. In the choruses that follow, you will notice a good decl of muted strings or “dead hits” between the sounding chords. Be careful not to confuse sounding chords with dead hits. | suggest you work through it, ignor- ing the dead hits the first few times. Once you are comfortable with the chord movement, then add the dead hits. 1st Chorus: op Ea * Apply pressure only long enough to sound, then remove. G09) ° Ege a 333 ize > >2nd Chorus: @ vin 314 co C¥sus C905) C3sus ° 1 HEE mh a - a an iH nn He i = 2 > = a? aw 32 Db 4t. 1333, om Be aa 4 312 133 333 > © Db fay 3s oHGIsus a At. se Bre 214 > = NIV Z 7K o Ste 3218 l Ste 3218 Die») ekaigh aa >G8) EER on o aa a SBE] pias ia TS * From this point, all slashes are to be accented, while the rests denote where to continue “dead hits” (ad lib. simile) FT 7 on PB GB HFA Eo cha Bp iia 33s ais T2268 tae T2244 op op a Fe? HC ct Em EapR io ape | apRle. fig fa rae ott Pit ras Pia Pas Pit Gia pi(és) fe ° rar as sesid: “Revelation” is « gospebinspired tune, written by Russell Ferrante ofthe Yellowjackets. It features a great deel of harmonic variety. The chord changes feature several staples of gospel music, which will almost insure the feeling of the blues. As Robben states, “You can basically play a straight blues right through the thing and not worry too much about making the changes. But, the changes are there if you want to moke them as well.” What Robben is emphasizing as “the changes” are the chords that tend to chro- matically aller and odd color to the harmony, rather than the more commen chords you would expect to find in the key of G. Here is a transcription of the head to Revelation as played on the tape: Revelation By Russell Ferrante c HCC Bins 34 FE. Cc GD cp, G F OGG Copyright © 1986 by TEETH MUSIC and BARRACUDA MUSIC International Copyright Secured Made in US.A, AMlRihts ReservedFee op Dhdim? Bem? mae ===< c FICC Bisus PY ~ A = Fe Oc cp Dégimn? G09) oD 8) am? Gsus/D sc aAm? [¢]Bmi(@s) maj? Gp Dédim? Em? # Am? Bm7t5) Cm? ° iD Dfdim? Em? Cmaj6/9/Eb pt A) 9 BEEe Chords for “Revelation” In the following exomple, Robben demonstrates his chord voicings and comping style. This is on excel- lent example to help establish your own foundation for this song. (Example 1 on video) Intro: SV =I) G Gos Gus Glas cis, G 7 FE fF fi SOP F ? Ben Ben c Blsus B? Fic 6 GID, "te fg Ga Ge ia Bean o .c/D G F C/G. G ine fae fat BE 2aei Taz Ban 321 Ten 2 Didnt? Em? ‘Cmf(maj?/Bb Dm? FRE ff ra lin ae Pit 333 2333 12431369) opm er) San ny Gsus/D Bmi(ts) 1 at. [e Cmo(maj?/E 6. Ban Ben | Pil CmS(maj?)/E* [AThe B7 Change The first eight bars of this song are pretly much diatonic, which means the chord changes stay particular scale (G mixolydian). Four bars into the A section we get to the B7 change (preceded by 87sus). We will now examine the firs eight bors, focusing on how to deal with the B7 change. in one (Example 2 on video) c Fe Cc Bsus Br FC c GD op GFrom the previous example you can see that Robben plays very deliberately over the B7 chord. There are two scales that he prefers to use at this point—B mixolydian (B C# D# E F# G# A B) and C diminished starting on B (B CD D# F Fé Gt A.B). The diminished scale is constructed by playing consecutive whole steps and half steps until the root is reached one octave higher. B Mixolydian 6S ' 38 8 6 tase et = cB +In the following example Robben demonstrates the use of the C diminished scole over the B7 chord. (Example 3 on video) c Fe Oc BYsus Br FIC c oD cD oFIC c GD cD G In simple terms, when you have a dominant seventh chord, you can choose mixolydian if you want to keep your