I've been playing 30 years and chasing the outside thing for at least half of that time. This is easily the best lesson I've seen on said subject. I understand most theory but this explained it wonderfully. Bravo and thanks
I’m a keyboard player, not a guitar player… But Robben’s phrasing and harmonic language has always been top in my book…. Some of my favorite guitar solos of all time are Robbins solos on the early yellow jackets records. My God… The tone, the phrasing,… It brought me to tears. I’m very familiar with the scales you mentioned, but your use of them and your own phrasing and melodic sensibility or just great, Steve. Great job as a fellow educator, I have great respect for anyone who can put all those pieces together in such a good way
Steve I really want to thank you for this amazing video!!! With your understandable language and your reassuring smile you guide us to the land of the Gods. 😀👍👍👍
1:53 "pretty nasty clash" but I loved it! That's the kind of stuff that gets my attention. You can't hang out there but it's a cool place to pass through.
Truly magic, both from Robben and from Steve. Steve, when you first were playing through the changes, that first chorus (which I realize now you intentionally played straight ahead) had me thinking - nothing special here, THEN the second chorus and my jaw dropped - SO many juicy outside beautiful tones spilling out. I had the pleasure of meeting Robben on Zoom during the pandemic and he even critiqued my playing (along with critique from Allen Hinds and Jon Herington (Steely Dan)). I have a clip of that on my channel. It made my musical life to see Robben reacting to my playing. Your content is amazing Steve - thank you for more content about Robben's technique - explained so thoroughly and easy to understand.
Young Master Steve, very nice great articulation! Your teaching is down to earth and you have laid it out so you can understand it to apply this knowledge. This journey will lead you to play a colourful lead guitar!
Wow, what a great lesson! This fits perfectly with my level of playing. I could play the notes of the altered scale but didn’t understand why and where. Thanks for putting this into a language that I can understand.
Great lesson. I messed around with it, but changed the chords to Cm and A♭9 to change things up a bit. You are right about that 5th, there is severe tonal pressure to lower the 5th to a ♭5 when you change to the 9 chord when playing the lead bits. I also experimented by changing the A♭9 to an F#major(♭5).
Incredible ideas here - I’m getting Scofield vibes as well. Can’t wait to try this all out. Thinking of a Gmaj arpeggio is great way to avoid that natural 4 over F.
There’s a great track that Robben guests on that’s under the radar. It’s by a band called Quiet city and the song is called I Know your name, he has that 90s blue line tone on it even though the song is from 2021 I believe. Check it out, his playing is sublime 😎
Bro, you gained a new subscriber. managed to really convey the Robben Ford vibe, without sounding like a copy. Robben is on my top list. There are some videos on my channel where I try to improvise, and Robben was the guy who showed me that it's possible to improvise without being exclusively dependent on licks.
Beside learning the theory, I also approach new scales referring back to already established scales and shapes. Lydian dominant = mixolydian with a sharp four.
Yeah man, people get daunted by learning new modes etc but you don't often have to learn an entirely new scale! A lot of it is just building up on stuff we already know. Someone described this in a way I like: The pentatonic we all know and love is great because it's the foundation for everything. The blues scale is the pentatonic scale with a couple blues notes added. The major/minor scale is just the pentatonic scale with two extra notes. And modes are just mutated major scales.
If you also want to hear a great example of Robben doing this, check out the tune Midnight Comes too Soon. At the end of the tune,he just solos back and forth between B minor and G7. There are a number of versions on UA-cam.
@@SteveAllsworth The live versions of the tune he really spends some time digging into those changes after the lyrics. Cantaloupe Isle is another good tune to practice lydian dominant on that D flat 7.
Your phrasing is immaculate. Have you ever considered coming up with a funky blues fusion kind of instrumental guitar album? I could listen to your style all day! Cheers 😊
Im struggling to create licks for a similar back door dominant style chord but in my song we vamp from Ami7 to D7 (3x) and at the end it goes from Fmaj to Bb13. So the back door dominant of C Ionian. But it then resolves down to Ami instead of C. I feel like I’m just working in Bb Lydian Dominant with scalar bits and struggling to come up with actual melodic riffs esp when compared to the A Dorian the vamp stays in.
A couple of things I'd recommend here - try and nail your triads when moving between chords to really underline the harmony. The other thing is try to do a side by side comparison of what's different between say Bb LD and F Ionian - Bb C D E F G Ab / F G A Bb C D E - the point of difference between Ab and A is something you could get a lot of mileage out of as you travel between chords. Hope that helps! 💪🏼
From Video notes: Guitar:: Fender Deluxe Tele with Bareknuckle Yardbird pickups Amp: Fender Deluxe Reverb Pedals: Analogman King of Tone (for both clean/dirty sounds)
Have you ever released any books Steve? I’d love to purchase a book with in depth explanation of this style of playing. You make it less scary and easier to grasp. Too many online “educators” show a blistering lick in a key and don’t explain the context of the chord tones like you do.
