Chords for Robben Ford Blues Lesson

In almost _ every approach to [Ab] _ _ [B] soloing, generally, if one really [Cm] thinks about it, you're going
to find an influence.
[E] You're kind of emulating somebody that you like, you know?
You're kind of emulating B.B. King or Albert Collins.
And so often for me, I'll just be playing something I have heard before, you know?
Something that I like. _ _ _
_ _ _ _ But depending on what [B] you're playing, [E] whether it's a shuffle or [C] a slow blues, they're very
different things and [N] the approach is _ _ probably going to be a little bit different just because
of the energetic.
I like playing [G] slow music. _
[N] I like having all that space and all that time to develop whatever it is I'm going to play.
_ _ _ And [Em] so for me, [A] _ [G] _ _ _ I might play something [A] like that to begin a slow blues.
_ [E] _ _ _ _
[Em] Put _ _ _ _ _ _
_ _ _ _ _ [Bm] _ _ [Em] _
_ _ _ _ _ _ a little something on the end of it, you know?
A little fluff on the end, a little flurry or something. _
[D] _ [Em] _ _ _ _ And then if it's going to the four chord, [E] I would play something very akin _
[Bm] _ _ [Am] _ _ _ _ _ [A] _
_ _ _ _ _ [Cm] to, _
[F] what
do you call it?
Sort of [N] like variation on a theme or even more, it's like _ there's a couple of things
that are talked about in classical music and compositions.
Diminution is like when you lessen the [C] space between notes.
[B] _ I don't know what the other one is.
The opposite of diminution.
Expansion or something like that.
[Fm] So you [Em] expand the space between the notes.
[N] So you're playing in sort of a thematic way.
You know, you're not just playing licks. _
You're composing.
You think like a composer.
So that's one thing [E] I would do.
_ _ [C] _ _ _ _ [E] _
[C] _ _ _ _ _ _ _ _
[Eb] _ [G] _ _ _ _ [Am] _ _ _
Because we just went to the A chord.
_ So [Cm]
very nice way to [Abm] _ have evolution.
Immediately [Bb] there's evolution in what you're playing.
[C] You're not just playing blues licks.
_ _ _ [G] The pentatonic scale,
_ _ _ _ _ _ _ _
[E] _ _ so I just add a fifth [B] degree.
[G] _ _ _ _ _ _ _ [C] _
_ [Am] _ _ _ _ [Gm] If you approach the pentatonic scale as a musical device, [Db] [C] and this is something [Bb] that
[F] I think it kind of falls under the category of thinking like [E] a musician.
You're not thinking like a guitar player.
You're not thinking like a blues guitar player even.
You're thinking like a musician. _ _ _
So you should be viewing the pentatonic [G] scale _ _ _ _ as a [Em] musical device.
And not [E] only is it a device, it's beautiful into itself.
And I think people are afraid to [N] just play the pentatonic scale or afraid to play the
major scale or the minor scale, _ _ [Gb] [Ab] thinking they're supposed to be doing something else with it.
_ [Db] Another thing is like double [Em] stanzas. _ _ _ _ _ _
_ _ [E] _ _ _ _ _
So I just played, _ _ _ all I did was play _ three [Em] inversions of an E chord.
_ _ _ [E] _ _ [Em] _ _ _
_ _ _ _ _ _ _
On a scale.
_ _ _ Literally, the pentatonic scale, you know?
_ _ [A] _ [E] _ _
[Bb] It's like A [Em] G.
_ I _
_ _ _ _ _ [E] _ _ _
_ _ _ _ _ [A] _ _ _
_ _ _ _ _ _ _ _
_ [G] _ _ _ _ _ do that a lot.
[A] I let the time extend.
[G] _ _ _
_ _ _ _ [Ab] _ Zadadadadum instead of [Eb] datdatdatdatdum.
_ _ [Em] _ _ _
_ _ _ _ [Ab] _ _ [Em] _ _
_ _ _ _ [D] _ [Em] _ _ _
_ _ _ [E] _ _ _ _ _
Zadadadadadum.
E4.
_ [Dm] _ [Em] _ _ _
[C] _ _ _ [Dm] _ _ _ [Gm] _ _
[Em] _ _ _ _ _ Some of the pentatonic notes, but I pronounced the _ A note when it went to the four chord, you know?
_ [Em] _ _ _
_ _ [Gm] _ _ [Am] _ _ _ _
_ _ _ _ _ All [G]
pentatonic.
_ _ _ _ It could be [C] like a_
_ This [Am] is bar blues. _
_ _ _ _ _ _ _ [Em] _
_ _ _ _ [Bm] _ _ _ _
_ _ _ [G] _ _ [E] _ _ _
[Bb] _ _ [Am] _ [Em] _ _ [Bb] _ [Bm] _ _
[G] _ [Db] _ _ _ _ [Am] _ _ [E] _
_ [Em] _ _ _ _ [Am] _ _ _
_ _ _ _ _ [E] _ _ [A] _
_ _ [Em] _ _ _ [A] _ _ _
_ _ [B] _ _ _ _ _ [Em] _
_ [E] _ _ _ [Am] _ _ [Bb] _ [Bm] _
[E] _ _ [Gm] _ _ _ _ [Bm] _ _
_ [N] Zadadadadum.
Country blues and then a jazz