improvisation diatonic to the chord. The notes of B mixolydion are the some notes os « B7 chord with all of its extensions (9, 11, & 13). These notes are only mildly tense, and can be played somewhat freely without foo much concern about resolution within the scole. If you choose to improvise with more harmonic tension, (nondiatonic, you can play the diminished scole whose root is found one halt-tep above the root of the dominant chord. The diminished scole is con- structed as follows: CD DEF FIGEAB whwhwhw What does this have to do with B7@ Simply put, the C diminished scale contains oll ofthe chord tones in 87 (8 D#FF A), plus the 13th and three “altered tones” - C D F G#(+9,89, *5, &13). When used in this manner, this scale is commonly referred to os B symmetrical diminishedA TT I SE EERE TE LST VE The Bridge The bridge has a series of chords which again, although they keep basically to the blues give woy to conother “shift” in tonolity marked by the Cm6(maj7}. This chord could be interpreted in several ways, such os a B7 alt. or Cm6(maj7]/E . The scale that Robben uses over this is ¢ C melodic minor scale, beginning on B (8 CD Eb F GAB). This scale is commonly referred to as the B diminished whole tone C Melodic Minor (B Dim. Whole Tone): 7825345678963 98 7654 b3287654 21765 4 217 =a = 104t-10-0-7 Hx “ Oy oe 10865 In the following transcription, Robben solos over only the B section; giving us the opportunity to examine how he approaches these changes. (Example 4 on video) ne5} (Ble cms /E> * Chord symbols and placement simplified for study purposes. Dm? be c GD E substitutes for G7( 5Am pr Qo or 6 cS iB S Dm? be GID E Am? pr bal : ane 3Cmi/E Dm? Do c ¥ Hammer w/out picking cp B Am? pb? Em? cms/E+ Dm? pe mmm, Scene ED peereeenc G/D EyoD E7 Am? pb? a Dm? bi c GD B38 Revelation c op E Am? br @ GD E Am? D— —<—~ — er, — ‘ (Cm3/BS GD ET Dm? Am? be pr or COIrir7 39]D Melodic Minor Scale Fingerings Right after the Em7 to Cm6{maj7) comes a Dm to D+7( #11) resolving to C. This is essentially « standard IV in C, with the D*7 being the tritone substitution for G7. Since D'7 and G7 share the same 3rd and 71h (B & F}, the two chords can be used interchangeobly—D+7| #11) can be thought of as G7(>5). pave xo ee ay Over the Dm to D+7( #11) Robben suggests using the D melodic minor scale (D E F G AB C4). In Ex. 13, we have his, plus three other additional fingerings. D Melodic Minor Scale Fingerings: 42 2S = = = = ee = re eer he 712 1329 8 76 54328 7654521 2 w Additional Fingerings: From: 7th 3rd sthIn the following transcription the same 8 bars are again repeated to highlight the use of the D melodic miner scale. (Example 5 on video) cm§/Eh Dm? 7 c GD Ey Em? cm$/E Dm? be | | | |Em? cmS/E Am? Dr a —————The Chorus The next point of interest is the Dtdim7 chord (D# F# A C) in the chorus section at bar 19. Although this is a D¥ dim chord, it functions like « B7 altered chord (B7+9). For this chord, Robben recommends the use of E harmonic minor (E F# G A B C D4 E}, beginning on the 5th. As you can see, the E harmonic minor scole contains all the notes of D dim. It also outlines B7( #5 +9), making it an ideal scale choice for resolving to Em. E Harmonic Minor: A variation of the scale in which Robben adds « D' is played next. Robben clearly hears this change as a B7 altered with the D# functioning as a #9. E Harmonic Minor with added D :Cerne The following is the final version of the Chorus to “Revelation.” Notice that a I VI Il V (G E7 Am7 D7) has been added. (Example 6 on video) ss “Gi Cmaj? Gp Didi? nei iB maj zi ‘*Chord symbols and placement simplified for