transcriptior video ious Ce 0 ® E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 wo eoVauusr Part II Revelation Revelation Transcription .. Chords For Revelation.. Tying It All Together Part Il! Diminished Scale Usage Diminished Scale Usage Part IV | Ain‘t Got Nothin’ But The Bives 1Ain‘t Got Nothin’ But The Blues Lead Sheet. Ghord Voicings The D Altered Scale ‘The G Harmonic and Melodic Minor Scales... Bring The Scales Together ..... The Bridge .... 220 Part V Miles Groove Miles Groove Transcription ‘The Changes Feral Version.. AND BEYOND €D 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 ofthe compositions contained in this collection, without the writen consent ‘of the owner, is an infringement of U.S. copyright law and subject 10 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 Blues, from REH VIDEO. Playing The Blues dealt with basic approaches to blues, while only touching on more advanced concepis. The Blues and Beyond begins where the other left off, taking further steps towards joining the more sophisticated harmonic and melodic language of jazz and gospel styles with traditional bluesThis is @ traditional 12 bar blues in G, played with a thumba feel. Following the transcription we will ‘examine the scales and chords used. Ist Chorus: a at iid eeere a e— wo fos 3 52nd Chorus:4th Chorus: or017A) Sth Chorus: orCHORD VOICINGS The chords we are using in this particular blues are as follows: Ichord -G7 (GBD F} (13.547) WV chord -C7 (CEG BY) (13.547) V chord - D7 (D F# A C) (13 547) Although Robben uses many interesting voicings in this blues, these are the three bosie chord voicings: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. Gis the Sth degree of the C scale, and therefore, G mixolydicn is said to be the “Sth mode of the C major scale.” (Just as, for example, E mixolydian would be the Sth mode of the A mojor scale.): Let us look at a few more positions of this scale in diagram form: 10th pos. 12th pos. Tth pos. (begins on 3rd) (begins on 7th) (begins on root)G Minor Pentatonic w/6th Replacing b7th Another scole that Robben uses frequently is a variation on the minor pentatonic scale. In this variation on the G minor pentatonic (G B+ C D F G} Robben replaces the F (the +7) with € (the 6th): G Minor Pentatonic G Minor Pentatonic w/6th in place of *7th This variotion on the minor pentatonic scole is very useful in blues because it works for the | chord, ‘adding the éth color (borrowed from mixolydian), and is especially well suited for the IV chord (C7) because the 6th (E) is the 3rd of the C7 chord: CE G BF. As o matter of fact, the notes in this scale con be thought of as a C9 chord: C E GB! D. Therefore, all five of the notes could be considered chord tones. This scale will work for the V chord (D F# A C), however, the G minor pentatonic scale would be a botter choice. Here ore fingerings for the two scales, beginning on each scole degree: G Minor Pentatonic Fingerings se oa 10%. From: Root 8B 7 5 7 G Minor Pentatonie Fingerings w/6th ot. 1,COT G Minor Pentatonic Scale w/b5th Lestly, we have the minor pentatonic sccle, with the addition of the +5 (or #4, depending on the context}. is scale is commonly referred to as the Blues Scale. The Blues Scale in Six Fingerings: From’ Mf, ” All of these scoles con be woven together, so that you wind up with a combination of ll 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 played at that particular time. Attention ond awareness to the scale/chord relationship at cll times is the key to moking these theories work in practice. Let your ears be your guiding factor.Rhumba Blu Transposing