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