study purposes. Em? cmS/Es G EB mHGD Ev Am? Db? Gp ‘Dédim? Em? CmS/Eb ,— co ————h, ak oD 35 Em? Am? gE Am? pb? Lys cB Cmaj? bt cm§/E o GD or oD us us Dédim? EBTying It All Together This covers “Revelation’s" points of harmonic interest. At this point, Robben “ties it ll together,” putting the aforementioned material to work in this last uninterrupted version of the tune. n=l} eos c so ~ BT c G/D ciD Gi dD “a 3 1 ~ | ! F : | 4, PN em =~ FC c GD Dédim Em7us G of a J JEm? ° BT Cm /B F/A GD trem pick ET oD 3 Dm? Da! be or ~ Am? pas, Am? Bmv(#s) Dfdim? pb? maj?Gp Dédim? Em? CmS/E Am? Bmr(ts) maj? G/D Didim? Em? Cm /ES G ET52 it 1) UEC ES G Diminished (half step/whole step) The following is Robben’s fingering for the G diminished (half step/whole step) scale plus several other useful fingerings. If this is unclear, refer back to the explanation of the C diminished ond B symmetrical diminished scales. é be iw - yous ask ~ px = 8 + From: Root aed sth 3 4 This scale is excellent for connecting the G7 and C7 chords (I7 and IV7), the first two chords in a G blues. Now Robben uses a two chord vamp to show how he uses this scale to move from one chord to the other. The vamp is set up as 2 bars of G7, followed by 2 bars of C7. Itis important that you study the many melodic approaches Robben makes using the G symmetrical diminished scole. Especially note the smooth and welltimed resolutions to the C7 chord. Pay attention fo the chord tone that is landed on upon the downbeat of each chord change as this is offen the impetus behind the line.(Example 7 on video) | | SS, co ~ |56 This lush, sophisticated blues by Duke Ellinglon is a perfect showcase for Robben Ford's tasteful chord voicings and single lines. The following transcription of the melody and changes comes from Robbens’ clbum “Talk To Your Daughter.” As in the previous pieces you will notice some slightly different chord changes from one performance to another. Familiarize yourself with all ofthese different possibilities You will clso notice the transcription of the melody is in 12/8 while the following solo transcriptions are in 4/4, This is because although the feel is 12/8, Robben uses a straight 16th note approach in most of his soloing over the song 1 AIN’T GOT NOTHIN’ BUT THE BLUE By DUKE ELLINGTON pn Fs aa cS s : — pgp — ae = 4 6 5 ce pe J — ‘Ain't got the — change of a nick - el BA Amt AN) Gm? Gm cB4H) ou? Dein? = Sper ain't got no bounce in my shoes, Cm? B/D Ebmaj? Edim? Cm/F 4 =p = S53 tek BY OB/Ab B/G Bb BHF rg) ! — SSS Sa = ie i aL = tt Bt amt aH) Ga? nit cD zs ain't got_no feel - in’s to bruise, Copysight © 1943 TEMPO MUSIC COMPANY Copyright Renewed 1971 TEMPO MUSIC COMPANY and RICKI MUSIC. TIinerational Copyright Secured Made in US.A. All Rights ReservedPTET eT Gm? Didim? Cm? = BOYD Evmaj? Bim cm/F 4 BY B/D OB Bdim? BIG BB BY I ain't got nothin’ but the blues Db COVE Féim? DIF —S Just can’t seem to get off the ground. (Gm?) Gm cBeu) Gm? Gmit cx) to it, 1 just. can’t doit cm? BOD Ebmaj7 Edm? Cm/F F(R) since my lit-tle ba - by eft town. Ain't got no rest in. my BS F7G5) BH ‘Amll ai) Gm? Gm! cen) slum ~ ber, — ain't got no win-ners to choose, __ Gm! Didim? Cm? = BASYD Bhai? Edim? SS lost all my tel = e- phone mum - bers, firsotay mile BY BIAS B/G BhmY/G+ B/E F(R 1 ain't got noth-in’ but the bluesa I Chord Voicings Here, Robben lays all the chord voicings out in a clear, musical way. Note the strong voiceleading throughout his arrangement. You'll find a few different voicings for certain chords, thus offering you some choices. There are many good, solid guitaristic voicings to be found, as