Robben Ford Discussion

[juspasinby2003]

Tell me you didn't see this one coming?

Same deal as with the melodic minor scale thread. I'm interested in rules of thumb for using the diminished scale in the blues (you know, like somebody famous we know who uses the scale to maximum advantage in his work).

I'll seed it with an easy one: Use the whole/half diminished scale (same root as the I chord) in transition from the IV to the I chord (i.e., 6th bar of 12 bar progression). For example, at bar 5 of a 12 bar blues progression in the key of A, play the IV (D7) for one bar, then the Adim7 for the next bar using the A, whole/half diminished scale for this bar, then back to the I (A7) for bar 8.

Your turn. Please give me your best stuff. I'm serious here. A lot of this stuff can be reduced to bite-sized tips and tricks that you can apply immediately without needing a comprehensive knowledge of the theory behind it. You can always study the theory later to see the big picture if you like, or you can just count your blessings for the new tricks. For you music educators out there, this is the way to inspire your students to want to dig in deeper.

[Bluelobster]

oh man you are tough , i am going to mistake a lot more.

So we said that we can play a B-7b5 over a G9 and relating to Minor melodic.

Then if you play a B diminished over a G Dominant it would be a flat nine, therefore you have to relate to Harmonic minor.(G7b9) an other world...

and i am sure you know you can jump the arpeggio by third.

Try to switch between B-7b5 and BDim over the changes .

But blending the 3 worlds is the top : like the graal scale 1/3 Minor Mel, 1/3 Harm Minor 1/3 Major , you shake it strongly (like an abroad prisonner),
you try to think actually you don't think, get a smart attitude , eventually endorse a great brand of clothes like Scofield (comme des garcons) or Robben (Short Denim jacket) (( just kiddin')). Wait wait wait a minut

What i am talking about ? I apologize, it's the diminished scale, She runs me out of my mind.
And remember there is only 2 fingerings for the Dim scale.
Therefore you can figure the H/W or the W/H
The whole /half is tricky.
You guys force me to go back to work.
Thanks

[Bill Morgan]

[juspasinby2003]

[Bluelobster]

wrong corner

[kirk95]

[Bluelobster]

wrong corner

[Larry Wayne]

Rythum changes in B flat
The 1 6 2 5 gets replaced by B flat- B Dim- C Min- C# Dim

How can the B Dim replace the G Dom?

How about the C# Dim replacing the F Dom?

Which Harmonic minor scale works over them??

I Love you people!!!
_________________
I play a 335 Gibson, through a fender Hotrod ( 40 watts ). I am currently in a band called Wicked Grin, blues with bite. I live in Ottawa On Canada. I live for cool diminished runs within the blues format.

[jazzyblues]

"Use the whole/half diminished scale (same root as the I chord) in transition from the IV to the I chord"

I'm a little confused then. I was watching one of Robben Ford's early videos, and he said use the H/W diminished scale to go from the I chord to the IV chord. And he spelled it out, starting from the root.

I'm just trying to find out what to do in this case. Which scale is it? The W/H or the H/W?

[kirk95]

[jazzyblues]

Thanks. I appreciate the clarification. I'm really trying to learn and apply the diminished scale. I avoided it forever, but now I see how it really sounds nice when used correctly.

[juspasinby2003]

It helps to think "G7(#5)/F" for the last two beats of bar 4, just before going to the IV. Play G13 to G7(#5)/F (upper 4 strings only) to C9. It's over that G7(#5)/F that you play your G half/whole diminished scale (or Ab melodic minor). When you can hear the chord, you can hear how the scale fits over it very nicely. Once you can hear the substitute chords, the chord scales almost play themselves and make much more sense.

[juspasinby2003]

Just to be clear, here's G13:



And here's the G7(#5)/F over which you would play the G h/w diminished scale (or Ab melodic minor if you choose):

[juspasinby2003]

[russ]

kirk95 wrote: