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
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.
I saw Robben Ford on the Supernatural tour in 1999, long before smartphones. My brother recorded the show with a mini disc recorder. “Nothing to Nobody” is one of my favorite tracks… you can hear my shouts of approval on the bootleg. Thanks for bringing me back!
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!
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.
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.
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 😎
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 😊
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).
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.
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.
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.
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.
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! 💪🏼
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)
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 👍🏻
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! 💪🏼
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!
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!
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’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 🙌🏼
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! 🙌🏼🙌🏼🙌🏼
excellent pacing and explanation!! wonderful demonstration and great theory review without bogging the video down. Great job, thanks!
Much appreciated! 🎸🙏🏼
Great playing, great tone and great lesson. Subscribed.
Thanks Tom - and welcome aboard! 🎸
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! 🙌🏼🎸
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!
that opened a whole new box of musical wonder i always wondered what i heard in my head
That's great to hear!
One of the best Lydian Dom lessons out there. Well explained.
Many thanks! 🙏🏼🎸
I saw Robben Ford on the Supernatural tour in 1999, long before smartphones. My brother recorded the show with a mini disc recorder. “Nothing to Nobody” is one of my favorite tracks… you can hear my shouts of approval on the bootleg. Thanks for bringing me back!
Wow that's something I'd love to have seen! Glad to have brought back some good memories 😄
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 🎸
I love Robben’s playing but your explanation is a lot better and clearer than his courses haha😂
Haha thanks 😂
You never disappoint Steve. I think you have his outside style down cold. This is a master class in Fordisms. Cheers
Thank you Tim! 🙏🏼🎸
Absolute pure gold Steve!! Awesome!! This clarifies something I have been struggling with on altered scale moves.
Awesome - glad it was helpful! 🎸
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 🙌🏼
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! 😇🎸
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! 😂
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! 🙌🏼
Man this lesson is superb! You have explained and demostrated it so well. Thank you.
You're very welcome! Cheers 🎸🙏🏼
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 🔥
Great video, as always!! Thank you so much and congratulations on your amazing channel!
Gracias Pedro!! 💪🏼💪🏼💪🏼
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!
You are a great teacher! Will definitely be watching more!
Awesome! Thank you! 🙌🏼
Bloody great lesson. Thanks Steve. Tim
Pleasure as always Tim!
The turn around run was tasty!
Cheers!
Thanks so much, sir. The quality of information and production is superb / also great tune and playing
My pleasure! 🎸
Impeccable lesson....
Thanks Pedro 🙏🏼
Superb lesson and channel. You always make this something special!
Thanks again Matthias!
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....
Fantastic Skills! Great explanation of the how and why! Thank You Steve!
Very welcome!
Well Done !
Much gratitude
My pleasure! 🎸
you're a spectacular teacher!!! Thanks a lot
Thank you Alessio! 😃
Awesome! Great lesson.
Thanks! 😃
what a fantastic video !!!! great work !!!!
Thanks Emanuele - much appreciated! 🎸
Awesome, thanks a lot for the content Steve
Sure thing! 🙌🏼
This is really fantastic thank you! Very practical
Very welcome! Thanks 🙏🏼🎸
Also works very nicely over back door dominants in jazz.
Absolutely - this one sounds great 💪🏼
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 😭😭😭
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 🎸
the king is back
Haha - me or Robben? 🤴🏻 Cheers! 🙌🏼
@@SteveAllsworth Both :)
😄
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! 🙏🏼🎸
Great Job brother 👍🔥
Thanks a lot! 🙏🏼🎸
Great Job Man 🎸🎸🎸
Thank you! 🙌🏼
Great stuff as always!
Thanks again! 🙏🏼🎸
Great lesson!!!
Thanks! 😃🙏🏼
This was really an excellent video Steve. Thank you!
Glad you liked it! Cheers!
Nice one Steve!
Awesome - glad you enjoyed it JP! 🎸🙌🏼
Fantastic video 🎸👍 thanks so much
My pleasure - thanks for watching!! 🙏🏼
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!
Great lesson thank you
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!
Very nice!
Thanks!
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.
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 🎸
Great 👍🎸
Cheers.
Many thanks!
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
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! 💪🏼
very very nice
Cheers! 🙏🏼
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 🎸
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! 🙏🏼
That is Robben Ford!
Cheers!
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 👍🏻
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! 💪🏼
Are you miking your cabinet, or going direct?
Into a Two Notes Torpedo with a Fender Twin IR 👍🏻
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 🎸
Trying not to get distracted dialling that particular tone in 😆
Haha 😅
12:02 is ight on edge of phrygian!
It's got some edge for sure!
Makes me think of The Fez by Steely Dan.
💯
🙌🏼🙌🏼🙌🏼
👏👏🔥🔥🔥👌
🙏🏼🙏🏼🙏🏼
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 😅
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!
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???
NASA science
🚀🚀🚀