|Solo Revolution – Diminished Lines|
English | MP4 | 1.08 GB
You hear a whole lot of minor and major pentatonic lines in the blues. You’ll hear those pentatonic lines spiced up with a flatted fifth or a little chromaticism and it sounds great, and that’s how we all learn to play the blues. Then all of a sudden a player comes along and cranks up the spice with lines crafted from altered or diminished scales and your ears perk immediately to attention. What was that?! How do you do that?!
That was likely Robben Ford playing the blues, or one of his fellow blues masters similarly inspired by harmonic approaches, chord voicings, and scale applications usually associated with jazz.
How Robben incorporates diminished lines in his solos is the topic of discussion in countless articles and workshops. Yet, as much as it’s discussed and analyzed by others, the answer remains somewhat elusive. That’s why Robben wanted to focus on this one topic here in the Diminished Lines edition of his Solo Revolution series.
”The diminished scale, for me, has always had a direct correlation to the blues. it’s both major and minor, which is very characteristic of the blues. The use of the flatted fifth and the emotional intensity of the diminished scale sounds like the blues to me. I’ve prepared 17 concept lessons and 8 soloing performance studies to illustrate how I use diminished lines in the blues.”
|Info||1.08 GB||PDF, MP4|
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