Posted in The Blues

5 Fast Robben Ford Licks: Mastering Jazz-Influenced Blues (With Tabs!)5 Fast Robben Ford Licks (Yes I Have Tabs!)

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5 Fast Robben Ford Licks: Mastering Jazz-Influenced Blues (With Tabs!)

If you’re a fan of jazz-influenced blues guitar, chances are you’ve come across Robben Ford’s playing. Known for his intricate, fast-paced licks that combine the raw emotion of blues with the sophistication of jazz, Ford’s style is a goldmine for guitarists looking to spice up their soloing. Today, we’re breaking down five of his fast licks, covering everything from funky grooves to bebop phrasing. And yes, I’ve included tabs!

If you’re ready to dive into these modern blues licks, let’s get started. You can also download the tablature from my website, and follow along. These examples offer a great look at how Ford incorporates scales, bends, and chromaticism to create his signature sound.

1. Lick from “White Rock Beer” (E7 Shuffle)

  • Key: E7
  • Timestamp: ~2:33
  • Overview: This lick plays over a shuffle blues in A7, moving between E7 and A. It involves some clever position changes, utilizing open strings, and gives a bluesy feel with a jazzy twist.
  • Breakdown: Starting on the 10th fret (D) of the high E string, the lick uses pull-offs to open strings and a bend on the B string, landing on a classic E blues scale. The use of open notes gives it a fluid, fast-moving feel.
  • Technique Tip: The transition from fretted notes to open strings adds a unique flavor and allows you to shift positions quickly.

2. Lick from “Keep On Running” (G Blues)

  • Key: G Blues
  • Timestamp: ~3:13
  • Overview: This lick, played in G blues, incorporates wide-ranging movements between the 11th and 3rd frets. The lick travels up and down the neck, moving through the G minor pentatonic scale.
  • Breakdown: Beginning on the 11th fret (B-flat) of the B string, this lick makes use of slides and bends, creating a fluid, dynamic feel as it transitions across the fretboard.
  • Technique Tip: Pay attention to the bend vs. slide at the top of the phrase, as this helps create that signature Robben Ford “crying” sound.

3. Lick from “Tiger Walk” (Funky Groove in C#7)

  • Key: C#7
  • Timestamp: ~4:20
  • Overview: Here, Ford brings the funk, playing over a James Brown-inspired groove. He sticks to the C# minor blues scale, adding in flat-fives and the ninth and 13th intervals for a jazzy edge.
  • Breakdown: The lick incorporates hammer-ons and pull-offs to maintain the groove, moving from the 14th fret down the neck. The flat-five “blue note” creates tension, a hallmark of Ford’s style.
  • Technique Tip: Be mindful of the jazz articulation—smooth hammer-ons and pull-offs are essential to nailing this lick.

4. Lick from “Revelation” (B7 to E Minor)

  • Key: B7
  • Timestamp: ~5:24
  • Overview: This fast-paced lick comes from Ford’s fusion-heavy “Talk to Your Daughter” album. Starting on a B7 chord with a diminished scale run, it resolves on an E minor chord.
  • Breakdown: The lick utilizes a diminished half-step, whole-step scale before resolving to E minor. The speed and complexity suggest that Ford may have used hybrid picking here.
  • Technique Tip: Experiment with hybrid picking to nail the speed of the lick without losing clarity, especially during the diminished run.

5. Lick from “Talk to Your Daughter” (Altered Scale in A7)

  • Key: A7 to D Minor
  • Timestamp: ~6:27
  • Overview: This altered scale lick in A7 employs the super Locrian (or altered) scale, a staple in jazz and bebop. It’s a great example of how Ford blends blues and jazz phrasing.
  • Breakdown: This lick uses hammer-ons and pull-offs, with a bebop-inspired approach to rhythm and phrasing. The altered scale adds tension over the A7 chord before resolving to D minor.
  • Technique Tip: Focus on the timing of your hammer-ons and pull-offs—this lick uses bebop phrasing, meaning you’ll need to be precise with your articulation.

Wrapping It Up

Robben Ford’s fast licks showcase the fusion of jazz, blues, and even R&B, resulting in a rich, textured playing style. Whether you’re working through diminished scales, pentatonics, or funk grooves, the key to mastering these licks is paying attention to Ford’s seamless blending of techniques and his use of space and tension.