Scales to the D7 (V) Chord The preceding three scoles can be successfully transposed fo the D7 (V] chord. For exomple,instead of using G mixolydian for the V chord, we can use D mixolydian since it fits the chord the same way G mixolydian fits G7. D Mixolydian: D Blues Scale: : a is 4 ts sh et a ts sw 8 You should, of course, follow through and transpose all of the remaining fingerings shown in the diagrams for the G mixclydian, minor pentatonic (both types), and blues scale to the key of D. Transposing Scales to the C7 (IV) Chord We were able to tronsfer all of the scale shapes played over the G7 chord to the D7 chord ond they all work nicely. This concept of transposition does not opply os esxily to the IV (C7) chord where the minor pentotonic scales are concerned. If you try to play the C minor pentatonic scale against the C7 chord it starts to sound @ litile strange, largely because the E> clashes with the E* in the C7 chord. The E* 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 BS ; Bb is o far better choice over this chord. C Mixolydian: As before, complete the transposition by working out all of he fingerings.Cn Comparing the Three Scales ‘The following is @ 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). 7 Mixolydian: g‘Minor Pentatonic w/6th in place of +7:Minor Pentatonic w/'»5 (Blues Scale): AFocusing on the D7 (V) Chord At this point, Robben focuses on the D7 chord by extending the standord 12 bar blues progression to 18 bors, with an added six bars of D7. This gives us the opportunity to really hear how each of he scoles sound over the D7 chord. Again, Robben avoids the use of Eb and BS over the C7 chord. (Only the fist chorus has been transcribed here.) Ist Chorus:COTELOTT EA wo ee me ueComping Examples In this next example, Robben shares his opproach to © very essential, and often neglected, ospect of guitar - rhythm playing (or comping). Here, we ore shown some solid rhythmic opproaches 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 thot in the 1st 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” quality. In the choruses thot follow, you will notice @ good deol of muted strings or “dead hits” between the sounding chords. Be coreful 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 * Apply pressure only long enough to sound, then remove. GB68) o in ing 135 12 > > 1a ise “Tt0 >2nd Chorus oo) GTsus 24 (oo) (Gt) vil ie a6 Csus o ca in Sf B24 it a3 a4 G?sus o BS HR« H@@ 312 24 312 133 ° 1333 a33rd Chorus: a Gisus te, at. 2314 Bit . o Cosas a ce uh a” BR FTG? pres) a ER ( ean} Bie Ste a3 >4th Chorus: GB co Teas ° on cr ua A ese. ioe 7333 T35 * From this point, all slashes are to be accented, while the rests denote where to continue “dead hits” (ed lib. simile) BGT oo FB gs sc oe rg fie fi a ats aes Tat br Gp Dt oD oD? cr FIC? Fic oc? RFE oe i Ee {oe Fn. FR ee fff fa BR Trin rss Tia Pe op Pit ris Tit ras Pitt22 “Revelation” is « gospelinspired tune, writen by Russell Ferrante ofthe Yellowjackels. It features a great deal of harmonic variety. The chord changes feature several stoples of gospel music, which will almost insure the feeling of the blues. As Robben states, “You can basically play o straight blves right through the thing and not worry too much ebout moking the changes. But, the changes are there if you want to make them as well.” What Robben is emphasizing as “the changes” are the chords that tend to chro- matically alter and add color to the harmony, rather than the more common chords you would expect to find in the key of G. Here is a transcription of the head to Revelation os played on the tape: Revelation [A] melody 5 = J'3 By Russell Ferrante G c nec Blas py Fe OC GD cm, G F oGG c He c Bsus BOM Copyright © 1986 by TEETH MUSIC and BARRACUDA MUSIC Intemational Copyright Socated Madein US.A.AITRIhts Reservedae Cc FCC Bisus 7 tim? = » FIC Oc Gp ae Dé En? m5 /B Dm? G49) ©Am? 745) Cm? GD Dédim? Em? cms? EF GD Cmj? GD CID GID Dédim? Em? Cmajs/9/BChords for “Revelation” In the following exemple, Robben demonstrates his chord veicings and comping style. This is an excel lent example to help establish your own foundation for this song. (Example 1 on video) G Gigus Gaus Gus cig. G — ea § fe a FIC, € B’sus FC c G/D. i = a FE is lea fie fie He 7 “gD G FOG G ae” Ge Te Em? CmO(maj?/B> Dm? ‘RE. figs ie rs Py 8G69) 1333 Amt ee) FR fa ise 23833, AmT ype? P55 Bm(s) Dédim? vor. fap] ate ay” = EE Tis Por #51 Cm6(majyEs r et, 335 Bmi(s) te Hf at. ca G Amype2 Briés) maj? FFF se 1 . Hani Ban | Pe 5 x Z4/ (fet FEF EE ———— SS — 7) Dédim? = Em? Cm$(onaj7/E BRE. Fagen. Poh ras Tas e211 Gsu/D Fsus? 3 Taz tiEEE The B7 Change The first eight bors ofthis song are pretty much diatonic, which means the chord changes stay within one porticular scale (G mixolydian). Four bars into the A section we get to the B7 change [preceded by 87eus). We will now examine the first eight bars, focusing on how to deal with the B7 change. (Example 2 on video) c He ¢ Bsus Br FC c Gp cD Ga be Aan be Hot —————— a5? * = i us EE a3 = ee Se we JR B +z <— E —— = —= ——— c ne ¢ Bras ee B Ho Oc) OD be oe * a 4 Eteaa ttt —— ya F —— 5 — — & i giver SO Gens Fae ————— = a -— SS ———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# AB) and C diminished starting on B (B C D D4 F F¥ G# AB). The diminished scale is constructed by playing consecutive whole steps ond half steps until the root is reached one octave higher. B Mixolydian: 2 C Diminished Scale beginning on B: ote te Deg tek eee =In the following example Robben demonstrates the use of the C diminished scale over the B7 chord. (Example 3 on video) c FIC oc Blsus BI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 mixolydian are the same notes as 0 B7 chord with all ofits extensions (9, 11, & 13]. These notes ore only mildly tense, and can be played somewhat freely without too much concern about resolution within the scole. If you choose to improvise with more harmonic tension, (nen-diatonic), you can play the diminished scale whose root is found one halfstop above the root of the dominant chord. The diminished scale is con- structed as follows: CD DF FEGHAB whwhwhw What does this have to do with B7? Simply put, he C diminished scale contains all of the chord tones in 87 (8 D#FF A), plus the 13th and three “altered tones” -C D F G#(+9, #9, '5, &13). When used in this manner, tis scole is commonly referred fo as B symmetrical diminishedThe Bridge ‘The bridge hes a series of chords which again, although they keep basically to the blues give way to another "shift in tonality morked by the Cm6(moj7}. This chord could be interpreted in several ways, such as a B7 alt. or Cmé{maj7}/E . The scale that Robben uses over this is a C melodic minor scale, beginning on B (BC D Eb FG AB). This scale is commonly referred to as the B diminished whole tone. C Melodic Minor (B Dim. Whole Tone}: 7526456789539 87654 3287654 2176 5 4 217 = Ge he" we? cB 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) 3 [B)Emr cms /B * Chord symbols and placement simplified for study purposes. Dm? pe c o/D #7 ~ Di? substitutes for G?Em? 6 co Bs Dm? picmi/E Dm? bY c * Hammer w/out picking Em? cm5/E Dm? pe mmc op EGD ET Am? DI a Em? cms/E Dm? be c GD ETor Gp Am? Em? brcm S/E> Dm? pw pe op