Example3 Al­tered & Half-Whole scale blues

Guitar Techniques - - LESSON | JAZZ -

We’re in bluesy wa­ters here in the key of A, kick­ing off with some sim­ple mi­nor Pen­ta­tonic ideas, al­beit with the 6th (F#) re­plac­ing the (G) in bar 2. Things take on a jazz­ier feel in bars 3-4, where Larry chooses the A Al­tered scale (or Su­per­locrian): R- 2-3- 5- to pro­vide a sense of ten­sion and re­lease at the point when A7 re­solves to D7. There is more ev­i­dence of Half-Whole ac­tiv­ity in bars 5-6, al­though in this case trans­posed to D7, be­fore turn­ing full cir­cle and re­turn­ing to sim­pler blues-based ideas in bars 7-8. Carl­ton is an ex­pert at mix­ing con­cepts within a sin­gle idea, so work­ing on in­te­gra­tion and blend­ing ap­proaches will be a sig­nif­i­cant step in the right di­rec­tion to achiev­ing Larry’s level of mu­si­cal flu­ency.

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