Thanks for the kind words - nothing in the pipeline - I may do one in future, but for now I'm trying to get all this stuff down in an online video course! 💪🏼
Still watching and will re-watch, but when would I use the lydian dom scale/ triad licks during a progression? As some outside-y type licks before the 5 chord? We're in A minor and the Dominant is E7 of course, but I would slide into a lydian dom thingy (just a half step up from the 5th) before resolving to the 5 chord? Is that right?
You could technically play it over any dominant 7, but it tends to work better in a blues when moving to the IV (as the I is acting as the V of IV, likewise on the V before going back to I. You could also do it on the IV even though this isn't the V of anything! Also works great on a bVII7, so in A this would be G7. Loads of possibilities!
Beautiful playing and great lesson :) ButI am a little confused on the theory : I have always learned tha the lydian scale has a #5, but no b7, while your lydian scale example does have a b7. What am I missing ? ;)
Many thanks! 🙏🏼 Lydian has the #4 and is the 4th mode of the major scale whereas the lydian dominant has #4 and b7 and is the 4th mode of the melodic minor scale 👍🏻
Hmm, technically you could go F7 - E7 back to A7 or A major, but it just doesn't quite resolve as nicely, that's why you tend to have it in minor blues. F7 to A7 definitely sounds weird!
This is an incredibly good lesson, I'm taking a lot away from... BUT, there's one little niggle in the examples you list for non-functioning dominants. There are tons of songs that use the #V7-V7, like "Prisoner of Love" and "As the Years Go Passing By", and I know a ton of people play "Thrill is Gone" in that way... BUT! one of those people is not BB King: the recorded version is a #Vmaj7 to V7... or if we were playing it in Amin like the rest of these examples it would be Fmaj7 to E7 for that song. Now with all that said, the first thing I did was go back to the theory, and discover that the triad pairs F and G work beautifully over either of those #V variations, and whether you use the Lydian Dominant or the straight Lydian in this context... or even better chromatic stuff with both the Eb and E notes, there's tons of fun to be had, just some more.... garlicky notes if you stick them hard in some contexts. We are doing a hint of Outside-Inside with this move after all. :) Anyway, the lesson is fantastic, but the example of "Thrill..." is one of those "Everyone plays that song 'wrong'" type of moments. ;)
Haha, yes a lot of people unknowingly play it wrong - funnily enough I've always played it with a maj7! I mentioned 'typical variations' as players as esteemed as Joe Bonamassa play it that way - perhaps I should have put his picture up instead 😅 Thanks for the great message! 🙌🏼
I much prefer Fraggiant, I find it more fluid and essential especially when descending into the dominant 5th harmonic, I find Lydian so tiresome and flaccid.
I've been playing 30 years and chasing the outside thing for at least half of that time. This is easily the best lesson I've seen on said subject. I understand most theory but this explained it wonderfully. Bravo and thanks
Fantastic! Glad to have been of help! 🙏🏼🎸
Hands down the best lesson on Robben Ford Ive ever seen on the UA-cams and man that tone is golden, thank you for this amazing content 😎
True mostly they talk bit about diminished and you dont know what to do wth it but this guy here is perfect with his explanaition etc.
Wow, thanks! 🙌🏼🙌🏼🙌🏼
Also gripping that F7#11 chord high up the neck is really impressive
Cheers!
I’m a keyboard player, not a guitar player… But Robben’s phrasing and harmonic language has always been top in my book…. Some of my favorite guitar solos of all time are Robbins solos on the early yellow jackets records. My God… The tone, the phrasing,… It brought me to tears.
I’m very familiar with the scales you mentioned, but your use of them and your own phrasing and melodic sensibility or just great, Steve. Great job
as a fellow educator, I have great respect for anyone who can put all those pieces together in such a good way
Hey thanks so much! Totally agree, Robben's tone, touch, phrasing and note choice has always been top top class 🙌🏼
Your guitar playing is superb and your phrasing & note choice always blows me away. I jump for joy every time you release a new video. 😀 Thank you!
Wow, thank you!
