ExAmpLE larry carlton style solo

[Bars 15-18] this is the intro again, which uses a couple of phrases taking notes from gm pentatonic. Note the blues curl on the b3rd of the scale (Bb) and ensure an accurate bend on the third string from C to D. [Bars 19-24] here we enter the solo. the chord progression is almost the same as in the head, except that there’s no Bb11 chord on the fourth bar of this section; it’s just the first two bars repeated. the first three bars play a phrase which is clearly very bluesy, using notes from gm pentatonic. Again, make sure the timing and bends are accurate. the fourth bar is a jazzy flurry of notes played over the D7#9 chord, which uses a D7 arpeggio (D F# A C) as its basis but introduces the bluesy b3rd (F), the b9 (Eb), and the maj 6th (B) to give that ‘outside’ feel. Bar 23 sees another gm pentatonic bluesy lick over the gm7 and Am7 chords. there’s a tough b3rd (one and a half tones) bend on the second string there, so go easy! the lick over Bb13 chord that follows, is based on a Bb7 arpeggio (Bb D F Ab) but supplies bluesiness with the use of the b3rd (Db), and extra jazzy tension courtesy of the b9th (Cb). [Bars 25-28] these four bars play over the same chords as in bars 11 to 14. Although the licks here are different, the note choice is derived from the same concepts. A good exercise here would be to compare the licks to the parent scales to hear their derivation. When playing the set licks here, ensure correct timing, as the phrasing is a bit unusual. this helps to add greatly to the feel though and is something Larry loves to do.