ExAMPLE CARL VeRheYen MASteRCLASS ...CONTINUED
[B5ars 57-60] Again another phrase which shifts effortlessly through a number of fretboard positions and even (using the whammy bar) reaches notes that are off the fretboard (bar 60 beat 2). Slow practice is your friend here. [Bar 63-64] As with the first appearance of the E7 chord, A minor Blues is used to create tension on this chord, reminiscent of moments in many blues solos when the V chord appears. So when you see any dominant chord you now know that you have option of playing a minor Pentatonic or Blues scale based on the 4th. However, remember that although Carl uses this approach on both instances of the E7 chord, he has many other fantastic approaches to dominant chords, so don’t make this your only trick !