ExAMpLE CARL VeRheYen MASteRCLASS
l4ic4k which emploMyisl tohen'‘csatch-bend’ J2er4ry4Donahue andCMmAilatRonLyn'oVstEheRrsH. bTeEnCt second stMCrinAilgtRouLnd'VseEr finger. In this way the bend on the first string, ‘pre-bendCsA’tRheLsVecEoRndHsEtrYinEgN aTEpCedHaNl
coe [Bars 5-8] This long passage demonstrates Carl’s mixed and versatile
oeNotnicoee o.f approach to playing over a Dominant 7 hor⋲d. the⋲use the minor
JBlues scale (D-F-G-Ab-A-C), mixed in with more country use of Mixolydian mPotd5e (-D-FE-UF#N-KG-YA-JBA-CM)aInNd open strings. [BPatr511-, bFeUatN4K–YBaJrA1M2, 2] This is a device that is readily at Carl’s dPistp5osa-l. aJroAuMndINtheDCAGED G shape of a Dominant chord, and uses a satisfying country-ish over-ringing across the second and third strings between the 4th and 3rd interval of the chord (G and F# in this case). You’ll see a similar idea used on the Bb7 chord in bar 50.