Ex­Am­pLE larry carl­ton style solo

Guitar Techniques - - Lesson: Session -

[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.

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