well as some pianistic ‘ones. Please note that the following transcription focuses on the chord changes and Robben’s personal Voicings and does not address his finger-style technique. Pay close attention to his right hand approach, ‘and experiment with what you learn. (Example 8 on video) nei} BH Fp) Am?) D7) Gm? Gmet)_ CBE) an Eg Engl fae i FREE Tn 21348 Pur aie 23s isa aas By a Gm) Gdim? Didim? = Cm? Dm7(#5) Bbmaj? Edim? —_BY/F F(R) i Ha HR * aR FER ie iti” 21341 tie6 sae T3121 ‘T334 T5281 281g1 23a isa BT ByD B® Edin? BY rugs) BY Ff) FR su. EERE. FEET. 1 st 1 BT Ami(il) Ab7(1) Gm? Cel) Gm7 Gdim7 ‘Dbdim7 i tr. 7 f E 8 Sir, : Str. He fi al a i 7 7 Cm? Dm7@5)_ EF Edim? BYE F(R) BBTV I9VE gig XI Enda Eo. ig fia on. FER Bin Ta Ts Ties San San San AaECT) DyFt 312 cB) Ste. ef Teast crs) ov? fi Ee 2 Pg) a saaI The D Altered Scale The chords to this song are in many ways similar fo “Revelation.” They are standard blues and gospel oriented chords. Again, there are just a couple of key places where you reclly hear tonal changes. The first 3 chords of the tune can be treated as a basic blues; use BP pentatonic minor (B> D> Eb F Ab BS), Bt pentatonic major (BF C D FG BP), or BF mixolydian (B* CD EF FG Ab Bt). However, the first point of departure, harmonically speaking, is at the 3rd beat of bar 2: Am11-D7( #9}Gm7-C13(#11). The ‘Aml1 to D7( #9) is @ standard ILV in G minor. Robben points out that you have several scale options here. First, the *D altered scale (D E> F Gt Ab Bb C D) Suggested Additional Fingerings For D Altered: From: Root Root Root *Robben rafers to this scale as “halt-diminished, haltwhole tone, or E* melodic minor.” This scale has a variety of other names as well: The Pomeroy scale, the Ravel scale, the diminished whole tone scale, the super locrian scale ond finally, the altered dominant scale, which we shorten to “the altered scale.” Most importantly, this series of notes (from D to D), is derived from the 7th scale degree of the E> melodic minor scale: Eb F Gb Ab Bh CD Eb—— (EMESIS The G Harmonic Minor Scale The second possibility for Am1 1 to 07( #9) is the G harmonic minor scale (G A Br C D Eb F# G). Robben points out that he is beginning the scale from F® (the 7th degree), because he is thinking of this note as the 3rd of the V chord—D7( #9). Suggested Additional Fingerings For G Harmonic Minor: From: Root 3rd sth 1 att seo 2 2 3 3 4 4 The G Melodic Minor Scale Over the next chord C9{ +5), Robben recommends the G melodic minor scale (G A Bb C DE F# G) (Often the + Sth is referred to as the #11. Either name is acceptable, and both are used here interchange- ably.) This scale is perfectly suited for this chord because it holds all of the notes in the chord. (IF we reorganize the notes in this scole starting on C we have a C13('5) chord—C E G Bt D FFA) This scale may also apply to the Gm7 chord. Remember, however, there is a potential clash between F# and F4 , so if you do use an F# , keep it out of the register that the Gm7 chords’ F4 sounds in. tbe fe > s 4s 2 1 74Bringing The Scales Together Now we are going to isolate these four chords in o vamp, giving us the opportunity to hear how these scoles sound. Note that the voicings used by the rhythm guitarist are those found in bars 10 and 11 of the chord layout. In this section, Robben plays some classic jazz guitar phrases reminiscent of the great Wes Montgomery. His note choices couldn't express these scales better. (Example 9 on video) n=33 Ami) ANT(AIL), Gm? cag) 42%, 425 Gm? cx) Am?) Anan Gm? conn Gm? cot 2 Anil rr) Gm? oxen PBDO TTR ree) ux Gm? xin) Ami asm) Gm? exe) Gm? cet) Amit