Hope this fits the bill for your blog post!

Posted in The Jazzy stuff (but good for every style!)

Try This Triple Pentatonic Hack for That Fusion Sound

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Are you looking to spice up your guitar playing with a fusion sound that bridges jazz, rock, and blues? This technique, which involves layering different pentatonic scales over the same chord, can give your solos that complex and sophisticated edge. In this post, I’ll break down a powerful and flexible method for expanding your musical vocabulary using just three pentatonic scales. Ready to dive in? Let’s get started!

Pentatonic scales are a guitarist’s best friend. They’re often the first scales we learn, thanks to their simplicity and versatility. However, by thinking outside the box, we can use these familiar shapes to create fresh, exciting sounds. The Triple Pentatonic Hack is about combining three pentatonic scales over one chord to access different tonal colors, giving you a fusion sound that ranges from smooth and melodic to adventurous and edgy.

The key is knowing which pentatonic scales to use and how they interact with the underlying chord.

Step 1: Start with Minor Pentatonics

The core idea behind this method is to stack three minor pentatonic scales over a single chord. For example, over a C minor chord, you can use:

  • C minor pentatonic (root)
  • G minor pentatonic (the 5th)
  • D minor pentatonic (the 2nd)

Each of these scales will highlight different notes and extensions of the C minor chord, giving you a range of tonal possibilities.

  • C minor pentatonic provides a classic bluesy sound.
  • G minor pentatonic adds a “flavor” by highlighting more of the chord’s natural notes.
  • D minor pentatonic targets higher extensions, like the 9th and 13th, offering a more open and modern sound.

By shifting between these pentatonics, you’ll instantly create new textures while maintaining the recognizable sound of pentatonic phrases. This is particularly effective for crafting “fusion” or “hard bop” runs that sound intricate but are simple to execute once you grasp the concept.

Step 2: Expand to Major Chords

The triple pentatonic concept isn’t just for minor chords. You can apply it to major chords as well. Let’s take a C major chord as an example. You can use:

  • A minor pentatonic (the 6th)
  • E minor pentatonic (the 3rd)
  • B minor pentatonic (the 7th, highlighting the sharp 11)

This combination not only works beautifully over C major but also introduces interesting harmonic choices like the sharp 11, which is a hallmark of fusion music.

Step 3: “Out” and “In” Sounds for Added Spice

One of the coolest parts of this technique is its ability to create both “out” and “in” sounds, making your playing more dynamic. For example, over an altered chord like C7#9, you can use:

  • B-flat minor pentatonic for a more dissonant, “outside” sound.
  • Then resolve to F major using A minor pentatonic, which brings you “inside” and resolves the tension.

This is a technique often used by jazz fusion guitarists like John Scofield. The interplay between dissonance and resolution adds depth to your playing and makes your solos more engaging.

How to Use It in Practice

Here’s a quick exercise to get you started:

  1. Play a C minor chord on your looper or backing track.
  2. Solo using the C minor pentatonic scale.
  3. Shift to the G minor pentatonic, playing similar phrases.
  4. Move to the D minor pentatonic and notice how the scale highlights different notes in the chord.
  5. Mix them up! Try playing phrases that weave between all three pentatonic scales, creating fluid and complex-sounding runs.

This method works because the pentatonic scales are easy to visualize and play, yet they give you a sophisticated fusion sound.

Take It Further

Once you get comfortable with the basic combinations, experiment with other chord types and pentatonic pairings. For example, try moving between altered chords and resolving to major chords, as described above. By practicing these transitions, you can begin to incorporate “outside” playing into your solos without losing your grounding in familiar pentatonic shapes.

Remember, the goal is to expand your vocabulary using scales you already know, making your playing sound richer and more varied.

Final Thoughts

The Triple Pentatonic Hack is a powerful tool for any guitarist looking to develop a fusion sound. By layering pentatonic scales over chords, you can create everything from bluesy phrases to jazz-influenced runs. And because the pentatonic shapes are already in your toolkit, this approach feels natural, even as it unlocks new sonic possibilities.

