Robben Ford Discussion

[Collins2308]

Is it considered to be not very "musical" to do this while soloing?

Could anyone give me any tips for doing this?

[Bluelobster]

It can be highly musical as long as it sounds good. that is the rule :
if it sounds good (to ears) it is good whatever the rules . Tip#1.
Tip #2 learn the rules then you'll be able to break them.
Tip #3 It is great to know and practice many fingerings , then in one position
over the neck you can switch to a lot of scales without a lot of moves, may be a little stretching par ci par là. Plus Pentatonic is 5 notes so it fits a lot of guitar players (because they don't really have a brain )

but i am babbling a lot and just not even have an example to give u
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[frank0936]

Clapton uses this a lot.

[Budda]

The tension of the minor 3rd./Major 3rd. rubbing up next to each other, is one of the most defining aspects of "American" musics, to me.
In fact I feel that the whole evolution of Western music, is a process of more and more dissonance, becoming accepted as consonance.
We've become accustomed to hearing this particular tension.

Here's a way to put this effect into use. Play the Em Pentatonic ascending and descending. Add the G# note (the Major 3rd.), as you do.
But, always play the G# after the G note. This will spell out the sounds of the whole "dissonance to consonance" effect.


There's another 3rd. to talk about, when talking Blues. It's called the "Blue 3rd.". It's a microtonal note, approximately 2/3 way between the minor 3rd. and the Major 3rd.
Using this note is one of the most vocal of techniques. To me, it IS the "Blue Note".

After the "Rhythm Lick example, there is a phrase that moves through the B7 to A7 to E7 changes. Over each chord, it uses the m3rd. to M3rd. move.

[Collins2308]

wow thanks!

[roadwarriorfortheblues]

When I listen to music, I think of the solo as a lyric -- the notes say the same thing as the artist would've said if words were used.

I've read that some artists use minor and major shifts to give the lyrics deeper meaning, sort of how your voice intonation helps someone understand what you really mean (beyond the words).

Maybe juggling or shifting can be used to convey syntactic information that helps the listener understand what you are saying beyond the notes.
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[Bluelobster]

[DaveH]

Major= happy
Minor= sad
In between, you have Mixolydian
Very simple.

[Budda]

Collins,

Glad you like it! Hope it helps, and is clearly written for you.
And be sure to let me know, if I can be of any assistance.

Here's a Tip to be aware of:
The Frets on guitars are what we call "Tempered". This means that they are a little out-of-tune with the naturally occuring Overtone Series.
It's a fascinating study, to look into the historical progression of Western Music(s) and discover why and how these things are as they are. And I recommend you do that some day. For now, just being aware is enough.

BUT, here's the practical "Cliff's Notes" appplication:

The Justly Intonated m3rd. and M3rd. of a Tonality lie

between the Fretted m3rd. and M3rd.s.

So, when you hear Blues (and other) Musicians "tweak" those notes a little, they are often Bending into the JI Notes. Not out of them.

Try this:

You know when your playing your "blues lick box stuff" in A, how you bend that C on the G string up a little bit?
Bend that C on your 5th fret G string up a little and play it with your open high E string. When you hear that make a good major third, C up to E(You will hear the "Beating" stop, just like when Tuning Up Between 2 Notes), hit your low A string open.
That's Just minor. A to that slightly bent C. 6:5


Just listen to this a LOT, and soak up the "new" sounds and relationships.
Try to sing the JI m3rd. Note, while the Open A String Rings out. Internalize this Sound/Relationship.

All the "Theory" in the World, is just to explain what actually happened inside the Music. So, by starting with internalizing various sounds, you get the answers first, and the Theory comes much more easily.

[JohnnyZ]

Good stuff, Budda, thanks!
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[Budda]

Collins,

Did you try the JI Am Chord I posted? Or, was it too far out there?

Let me know how your explorations are going. We can focus things to where you need them.

[Collins2308]

sorry for the late reply ^^


i've been looking at what you posted but it's a bit over my head. Thanks though!

[Budda]

Sorry I made that last post seem harder than it is.

You ever Tune your guitar by the old "5th. Fret Method"?

You know how you listen for the 5th. Fret Note and the other, Open String to "Match"? How there's a kind of throbbing sound that slows down, until it stops? And then, the 2 Strings are in tune?

If you've ever done this, then you can do the thing I was talking about. That "Throbbing" is called "Beating". So, you listen for that to stop, as you bend the one String to match the open Strings, in the Example from my last Post.

Let me know, if you need any more help with this. But, I think you need to learn this one, Bro. It's a big step towards getting your Ears working well.

[Budda]

Not exactly mixing Major and Minor Pentatonics here. But, something you may really dig. Say you're playing an "A Blues", with A7 D7 E7.

You could play Am Pent. or A Blues over the whole thing.

Or, you could play Am Pent over A7, Dm Pent over D7, and Em Pent over E7.

And you don't have to race up and down the Fretboard to do it. In fact, you can often get a LOT of options, by just changing 1 or 2 Notes.

This is possible, when you can visualize 2 or 3 Scales "Overlaying" each other, in the same Position.

Check this out:

[Danny]

Budda are you a member of the Joe Bonamassa forum as well?
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