Robben Ford Discussion

[jconstant]

In Art of Rhythm Blues, Robben goes through Oasis in detail. He says he often plays EbMaj7 and F7 over that Cm4 (Cm11) chord. I get why the EbMaj7 works because Cm7 is the vii chord of the Eb harmonized scale. But, in the Eb harmonized scale the F7 would be Fmin7, no? Then why does it sound so good?
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"Somebody's got to make some music around here." - Robben Ford

[Budda]

Without going back to the DVD to listen, here's my first impression:

Since the Cm is the Chord Of The Moment, look to it as the "source" of these superimpositions.
If you think of Cm as a "ii Chord", then F7 would be the "V Chord".

Does the Tune then go to a Bb by chance?

ii V I if it's going to the Bb.

ii V at least, even if there's no Bb.

Does that help?

[Budda]

They're working feverishly over on TGP to answer this, aren't they?

ii V

"Dorian"

Lots of roads to Rome.

[jconstant]

[jconstant]

[Budda]

This is how I've approached a lot of similar musical situations. I use Triad Pairs a lot. Especially useful to me, when superimposing sounds. Here it is:

http://www.online-discussion.com/RobbenFord/viewtopic.php?t=2825

[jconstant]

[Budda]

Hope you got something cool out of those Triad Pairs ideas.

Here's one cool Application that I like to use:

So, Cm to F7?

Try:

Eb G Bb

to

A C Eb

Or, Eb to Adim.


So, we've implied the Cm7 and the F7 with Triads now.
Just cycling Up a 3rd.

Maybe continuing to cycle up?

G Bb D

to

C Eb G

Gm to Cm

Now we've implied 9th. Chords.


11ths.?

Bb D F

to

Eb G Bb

Bb to Eb

13ths.?

D F A

to

G Bb D

Dm to Gm

And that's not even considering all the cool Altered things we could imply.

Anyway, sometimes running through these types of cycles will yield some cool ideas.

HTH.