B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 a standard IVI in C, with the D*7 being the tritone substitution for G7. Since D7 and G7 share the same 3rd and 71h (B & F), the two chords can be used interchangeably—D+7( #11} can be thought of as G7( +5) paves peg) fe ae ae ‘Over the Dm to D+7( #11) Robben suggests using the D melodic minor scale (D EF G AB CF), In Ex. 13 we have his, plus three other additional fingerings. D Melodic Minor Scale Fingerings: ft 2 fae “ttt, “re 712b34 5 6 7 1 bse 7 6 S43 2E 76s54h21 06 _ —— — = * rs = CB = 40 Additional Fingerings: From: 7h Sed sth 1 2In the following transcription the same 8 bars are again repeated to highlight the use ofthe D melodic minor scale. (Example 5 on video) n=3} cmS/E Em? cm§/Et Dm? be | | | |Em? CmS/E Dm? be c oD EI Am? pI “MeEm? cmi/e Dm? be c oD e Amt pI aThe Chorus The next point of interest is the D#dim7 chord (D? F# A C) in the chorus section at bar 19. Although this is « D¥ dim chord, it functions like a B7 altered chord (B7+9). For this chord, Robben recommends the use of E harmonic minor (E F# G A B C D¥ E}, beginning on the Sth. As you can see, the E harmonic minor scale 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 a Dis played next. Robben clearly hears this change as @.B7 altered with the D4 functioning as a 49, E Harmonic Minor with added D :[XIZICTT The following is the final version of the Chorus to “Revelation.” Notice that a | VIII V (G E7 Am7 D7) has been added. (Example 6 on video) or *6) ‘maj? im? n-35 /B maj GD Dh *Chord symbols and placement simplified for study purposes, mgop Didi? Em? CmS/E op B Am? br op ‘Dédim? Em? CmS/Eb Yarn I nenmn p= cnGD E op br maj? GD o Dédim? BiTying It All Together This covers “Revelation’s” points of harmonic interest. At this point, Robben “tes it all together,” puting the aforementioned material fo work inthis lost uninterrupted version ofthe tune. n=33 ry F/ iG: op Didim Em? yc G c BYsus Mev A | eS —= = a BT ZL cr > G/D c/D Gr ~ c Bsus By | ¥, ~~ =GD ET Am? br or 6 a a 1 1 TN US TT LS: =mu BI FA Gp Dédim? * Em? Cm /B Dm? be o 7 op B Ani? b o ‘Am? Bas) Cmaj?G/D Didim? Em’? cmS/B op ET Am? Dr a —F—Or—— Amt BmI¢5) Cj? G/D Dédim? Em? Cm /E G ET52 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 and B symmetrical diminished scales. pe —=_ From: Root 3rd sth 1 me 1 3 3 4 4 ton. This scole 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 fo 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. It is important that you study the many melodic opproaches Robben makes using the G symmetrical diminished scole. Especially note the smooth and welliimed resolutions to the C7 chord. Pay attention to the chord tone that is landed on upon the downbeat of each chord change as this is often the impetus behind the line.ITT fe : \ |OLE TTT56 This lush, sophisticated blues by Duke Ellington is a perfect showcase for Robben Ford's tasteful chord voicings ond single lines. The following transcription of the melody and changes comes from Robbers’ album “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 of these different possibilities. You will also 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 BLUES By DUKE ELLINGTON BH F765) b Ba SSS 5 = = = ? Se A Ain’ got the change nck = ch BT Ami! ANT) Gm? Gm clit) Gm? Didim? % aa - ee = a ain't got no bounce in my shoes, ain't got no fin-ey 10 cm BOYD Ebmaj? Edim? == Cm'/F # pbs ——S 4 2 = =e - ——— fick — ta 1 ant got sot iat bot the boon BT BAY BG Ebm/Gh BP rr) = = — e = e — Ain't got no cof = foc that’s Py nay w amt AG) Gm? Gl CMB , 3 ; abe= s = SS — = —— 4 J p petk = in’, sin" got no feel = ia's to bruise, — CCopyight © 1943 TEMPO MUSIC COMPANY Copyright Renewed 1971 TEMPO MUSIC COMPANY and RICKI MUSIC. Toterational Copyright Secured Made inUS.A. All Rights Reserved(ET TT Gm? Didim? Cm? B/D. Ebmaj?