![\"1645047074-5a93f6e9c951900\"](\"https:\/\/dd-static.jd.com\/ddimg\/jfs\/t1\/102516\/9\/22414\/17428\/6218c4bdEfa55d694\/31f52ead2580389a.webp\")
\uffe5Interactive Video Masterclass for Jazz Guitar<\/strong>
Primarily regarded as a bluesman, Robben Ford\u2019s music is influenced and deeply rooted to his love for jazz. Robben has performed and recorded with many jazz artists including most notably Miles Davis, Tom Scott\/L.A. Express, the Yellowjackets, Sadao Watanabe, and Dave Grusin.<\/p>\n
<\/p>\n
In this Jazz edition of his TrueFire Revolution series, Robben explores his jazz musicality across 10 performance studies, each focused on a specific comping or soloing approach.<\/p>\n
<\/p>\n
\u201dI\u2019m a self-taught guitarist who began as a blues player, but wanting to expand my musical knowledge, I started investigating what the jazz players were doing. I found that learning chords were the best place for me to begin because even if I wasn\u2019t able to solo over them, I could accompany those who could and gain experience.<\/i><\/p>\n
<\/p>\n
<\/p>\n
Once I had the chords under my belt, I learned scales that allowed me to improvise through them. My first opportunity to play in a jazz setting and with players who were far more evolved than I was, was with Tom Scott and the LA Express, accompanying Joni Mitchell. Soon after, I formed the group Yellowjackets, my first fusion band, and eventually found myself with Miles Davis \u2013 my hero in jazz for sure!<\/p>\n
<\/p>\n
<\/i><\/p>\n
In this course, I\u2019ll be showing you my unique way of blending blues and jazz sensibilities in what I think is a fresh approach to jazz composition, harmony and improvisation. We\u2019ll work through 10 different pieces of music, each accentuating a different aspect of writing, comping and soloing.\u201d<\/i><\/p>\n
<\/p>\n
Robben will explain and demonstrate all of the key concepts and approaches along the way. You\u2019ll get standard notation and tabs for all of the performance studies. Plus, you\u2019ll be able to use TrueFire\u2019s learning tools to sync the tab and notation to the video lesson. You can also loop or slow down the videos so that you can work with the lessons at your own pace. All of the backing tracks are included to work with on your own as well.<\/p>\n
<\/p>\n
Grab your guitar and let\u2019s dig in with Robben Ford!<\/p>\n
<\/p>\n
Crabshaw: Full Lead Pass \u2013 Performance<\/strong>
\u201cOur first track is called \u201cCrabshaw\u201d. Here we\u2019ll work through the full lead guitar part of the track. Up next, we take a look at how to comp along with the track. Then, we\u2019re going to look at a few of the techniques I\u2019m using in-depth. Let\u2019s get started.\u201d<\/p>\n
<\/p>\n
Crabshaw: Comping Sections \u2013 Performance<\/strong>
\u201cThis playalong shows you some of the comping ideas you could use over the track for \u201cCrabshaw\u201d. We\u2019ll work through a section of the tune, and then start to break down a few of the techniques I\u2019m using in the next segment.\u201d<\/p>\n
<\/p>\n
Open Strings Enhance Bass Lines \u2013 Crabshaw: Harmony & Melody<\/strong>
\u201cThis song is called \u201cCrabshaw Don\u2019t Care\u201d, which is a reference to a blues that Elvin Bishop recorded with the Paul Butterfield Blues Band, called \u201cDrunk Again\u201d. The song was written in the key of B, something that\u2019s unique to guitar, as it doesn\u2019t fall under your fingers as easily as something like playing in A. Something we\u2019re taking advantage of here is open strings, using them to enhance the bassline. When writing instrumental music, I like to engage the bass player in ways they normally wouldn\u2019t. Instead of just having the bassist hit the root note, we\u2019re bringing them into the composition here with a melodic line played in unison. In this segment, we\u2019ll break down the melody line as well as go through some of the harmonic choices I made with the chords.\u201d<\/p>\n
<\/p>\n
Scales, Triads, Personality \u2013 Crabshaw: Improvisation<\/strong>
\u201cWith \u201cCrabshaw Don\u2019t Care\u201d, we\u2019re in the key of B7. This gives us a different, brighter sound that\u2019s a little funky too. It\u2019s also great for my voice, so I\u2019m a big fan. Let\u2019s talk a little bit about where my head was at with the improvisation for this tune. With the melody riff, the idea was to inject a little bit of humor into it. That\u2019s something to keep in mind \u2013 there should always be an emotion in mind. In jazz and rock \u2018n\u2019 roll, we\u2019re often working with one emotion or theme, unlike classical where we can move between different emotions. So, \u201cCrabshaw\u201d is kind of funny. Nothing too overt, just some playful thematics are thrown in to make it light. Let\u2019s go through the lead part, and I\u2019ll break down some of the approaches I took while improvising.\u201d<\/p>\n
