Wild About You (Can't Hold Out Much Longer). Robben Ford - Revelation. Are you sure to delete your private version? Apr 7, 2015 - Robben Ford's 1982 #102 Overdrive Special & 2x12” Dumble Speaker Cabinet p. Sonicstage 4.3 Offline Installer. You could run through the clean channel with overdrive pedals to get an OTS Dumble/Fender broken up clean, drop the pedals to get a pure OTS Dumble/Fender clean, or kick in the overdrive channel to get a Marshall on.
Chops: Intermediate Theory: Intermediate Lesson Overview: • Understand how to use diatonic major triads over dominant chords. • Create tension by using diminished scales.
• Learn how Robben Ford keeps his comping simple, but effective. Robben Ford is one of the most sophisticated blues guitarists around. From his start with blues great Charlie Musselwhite to pop icons Joni Mitchell and George Harrison—and even a short stint with jazz legend Miles Davis—Ford is an in-demand guitarist for his amazing touch and soulful sound. I’m going to break down a few key elements of his playing for you. In this installment I’m going to focus on two of those elements—his use of triads to enhance his comping and his use of the diminished scale to transition from the I chord to the IV chord and from the V chord back to the I chord.
One thing that sticks out to me when I hear Ford’s playing is the way he comps the chords in a blues. Download Undangan Khitanan Crd Gratis more. There are only three chords in a 12-bar blues, but the way Ford plays, you’d think there were 12 or more. One harmonic tool Ford uses almost all the time is major triads.
For example, let’s say we are playing over an A7 chord (which is the V chord in the key of D). In the key of D, you have major triads on the I, IV, and V chords, which are all fair game in your comping. Ebook Dale Carnegie Versi Indonesia here. Basically these triads will be added to the A7 chord voicings he already uses. First let’s take a look at Fig. 1 which shows these three triads all the way up the neck. For now, I’m going to stick with the 2nd, 3rd, and 4th strings. The lower strings will be too muddy of a sound and the 1st string is too pronounced and should only be used to accent certain beats.
Now let’s take those triads and create a blues rhythm part in Fig. This is a cool rhythmic phrase over an A7. We are starting with an A major triad in the 9th position and just moving through the other diatonic major triads (G and D) before landing with a partial A7 chord in the 5th position. A lot of times you just need the b7th and the 3rd of the dominant chord, but in this case I also included the 5th. These four chords are just repeated in this same order four times. It’s a two-measure phrase, so you would only repeat it twice in a 12-bar blues. I just played it a few times so you could get the feel.