Steve I really want to thank you for this amazing video!!! With your understandable language and your reassuring smile you guide us to the land of the Gods. 😀👍👍👍
Land of the Gods - I like that! Cheers! 😇🎸
that opened a whole new box of musical wonder i always wondered what i heard in my head
That's great to hear!
excellent pacing and explanation!! wonderful demonstration and great theory review without bogging the video down. Great job, thanks!
Much appreciated! 🎸🙏🏼
1:53 "pretty nasty clash" but I loved it! That's the kind of stuff that gets my attention. You can't hang out there but it's a cool place to pass through.
Haha, I generally love those crunchy harmonies too! 😂
You never disappoint Steve. I think you have his outside style down cold. This is a master class in Fordisms. Cheers
Thank you Tim! 🙏🏼🎸
My favorite too Thanks!
Awesome! Cheers 🙌🏼🎸
One of the best Lydian Dom lessons out there. Well explained.
Many thanks! 🙏🏼🎸
Truly magic, both from Robben and from Steve. Steve, when you first were playing through the changes, that first chorus (which I realize now you intentionally played straight ahead) had me thinking - nothing special here, THEN the second chorus and my jaw dropped - SO many juicy outside beautiful tones spilling out.
I had the pleasure of meeting Robben on Zoom during the pandemic and he even critiqued my playing (along with critique from Allen Hinds and Jon Herington (Steely Dan)). I have a clip of that on my channel. It made my musical life to see Robben reacting to my playing.
Your content is amazing Steve - thank you for more content about Robben's technique - explained so thoroughly and easy to understand.
Haha, yes the temptation is to throw it all in too quickly! Thanks so much for the comments Joel - I'll see if I can check your video out 🙌🏼
Absolute pure gold Steve!! Awesome!! This clarifies something I have been struggling with on altered scale moves.
Awesome - glad it was helpful! 🎸
Young Master Steve, very nice great articulation! Your teaching is down to earth and you have laid it out so you can understand it to apply this knowledge. This journey will lead you to play a colourful lead guitar!
Awesome! Thanks 🎸
Also works very nicely over back door dominants in jazz.
Absolutely - this one sounds great 💪🏼
Wow, what a great lesson! This fits perfectly with my level of playing. I could play the notes of the altered scale but didn’t understand why and where. Thanks for putting this into a language that I can understand.
So glad it helped! 🙌🏼🎸
Top shelf lesson...thank you!
Pleasure! 🙏🏼🙌🏼🎸
Really slick playing!
@MrEMann - Many thanks! 🙏🏼🎸
Great lesson. I messed around with it, but changed the chords to Cm and A♭9 to change things up a bit. You are right about that 5th, there is severe tonal pressure to lower the 5th to a ♭5 when you change to the 9 chord when playing the lead bits. I also experimented by changing the A♭9 to an F#major(♭5).
Nice work! Yeah there are loads of applications for this, glad you're enjoying the sound 🎸
Merci beaucoup !
Excellente leçon 👏👏
Thanks very much! 🙌🏼🎸
Man this lesson is superb! You have explained and demostrated it so well. Thank you.
You're very welcome! Cheers 🎸🙏🏼
Fantastic !
Many thanks! 🙌🏼
What a KILLER sound! Thank you! I appreciate how when you start playing, the theory instantly becomes musical and melodic.
Instant sub!
@astrofreq many thanks - glad you got something out of it! 🙌🏼
Great playing, great tone and great lesson. Subscribed.
Thanks Tom - and welcome aboard! 🎸
Nice little dig on the upper bout of your tele. It’s got character! 😃👍🏻
Yeah I love it - you have to work a little bit to get it to really sing, but it's worth it!
I love Robben’s playing but your explanation is a lot better and clearer than his courses haha😂
Haha thanks 😂
This is really fantastic thank you! Very practical
Very welcome! Thanks 🙏🏼🎸
Impeccable lesson....
Thanks Pedro 🙏🏼
Incredible ideas here - I’m getting Scofield vibes as well. Can’t wait to try this all out. Thinking of a Gmaj arpeggio is great way to avoid that natural 4 over F.
Fantastic - glad it's inspired!
You are a great teacher! Will definitely be watching more!
Awesome! Thank you! 🙌🏼
Great video, as always!! Thank you so much and congratulations on your amazing channel!
Gracias Pedro!! 💪🏼💪🏼💪🏼
There’s a great track that Robben guests on that’s under the radar. It’s by a band called Quiet city and the song is called I Know your name, he has that 90s blue line tone on it even though the song is from 2021 I believe. Check it out, his playing is sublime 😎
Nice! Never heard that one - some amazing playing on there 🔥
you're a spectacular teacher!!! Thanks a lot
Thank you Alessio! 😃
Bloody great lesson. Thanks Steve. Tim
Pleasure as always Tim!