<\/p>\n
Hebb Tide: Full Lead Pass \u2013 Performance<\/strong>
\u201cOur second track is called \u201cHebb Tide\u201d. First, we\u2019re going to go through the lead guitar part all the way through, then we\u2019ll check out some comping ideas you can use. After that, we\u2019ll go in-depth with a few concepts that are essential to playing the tune and bringing jazz into your playing. Let\u2019s get to it.\u201d<\/p>\n
<\/p>\n
Hebb Tide: Full Comping Pass \u2013 Performance<\/strong>
\u201cHere we have some comping ideas you can use to play along with the track. When you\u2019re ready, head on over to the next segment where we\u2019ll break down some of the harmonic choices I used.\u201d<\/p>\n
<\/p>\n
Freedom is the Joy in Jazz \u2013 Hebb Tide: Harmony<\/strong>
\u201c\u201dHebb Tide\u201d is a series of four chords that are similar to the song \u201cSunny\u201d by Bobby Hebb. Let\u2019s take a look at the progression, some of the harmonic choices I made working through it and how we can bring in the melody to the chord voicings.\u201d<\/p>\n
<\/p>\n
Always Look for Common Ground \u2013 Hebb Tide: Improvisation<\/strong>
\u201cThe improvisation on \u201cHebb Tide\u201d is over four chords, the first three of them taken out of the Eb major scale. The fourth chord is altered that leads our ear back into the I. A cool thing about this particular progression is that there\u2019s a lot of common tones between the chords. When improvising, it\u2019s our job to look for common ground to get from point A to point B. Here we\u2019ll go through some of the cool connection points in the chords, and how you can take advantage of that to put together a solo.\u201d<\/p>\n
<\/p>\n
On That Morning: Full Lead Pass \u2013 Performance<\/strong>
\u201c\u201dOn That Morning\u201d is our next tune. Here we\u2019re going to work through the full lead guitar part, then we\u2019ll move on to the comping part that accompanies it. To close things out for this song, we\u2019ll break down both the harmonic and improvisation approaches I took for each part. Let\u2019s check it out!\u201d<\/p>\n
<\/p>\n
On That Morning: Comping Sections \u2013 Performance<\/strong>
\u201cHere\u2019s some of the comping techniques I\u2019d use for \u201cOn That Morning\u201d. I\u2019ll work through a few different approaches here, and then when you\u2019re ready head over to the next segment where we\u2019ll talk about some of the harmonic ideas we\u2019re working with.\u201d<\/p>\n
<\/p>\n
Break the Mode \u2013 On That Morning: Harmony & Melody<\/strong>
\u201cThis song, \u201cOn That Morning\u201d, is an old Gospel tune that I did an arrangement for on my record Bringing It Back Home. This song is in the Aeolian mode \u2013 something that I don\u2019t really talk about often is the mode, but I feel like it\u2019s important to know here. All the chords we\u2019re going to play are in the Eb major scale, but we\u2019re beginning on C, the sixth degree of the scale, so therefore its Aeolian.\u201d<\/p>\n
<\/p>\n
An Altered Opportunity Knocks \u2013 On That Morning: Improvisation<\/strong>
\u201c\u201dOn That Morning\u201d is a minor blues based on the Aeolian mode. Let\u2019s look at how improvising in this mode works over the chords, and some of the techniques that I use to turn this old Gospel tune into something jazzy and new.\u201d<\/p>\n
<\/p>\n
Philly Blues: Full Lead Pass \u2013 Performance<\/strong>
\u201cThis track is called \u201cPhilly Blues\u201d. Here we\u2019re going to go through the full lead part, and in the next segment, we\u2019ll look at some comping approaches to accompany it. Once we<\/p>\n","protected":false},"excerpt":{"rendered":"
\uffe5Interactive Video Masterclass for Jazz GuitarPrimarily […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[58,23],"tags":[],"topic":[],"class_list":["post-109806","post","type-post","status-publish","format-standard","hentry","category-trap","category-yzcy"],"acf":[],"_links":{"self":[{"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=\/wp\/v2\/posts\/109806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=109806"}],"version-history":[{"count":0,"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=\/wp\/v2\/posts\/109806\/revisions"}],"wp:attachment":[{"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=109806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=109806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=109806"},{"taxonomy":"topic","embeddable":true,"href":"https:\/\/xs.1ozy.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftopic&post=109806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}