So, fire up your looper, experiment with these pentatonic combinations, and watch your playing evolve. ways to take your playing to the next level. Don’t forget to subscribe and share if you enjoyed this lesson!

Posted in Getting it all together

Fixing Musical Weaknesses: A Holistic Approach

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Do you recall that performance where a specific section left you feeling less confident in your improvisation? You’re not alone. In a recent Jazz gig, I found myself in a similar scenario, dissecting the recording afterward to uncover weaknesses in my play, particularly within the rhythm changes.

Addressing musical weaknesses demands a strategic approach, one that doesn’t merely gloss over the problem but actively works to conquer it. Here’s a breakdown of the methodology I’ve found effective, showcased through a specific phrase, though adaptable to suit individual styles.

1. Identifying Weaknesses Reflect on performances to pinpoint where you feel less assured. In my case, it was a section within the rhythm changes that didn’t resonate as strongly as the rest of the set.

2. Technique Demonstration I demonstrated a method to confront these weak spots using a particular phrase. The key here is adaptability; you can mold it to align with your personal style, ensuring it doesn’t feel too much like a pattern.

3. Transposition Exercise The crux lies in transposing this chosen phrase across different keys and progressions. By applying it to various contexts (e.g., B flat, C major), you gain a comprehensive understanding of its application.

4. Targeted Practice Deliberate practice is essential. I emphasized the necessity of practicing this phrase specifically within the weak segment of the rhythm changes, across all 12 keys. This repetition fosters familiarity and comfort in that challenging section.

5. Sensory Connection in Practice Playing an instrument engages multiple senses—touch, vision, and hearing. The transposition exercise effectively connects these senses, teaching your body to intuitively respond during performance, creating a more holistic musical experience.

Addressing weaknesses in musical performances isn’t confined to Jazz alone. This approach can transcend genres, benefiting musicians across various styles.

Remember, honing your craft isn’t solely about technical mastery but also about understanding your instrument and allowing your body to respond naturally. By incorporating transposition exercises and targeted practice, you create a robust foundation for confident and expressive performances.

If you resonate with these strategies, consider sharing this post with fellow musicians. Let’s build a community where growth and improvement are celebrated.

Posted in Getting it all together

The Power of Self-Recording: Elevating Your Guitar Skills

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Improving your guitar skills might seem like a complex puzzle, but what if there was one practice that could seriously elevate your playing consistently? Enter the world of self-recording and critique.

Think about this: if you could choose just one exercise to consistently boost your guitar playing, what would it be? For many seasoned musicians, the answer lies in a simple yet profound habit: recording oneself and undergoing a critical self-assessment.

This concept isn’t new. It’s a shared practice among accomplished guitarists, including those who may not be well-versed in theory or classical training. The key? Regularly recording your sessions and actively critiquing them.

Renowned musicians like Wayne Krantz and Rick Beato have openly endorsed this method, emphasizing its transformative impact on their own musical journeys. They advocate for a constructive approach to criticism, focusing on identifying areas for improvement rather than dwelling on mistakes.

Structured recording sessions form the backbone of this practice. It involves recording your playing regularly, then taking a break from those recordings for a few days. This temporary distance allows you to approach the critique phase with fresh ears and a clearer perspective.

The process is simple yet effective:

Record your playing sessions, focusing on a specific aspect each time (e.g., accuracy, dynamics, phrasing).
Forget about the recordings for a while.
When you return to listen, critique your performance objectively. Identify areas where you excelled and pinpoint aspects that need work.
Maintain a positive attitude during critique sessions, aiming to be constructive in your self-assessment.
This method isn’t about theory or specific technicalities; it’s about monitoring and honing the elements you want to improve, be it timing, expression, or precision.

Remember, consistency is key. Whether you dedicate five minutes or an hour to this practice, the regularity of recording and critiquing will gradually shape your playing style.

So, grab your recording device, set your guitar in hand, and embark on this journey of self-improvement. Start small, focus on one aspect at a time, and watch as your guitar skills soar to new heights.

And as you delve into this routine, don’t forget to embrace the process and enjoy the progress. Your dedication to refining your craft will undoubtedly yield remarkable results.