ExaMPLE CARL VeRheYen MASteRCLASS ...CONTINUED
[Bar 15] Here’s the same idea as found in Bar 8, but this time using a connecting figure along the fifth string to move up from shape 3 to shape 4 of C major Pentatonic. and always remember that you could extend this idea through all the shapes. [Bar 20] The last two beats of bar 20 employ a four-note motif moving through shapes 1 and 5 of C major Pentatonic. Notice how it continues down to a figure from Bb major Pentatonic (or G minor Pentatonic), smoothly negotiating the transition between chords.