_— Bim ain't got a dream__ that's work ~ in, __ Cm/F BY BID OB Edi? B/G BD OB T ain't got nothin’ but the blues D CONE Féim? Dirt and I just can't seem to get off the ground, ‘Ain't noth - in’ (Gm) Gmit— cBen) Gm? Gm catty £ just can't doit cm? BOYD Braj? dim? Cmit/F Fi(fs) since my lit- Ue ba = left town. Ain't got_no ret___ in my BB FIG3) BT ‘Ami As7¢t) Gm? Gmll_ cag slum = ber, — ain't got no win-ners to choose, Gm? D'dim? cm? BOYD Ema? Bim? 4 lost all my tel - phone num - bers, ___ (10 Solos) Cmt/F BT BAL EN/G Bhmi/Gh BYE r(#)Chord Voicings Here, Robben lays all the chord voi 8 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 pi cones, Please note that the following transcription focuses on the chord changes and Robben’s personal voicings and does not address his finger-syle technique. Pay close attention to his right hand approach, cand experiment with what you learn. (Example 8 on video) nei} By rg) Bir Ami) DIG) Gm? G9). CEH) sein. 1, i, at. at. EH oe. ae te aoe Ge Re EE Hit Se Pit BHP OGRE Shy fei BAe = onsen Gain? Didimn? Cm? Dai) Ema? Edin? BYP rg) 7 BE Bama ID ae fim he a eet re F i320 23112341 ie ‘By ByD B® Edim? BF rR se. ETF on Dm@S) Bb dim? BNF (fs) By BTM 9M gi FE EE ae Fae FR fie FRR ae Tsai 13a ts) sat Pet ie isa qin 1324 32ie 1(MESIAL TET) (po gpom? on Em? Fim? birt Bi” ae Be | i Bisse T1333 7333 34 Gra? 2 312 Gm? CBG) Cm? Dm7(¢5) Ebmaj? Edim? —_B/F (i)! Ste. Str. tr. Gtr. # He beat Pa t in a4 BY FI) Be Amt pb’ Gm? cist) 92 y cm tis ingle Gl jt ae fa fi f F/G Didim?™™ Bhdim? Cm? mits) gs Bim? BWF - " diigo Bae ae iif} ety litt =e a EE fe tae By BD OB? Edin? BYR? Fi(f) BT Sagi GE ER BR RE 1. fifa Pan Pe ren Bri Fs Tisaa TonUMS TTT The D Altered Scale The chords to this song ore in many ways similar to “Revelation.” They are standard blues and gospel oriented chords. Again, there are just a couple of key places where you really hear tonal changes. The first 3 chords of he tune can be treated as a basic blues; use BP pentatonic minor (Bb D> E+ F Ab Bt), Bb pentatonic mojor (Bb CD F G Bb), or Bt mixolydian (B+ C D E+ F G Ab Bb). However, the first point of departure, harmonically specking, is ot the 3rd beat of bar 2: Am] 1-D7| #9}-Gm7-C13( #11). The ‘Am11 to D7( #9) is @ standard IV in G minor. Robben points out that you have several scale options here. First, the *D altered scale (D E+ FG Ab Bb CD): Suggested Additional Fingerings For D Altered: From: Root Root Root *Robben refers to this scale as *half-diminished, half-whole tone, or Eb melodic minor.” This scale has o variety of other names as well: The Pomeroy scale, the Ravel scale, the diminished whole tone scale, the super locrian scale and finally, the altered dominant scale, which we shorten fo “the altered scale.” Most importantly, this series of notes (from D to D}, is derived from the 7th scale degree of the Eb melodic minor scale: EF F Gb Ab Bb CD EF— (EAT TS eT The G Harmonic Minor Scale The second possibility for Am! 1 to D7( #9) is the G harmonic minor scale (G A Bb C D E+ FAG) Robben points out that he is beginning the scale from F# (the 7th degree), because he is thinking ofthis note os the 3rd of the V chord—D7( #9). wr obese gs s 4 hs 1 Suggested Additional Fingerings For G Harmonic Minor: From: Root 3rd sth 1 3 Sie 1 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 Bt CD E F# G), (Often the + Sth is referred to as the #11. Either nome 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 