Jet-lagged and appearing a little surprised at the unusually vociferous welcome at his sold-out guitar clinic, Robben Ford strapped on his black Sakashta and plugged directly into a Fender Super Reverb amp.

And for another hour . 5, he proved forever that tone comes from the top, heart and hands. The man exudes soul. Describing his style as ‘freeform but with a method’, Robben began by talking about his early years studying the saxophone. Growing up in the small town of Ukiah, CA, he listened to the local radio station, KUKI, “or kooky”, as he says with a laugh.

His parents also joined a record club, where he was subjected to Ravel’s Bolero and Dave Brubeck’s Take 5. Hearing saxophonist Paul Desmond on Take 5 made him desire to play the alto. Playing the saxophone for 11 years, Robben learned to learn music, but admitted that his reading skills did not transfer readily to your guitar. Teaching himself to play the guitar was an even more intuitive process, he states, and he learned by hearing the initial Paul Butterfield Blues Band album featuring Mike Bloomfield. Listening intently to Bloomfield’s playing proved to be a significant turning point, and for a while Ford reckons he sounded a lot like his hero.

Having become a household name himself, and a guitar hero to many, Ford non-chalantly described his style as a variety of folk-blues and jazz., a musical fusion that has served him well. Elaborating further, Ford emphasized the need to experiment and make mistakes so as to develop a personal style. Likening his approach to being very similar to fingerpainting on your guitar, he was emphatic that music should result from a place of feeling and not just from technique.

When asked about his practice schedule, Ford replied that he practiced intensely at first. He joked that he learned his initial ‘hip’ blues chord from looking at the picture on the cover of the initial Paul Butterfield Blues Band album where Mike Bloomfield was holding down a dominant 9th chord. After that early epiphany, Ford decided to bone up on his chordal knowledge. Laughing, he recalled getting a your hands on Mel Bay’s Jazz Chords Vol. 1 book and began to use the jazzier chord voicings he learned when he began using Charlie Musselwhite. To show, Ford then launched into a more elaborate jazz-blues progression throwing in a variety of chord substitutions into mix.

รีวิว คลินิก Delving into his improvisational approach, Ford described how he learned several scales plus some standard bebop licks, and boiling everything right down to ii-V progressions. Ford assured his audience that the language of music was actually very easy, and how, literally, it could all be learned in a couple weeks. Emphasizing the need for simplicity and the importance of finding one’s own voice, Ford proferred that although musicians dilligently transcribed and learned Herbie Hancock and John Coltrane licks, it rarely evolved into finding their very own voice. Doing it his own way, he says, has kept him unique.

Asked about his current amplification setup for tours, Robben expressed his preference for Fender Super Reverbs, explaining that his setup when he was with Jimmy Witherspoon’s group contains a Gibson L5 archtop into a Super Reverb amp. With good speakers and matched tubes, the Super Reverb, he says, is his favorite. When asked about pedals and effects, Ford was emphatic they hindered one from finding one’s own sound. Devoid of pedals when he started out, he states, enabled him to work on his tone and he encouraged every guitarist in the audience to accomplish away with pedals, for at the very least a while.

Delving into his sophisticated soloing style, he spoke about his fondness for the diminished scale, which he learned from jazz guitarist Larry Coryell when Ford was19 years old. Coryell described it to him because the half-tone/whole-tone scale and Ford started practicing it immediately and making up a few of their own licks. He says he could instantly hear that the b9 on the dominant 7th chord reminded him of ideas jazz trumpeter Miles Davis found in his own playing.

Following a tasty demonstration of some lines that outlined the changes to a blues progression perfectly, Robben explained how the diminished scale acted as a transition to the IV chord in a blues. Elaborating further, he talked about locating the common tones in the diminished scale that moved seamlessly to the next chord and how they could be used in soloing when going to the IV and the V chord as well.