ExAMpLE CARL VeRheYen MASteRCLASS ...CONTINUED
26-30] Here’s a range of arpeggio approaches to playing over a Bb7 tonality. Bar 26, beat 2 outlines a descending Bb major triad, while the last of bar 27 uses an unusual intervallic structure (threeB4ths and then
sAtab/rBtibng 28b uAseb/dBibn a major 3rd) on the Eb (beat 4) and then Bb (bar 1). This
itbhoesimilarly is in the classic chord stabs in Miles Davis’s jazz classic So
thnsoeand What. The passage continues w ‘open’ intervals7of 2nds, 4
A5ths, transforming a standard blues harmony into a more lush fusion effect. [Bars 33-43] As well as adding vibrato here, the bar is used to create thneoe17bthoefret otherwise impossible bends. The E on is bent up a whole tone to sounndoes theAbb/aBrbis F# with the bar and, while raised, Carl pulls off from the 17th fret to hicbhoenow sooeund the 13th fret (w as a D) before releasing the bar to a C. Bars 35, 37 and 43 also use thAis approach to great effect.