Thanks so much, sir. The quality of information and production is superb / also great tune and playing
My pleasure! 🎸
Fantastic Skills! Great explanation of the how and why! Thank You Steve!
Very welcome!
The turn around run was tasty!
Cheers!
Superb lesson and channel. You always make this something special!
Thanks again Matthias!
Bro, you gained a new subscriber. managed to really convey the Robben Ford vibe, without sounding like a copy. Robben is on my top list. There are some videos on my channel where I try to improvise, and Robben was the guy who showed me that it's possible to improvise without being exclusively dependent on licks.
Awesome Rafael - great to have you on board! 🙏🏼🎸
Well Done !
Much gratitude
My pleasure! 🎸
what a fantastic video !!!! great work !!!!
Thanks Emanuele - much appreciated! 🎸
Awesome, thanks a lot for the content Steve
Sure thing! 🙌🏼
Beside learning the theory, I also approach new scales referring back to already established scales and shapes. Lydian dominant = mixolydian with a sharp four.
Absolutely! I think this is probably the easiest way to 'see' the LD and how it relates to dominant chords 🙌🏼
Which isn’t … *not* theory
Yeah man, people get daunted by learning new modes etc but you don't often have to learn an entirely new scale! A lot of it is just building up on stuff we already know. Someone described this in a way I like:
The pentatonic we all know and love is great because it's the foundation for everything.
The blues scale is the pentatonic scale with a couple blues notes added.
The major/minor scale is just the pentatonic scale with two extra notes.
And modes are just mutated major scales.
Or depending how you look at modes they're also just the major scale, but in different places
Glad I found this- I was a pilgrim… lost in the wilderness. Thanks.
I believe it can also work well on Dominant Second chord.
If there's a maj2- 5-1 in the blues.
Absolutely - quite a few uses - try it on a bVII7 too 🎸
very very nice
Cheers! 🙏🏼
Fantastic video 🎸👍 thanks so much
My pleasure - thanks for watching!! 🙏🏼
Stevie! Just discovered your channel. What a great video! 👍 Hope you are well my friend.
Stel!!! Cheers buddy, good to hear from you! Yes, really enjoying the YT thing - especially now the mags have gone 😭😭😭
Awesome! Great lesson.
Thanks! 😃
This was really an excellent video Steve. Thank you!
Glad you liked it! Cheers!
If you also want to hear a great example of Robben doing this, check out the tune Midnight Comes too Soon. At the end of the tune,he just solos back and forth between B minor and G7. There are a number of versions on UA-cam.
@davidsheriff9274 What a great shout! Hadn't heard that one - so great to discover new RF tune. His tone! 😍😍😍
@@SteveAllsworth The live versions of the tune he really spends some time digging into those changes after the lyrics. Cantaloupe Isle is another good tune to practice lydian dominant on that D flat 7.
Nice one Steve!
Awesome - glad you enjoyed it JP! 🎸🙌🏼
Great lesson thank you
Thank you! 🙏🏼🎸
the king is back
Haha - me or Robben? 🤴🏻 Cheers! 🙌🏼
@@SteveAllsworth Both :)
😄
Great Job Man 🎸🎸🎸
Thank you! 🙌🏼
Well… I’ll come back on the second chance week 😂 I was lost in the very beginning. Anyway, you sound great, and Robben too 😉 Thanks
😂 Best in bitesize chunks perhaps! 😅 Thanks for watching!
Great Job brother 👍🔥
Thanks a lot! 🙏🏼🎸
Your phrasing is immaculate. Have you ever considered coming up with a funky blues fusion kind of instrumental guitar album? I could listen to your style all day! Cheers 😊
That would be cool! You might just have planted a seed....
Im struggling to create licks for a similar back door dominant style chord but in my song we vamp from Ami7 to D7 (3x) and at the end it goes from Fmaj to Bb13. So the back door dominant of C Ionian. But it then resolves down to Ami instead of C. I feel like I’m just working in Bb Lydian Dominant with scalar bits and struggling to come up with actual melodic riffs esp when compared to the A Dorian the vamp stays in.
A couple of things I'd recommend here - try and nail your triads when moving between chords to really underline the harmony. The other thing is try to do a side by side comparison of what's different between say Bb LD and F Ionian - Bb C D E F G Ab / F G A Bb C D E - the point of difference between Ab and A is something you could get a lot of mileage out of as you travel between chords. Hope that helps! 💪🏼
Great stuff as always!
Thanks again! 🙏🏼🎸
Great lesson!!!
Thanks! 😃🙏🏼
Very nice!