asic) Gm? xan Gm coat) Amt anu) 9 ees I mene UO eens pncr Gm? cx¢en) Gm? cacent Asma) Gm? con) Amtl sien) 3 b, Gm? cael) Gm? cx)TELE T Cera The Bridge The first 2 bars of the bridge reflect « temporary key change to D. As the chords move every 2 beats, the bass line walks up from D to F# before resolving to G7, which can be thought of as @ pivotal chord with its identity split between the key of D (the IV chord) and the key of Bt (the VI chord). Included in this upward chord movement to G7 is the Fdim7 chord, for which Robben demonstrates the following Fim7 arpeggio: The diminished scale that suits the Fdim7 chord is the whole step/half step beginning on F. Robben closes this section out with o four chord vamp of D9-Em7-Fdim7-D9/F# , which demonstrates how he approaches this chord. (Example 10 on video) ~%, Fdim? D/F pb Em?Car CT Fim? Dirt pe Em? Faim? yy birt DeIn this funky number, Robben pulls out all the stops and covers all ofthe scale material up to this point, the main area of interest being the F symmetrical diminished (half step/whole step} scole, which he briefly demonstrates in his introduction to the first performance of “Miles Groove.” As he mentions, this sound can be heard a great deal in Miles Davis’ later music. Here is a transcription of the first 39 bars of the first version of Miles Groove: MILES GROOVE Solo #1 By ROBBEN FORD Moderately fast J = 148 Nc. be be ; f Copyright © 1943 TEMPO MUSIC COMPANY ‘Copyright Renewed 1971 TEMPO MUSIC COMPANY and RICKI MUSIC International Copyright Secured Maden USS.A. All Rights ReservedEMER Trees | [i= E KeThe Changes You may have noticed that “Miles Groove” is without chord changes. The bass is spending most of its time pedaling an F note, and although it vaguely outlines a sort of F minor tonality, it is largely reacting fo what the chords and lines above it reflect harmonically. The harmonic language in this type of piece is considered 124one; (all 12 of the notes in our musical system) and as Robben says, “All these notes are good at some point or another, depending on how you use them.” | would have to emphasize ‘depending on how you use them,” because this is where the true musicality of this sophisticated lan- ‘quoge lies. In the next example, Robben shows us an extremely useful harmonic concept that involves harmonizing the F minor pentatonic scale (F Ab B> C Et F} alternately in triads and fourths. You will find that you are holding either a major triad shape, or a suspended chord shope. Be aware that all these shopes are fo be heard with an F at the bottom. You may want to temporarily tune your 6th string up a holf-step to F while you navigate through the voicings. (Example 11 on video) Experiment with the following four scales when improvising to a tune like “Miles Groove.” “Let your ear be your guide in terms of making musical sense out of it.” You should, of course, work out additional fin gerings for each scole so that you aren't limited to one area of the neck. F Symetrical Diminished:F Minor Pentatonic: F Minor Pentatonic w/6th in place of 7th = SS = Fo= = ae — tu bo—=—* Sbeb + Sbebe * 1b 45 7 8s tess oe ens FF = Fa - — as re — F Mixolydian: = oa = —_ = 1 2 3 48 5 os un s pw 8 + — =This final version of the piece brings together all of the material covered so far in a concise, clear cut way. You should find this to be a wellspring of useful information. Good things take time. Be patient ‘and thorough. MILES GROOVE Solo #2 By ROBBEN FORD (Example 12 0n video) N.C. (F Pedal)ROBBEN FORD II, pentatonic, mixo REHBKOO1AT (with Cassette) $21.95) crs eo ROA eaty mae