Robben Ford Discussion

[kirk95]

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Originally posted by scottlerner
Eb9 = G-7b5

Therefore, you can build bop lines around the G half diminished arpeggio...

Works great moving into a hot blues lick!

Scott
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Originally posted by David Henderson

Very cool Scott!

In case you guys don't get what Scott is saying.

In the Bop style improvisers like to get away from playing the inside chord tones of a chord and emphasise the tensions. They also like to avoid starting their lines on the 1 of the chord.

Chord tones would be 1 3 5 b7 of the Dom7 chord and the tensions would be 9 11 13. The tensions of the Eb7 are F Ab C or an F minor triad.

Eb9 Diagram
Notes: Eb G Bb Db F Ab C
Degrees: 1 3 5 b7 9 11 13

This is just an Eb mixolydian scale stacked in 3rds.

Now you can build triads and seventh chords off these stacks and play any of them over the Eb9 chord while you are improvising.

Start an the 3rd and build a 7th chord - G Bb Db F or G-7b5.

Wes Montgomery loved to play Bb-7 over the Eb9 chord. If we start on the 5th degree and build a 7th chord we get Bb Db F Ab which is Bb-7 chord which is the 5 7 9 11 of the Eb9 chord. This is totally the Wes sound!!

Next step is to work out all the 7th chords and triads and practice playing them over the Eb9 chord.

This will get you out of the dull scale runs and into some nice bop lines just like Scott likes to play. Although Scott likes take this a little further and play a lot of non diatonic triads and 7th chords to play his very tasty out licks.

Robben does a lot of this stuff too...probably doesn't know the names of all this stuff...but man he hears it!

Enjoy!
DH

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DH
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[kirk95]

and more........

Right you are Scott! Hotub you are playing an A7 arpeggio on the E7 chord leading into the A7.

One of the things Robben spoke of in his clinic was where he will alter the tensions on I7 chord going to the IV7 chord. So he is thinking altered V7 of IV (E7 altered) (bring back Berklee memories Scott?) resolving up a 4th or down a 5th to the (A7).

Let's take an example in an A 12 bar Blues"

|A7 |A7 |A7 |A7 |

|D7 |D7 |A7 |A7 |

|E7 |D7 |A7 |E7 |


In bar #4 Robben will think A7b9 or A7b9 13 or A7b9 b13 resolving to the IV or D7. You can play the arpeggios ( 1, 3, {5 or b5}, 7, b9, {13 or b13}) or just a Bb dimished 7th arpeggio (Bb, Db, E, G) (this is just repeating minor 3rds very symmetrical) or the corresponding chord scales (A half whole dimished scale or A altered dominant {Bb melodic minor from the 7th degree}1, b9, #9, 3, b5, b13, b7).


|A7 |A7 |A7 |A7b9b13 |

|D7 |D7 E7b9 |A7 |A7 |

|E7 |D7 |A7 |E7 E7b9 b13|

You could also use the tri-tone substitution which would look like this.


|A7 |A7 |A7 |Eb7 |

|D7 |D7 Bb7 |A7 |A7 |

|E7 |D7 |A7 |E7 Bb7|


So you could just arpeggiate the Eb7 and Bb7 chords or play Lydian b7 chord scales (melodic minor from the 4th degree) (1, 9, 3, #11, 5, 13, b7) or dimished whole half.

This not really playing outside its more chord substitution. That way you don’t venture too far away from the harmony.

Another suggestion about your playing on the clip. You stay pretty much in the E minor pentatonic. You can add a lot more vocabulary if you very the scales and arpeggios you use. For example, on the E7 I chord you can play: E Mixolydian, E Dorian, B minor pentatonic, F# minor pentatonic, D Maj7 arpeggio, B -7 arpeggio. Rock between all these ideas and hear how your playing just comes alive with variety.

Hope that helps!
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