EXAMPLE CARL VERHEYEN MASTERCLASS ...CONTINUED
[Bars 19-20] Here Carl string skips the minor Pentatonic. He uses the first, third and fifth strings of the A-shape E minor Pentatonic in quick succession before transforming into a jazzier minor Pentatonic with added 9th line. [Bars 26-28] Here’s a challenging passage that rapidly moves through ascending minor Pentatonic (and minor Pentatonic with added 9th) positions using connecting slides, culminating in a bluesy bent phrase. Take your time with this passage, not only to learn the technique but to understand the theory behind Carl’s note selction. [Bars 31-32] This is reminiscent of Wes Montgomery’s thumb octave style. It’s based around an E Blues scale, but every note is doubled in octaves. Strum with your thumb for a mellow jazz tone, and mute the intervening strings with the underside of your fretting hand’s first finger.