scale starting on C we have a C13( +5) chord—C E G Bb DF# A) This scale may also apply to the Gm7 chord. Remember, however, there is a potential clash betwoen F# and F4, s0 if you do use an F# , keep it out of the register that the Gm7 chords’ F4 sounds in. Suggested Additional Fingerings For G Melodic Minor: From: Root 3rd ‘sth 1 te st, Me 2 3 4 4Bringing The Scales Together Now we are going to isolate these four chords in a vamp, giving us the opportunity to heor how these scales sound. Note that the voicings used by the rhythm guitarist ore those found in bors 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 9on video) n=53 ‘Amy amg) on? co«tuy Sa ee = £ Gm? cxett) Amt(ll) ang (Bz Gm? cae) Gm xen, Amll avrg) Gm? cot) Pxene I nee en en Gm? Gm? Amll Gm? (EUR TRA] xen) Ami ANT) coy Om? cay as) Gn? xan 3 cxguy Amt avg)LT Gm? cx) Gm? cant) Amit ‘Av Gm? con Gm? coen Ami sch ma Gn? cx) Gm? oxen)The Bridge The first 2 bars of the bridge reflect a temporary key change to D. As the chords move every 2 beats, the boss line walks up from D to F# before resolving to G7, which can be thought of as a pivotal chord with its identity spit between the key of D (the IV chord) and the key of BF the VI chord). Included in this upward chord movement to G7 is the Fdim7 chord, for which Robben demonstrates the following Fdim7 corpeggio: The diminished scale that suits the Fim7 chord is the whole step/half step beginning on F. Robben closes this section out with a four chord vamp of D9-Em7-Fdim7-D9/FF , which demonstrates how he approaches this chord. (Example 10 on video) Féim? D/Fe pb Em?CC Féim? Dy/FF D Em? Faim? yg Dirt vbIn this funky number, Robben pulls out all the stops and covers all of the scole material up to this point, the main area of interest being the F symmetrical diminished (holf step/whole step) scale, which he troduction to the first performance of “Miles Groove.” As he mentions, this briefly demonstrates in his sound can be heard a great deal in Miles Davis’ loter 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 N. be f Copyright © 1943 TEMPO MUSIC COMPANY ‘Copyright Renewed 1971 TEMPO MUSIC COMPANY and RICKI MUSIC Iieroational Copyright Secured Maden USA. AUIRights ReservesEE TTITS | a E s | 2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 itis largely reacting to what the chords and lines above it reflect harmonically. The harmonic language in this ype of piece is considered 12-tone; (all 12 of the notes in our musical system) and os Robben soys, “All these notes cre 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- guage lies. In the next example, Robben shows us an extremely useful harmonic concept that involves harmonizing the F minor pentatonic scole (F Ab B+ C Eb F) alternately in triads and fourths. You will find that you are holding either @ major triad shape, or a suspended chord shape. Be aware that all these shapes are to be heard with an F at the bottom. You may want fo temporarily tune your 6th string up a haltstep 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 i.” You should, of course, work out additional fin gerings for each scale so that you aren't limited to one area of the neck. F Symetrical Diminished: Fb lee - eo BsF Minor Pentatonic: F Minor Pentatonic w/6th in place of b7th: be * = ° x + — = 5 bebo? soe sous pa 4 ‘ = == — =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 fime. Be potient cond thorough. MILES GROOVE Solo #2 By ROBBEN FORD (Example 12 on video) ,RoerentLife) :) 13 Bie) to Pa ceadbkeeadin best Pee ee Roe: ae ee eek oe ae REHBKOOTAT (with Cassette) $21.95) CC) BEST RUA un Pa med Sb 0082!