Video summary

Robben's Diminished Blues TRICKS

Main summary

Key takeaways

Educational

Main ideas / concepts taught

  • Purpose of the video: Show how Robin Ford uses the diminished scale (and diminished-seventh-related sounds) to create tension and release within a 12-bar blues.
  • Core mindset: Although diminished concepts can seem complex at first, the video builds from familiar territory—especially the pentatonic/blues scale—and connects diminished sounds to chord harmony, making improvisation feel more free and musical.
  • Central harmonic concept: In a 12-bar blues, diminished-seventh harmony appears in specific spots. These spots act like “signposts” for when to apply outside notes/licks.
  • Improvisation strategy emphasized: Don’t just memorize licks—focus on:
    • Targeting chord tones of the next chord (the “landing note”).
    • Using diminished-based material mainly to anticipate how the resolution lands.

Methodology / instruction steps

1) Identify where diminished seventh chords typically appear in a 12-bar blues

The video highlights three main points:

  • Between I and IV (A7 → D7)

    • Start on A7 (I chord in key of A), then move to D7 (IV chord).
    • Use a diminished seventh chord as a bridging chord to create tension and resolve into the IV chord.

  • Back from IV to I (D7 → A7)

    • “Somewhere in bar 6.”
    • Move by raising the root of D7 by one semitone to get E♭ diminished seventh.
    • This is commonly called the “gospel lift” and resolves back to A7.

  • Turnaround from V back to I (E7 → A7)

    • “Last part of the 12-bar sequence.”
    • Take the E7 arpeggio, then raise the root by one semitone to create a diminished-seventh substitution.
    • Locate the corresponding half-whole diminished scale shape.

2) Build the diminished sound over the I chord (example: A7 → D7)

Over A7, the video explains how to superimpose diminished structures to outline a strong tension chord:

  • Superimpose a diminished seventh arpeggio over A7

    • Build an A7♭9-type sound by effectively replacing a key element so the diminished arpeggio fits.

  • Alternative framing

    • Use an A13♭9 chord shape, described as a “mirror image” of earlier minus-seventh chord shapes, including a thumb placement detail.

3) Understand the half-whole diminished scale and its motion

  • The scale is described as a half-whole diminished scale built from:
    • Half step → Whole step → Half step → Whole step …
  • Why diminished chords move the way they do:
    • Diminished seventh chords are constructed from repeated intervals of minor thirds.

4) Practice the “landing note / exit strategy” approach

When applying diminished-based outside licks:

  • The key is to target chord tones inside the next chord.
  • For A7 → D7, landing targets inside D7 include:
    • Root, third, fifth, or flat seventh (as the lick travels through them).
  • The example lick is minor-third based, and therefore transpose-able.

5) Transpose licks using minor-third movement

The video emphasizes a practical rule:

  • If you have a diminished-scale-based idea in one position, you can play it in four other positions by moving it in minor third intervals (e.g., 3-fret shifts on guitar).

6) Use familiar lick shapes as “diminished scale bridges”

A second lick concept is introduced:

  • Based on an “Eric Clapton A7 idea” (used as a familiar reference).
  • Then:
    • Move that idea up and down in 3-fret intervals to access diminished scale notes.
  • The value:
    • The lick naturally contains notes from the half-whole diminished scale.

7) Handle the D7 diminished substitution (D7 → E♭°7 → A7)

The video warns about visualization and provides workaround techniques:

  • Visualization difficulty:

    • Diminished shapes for these chords may sit one fret below where they “felt” for A7-related shapes.

  • Compare to a known scale:

    • Relate the diminished arpeggio to the A minor blues scale to find common notes.

  • Practical entry technique (dominant springboard):

    • Use a dominant seventh arpeggio to jump into the diminished arpeggio:
      • Start with root–third–fifth–flat seventh,
      • then jump to the flat nine to enter the diminished-seventh arpeggio.

  • Practice suggestion:

    • Cycle through I–IV chords (the A7/D7 area) to internalize the changes (a backing track is referenced).

8) Apply diminished ideas on the V → I turnaround

Similar substitution logic applies:

  • On E7, raise the root by one semitone to reach the diminished substitution.
  • The corresponding half-whole diminished scale should appear in that shape/location.

Speakers / sources featured (as identified)

  • Steve Warsworth — presenter/instructor
    • (Quoted intro: “My name is Steve warsworth. Let’s Dive In.”)
  • Robin Ford — the guitarist/artistic reference being analyzed (his voicings, approaches, and ideas)

Referenced musicians / influences (not speakers in the video)

  • B.B. King
  • Albert King
  • Steve Ray Vaughan
  • Eric Clapton
  • Hendrix (mentioned via “Familia Hendrix territory”)

No other explicit on-screen speakers are identified in the subtitle text beyond Steve Warsworth.

Original video