Thanks!
Great 👍🎸
Cheers.
Many thanks!
I love this lesson. Will practice it tomorrow. And the tone of the Tele is really great. Very inspiring. What are you using? Cheers, Seni
Cheers Seni! American Deluxe and the KOT pedal - there's a more detailed breakdown of the gear the description 🎸
Brilliant lesson. What are you playing through? Your tone is stunning
From Video notes:
Guitar:: Fender Deluxe Tele with Bareknuckle Yardbird pickups
Amp: Fender Deluxe Reverb
Pedals: Analogman King of Tone (for both clean/dirty sounds)
What @LostPlanet2024 said Khalil ⬆️ Thanks anyway! 🙏🏼
Have you ever released any books Steve?
I’d love to purchase a book with in depth explanation of this style of playing. You make it less scary and easier to grasp.
Too many online “educators” show a blistering lick in a key and don’t explain the context of the chord tones like you do.
Thanks for the kind words - nothing in the pipeline - I may do one in future, but for now I'm trying to get all this stuff down in an online video course! 💪🏼
12:02 is ight on edge of phrygian!
It's got some edge for sure!
Still watching and will re-watch, but when would I use the lydian dom scale/ triad licks during a progression? As some outside-y type licks before the 5 chord? We're in A minor and the Dominant is E7 of course, but I would slide into a lydian dom thingy (just a half step up from the 5th) before resolving to the 5 chord? Is that right?
You could technically play it over any dominant 7, but it tends to work better in a blues when moving to the IV (as the I is acting as the V of IV, likewise on the V before going back to I. You could also do it on the IV even though this isn't the V of anything! Also works great on a bVII7, so in A this would be G7. Loads of possibilities!
You have a great sound. What amp and overdrive pedal did you use?
Thanks! All details in the description 🎸
Beautiful playing and great lesson :)
ButI am a little confused on the theory : I have always learned tha the lydian scale has a #5, but no b7, while your lydian scale example does have a b7.
What am I missing ? ;)
Many thanks! 🙏🏼 Lydian has the #4 and is the 4th mode of the major scale whereas the lydian dominant has #4 and b7 and is the 4th mode of the melodic minor scale 👍🏻
Are you miking your cabinet, or going direct?
Into a Two Notes Torpedo with a Fender Twin IR 👍🏻
If I would the same on A major instead of A minor?
Hmm, technically you could go F7 - E7 back to A7 or A major, but it just doesn't quite resolve as nicely, that's why you tend to have it in minor blues. F7 to A7 definitely sounds weird!
That is Robben Ford!
Cheers!
Makes me think of The Fez by Steely Dan.
This is an incredibly good lesson, I'm taking a lot away from... BUT, there's one little niggle in the examples you list for non-functioning dominants. There are tons of songs that use the #V7-V7, like "Prisoner of Love" and "As the Years Go Passing By", and I know a ton of people play "Thrill is Gone" in that way... BUT! one of those people is not BB King: the recorded version is a #Vmaj7 to V7... or if we were playing it in Amin like the rest of these examples it would be Fmaj7 to E7 for that song.
Now with all that said, the first thing I did was go back to the theory, and discover that the triad pairs F and G work beautifully over either of those #V variations, and whether you use the Lydian Dominant or the straight Lydian in this context... or even better chromatic stuff with both the Eb and E notes, there's tons of fun to be had, just some more.... garlicky notes if you stick them hard in some contexts. We are doing a hint of Outside-Inside with this move after all. :)
Anyway, the lesson is fantastic, but the example of "Thrill..." is one of those "Everyone plays that song 'wrong'" type of moments. ;)
Haha, yes a lot of people unknowingly play it wrong - funnily enough I've always played it with a maj7! I mentioned 'typical variations' as players as esteemed as Joe Bonamassa play it that way - perhaps I should have put his picture up instead 😅 Thanks for the great message! 🙌🏼
Trying not to get distracted dialling that particular tone in 😆
Haha 😅
Or you could forget about all the theory and just lower the E in the A minor pentatonic to Eb and play that scale over the F7. ;-)
Haha that works - I guess if it's good enough for SRV! But then I'd have nothing to talk about 😅
👏👏🔥🔥🔥👌
🙏🏼🙏🏼🙏🏼
💯
🙌🏼🙌🏼🙌🏼
I much prefer Fraggiant, I find it more fluid and essential especially when descending into the dominant 5th harmonic, I find Lydian so tiresome and flaccid.
What scale now???
This is too hard to access. I’m done.
Patience you must have my young Padawan...
NASA science
🚀🚀🚀