Mr 335 TV

Larry Carlton's 335 Improv

	335 Improv Introduction
	Course Sampler Videos Free Lesson Samples
	1:1 Comping 2-Chord Pattern
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	1:2 Expanding Comp Choices
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	1:3 Approaches to Soloing
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	1:4 The Triad Approach
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	1:5 Breaking Down Triads
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	1:6 Chromatics
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	1:7 Concepts in Play
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	2:1 Comp & Solo: 1 Chord
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	2:2 Shifting the Raised 9
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	2:3 Comping on a Raised 9
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	2:4 The Diminished Scale
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	2:5 Shifting Diminished
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	2:6 Concepts in Play
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	3:1 Chords & Melody
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	3:2 Complementing Melody
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	3:3 Comping Performance
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	3:4 Improvising Over Changes
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	3:5 Connecting Chord Tones
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	3:6 Concepts in Play
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	4:1 Pedal Tones
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	4:2 Blues Rhythm Voicings
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	4:3 Melodic Minor
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	4:4 Concepts in Play
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	5:1 Melody & Rhythm
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	5:2 Thinking Through Changes
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	5:3 Soloing Concepts in Play
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	6:1 I-VI-II-V Progression
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	6:2 Available Scales
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	6:3 Soloing Over I-VI-II-V
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	6:4 Making Music with Scales
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	6:5 Concepts in Play
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	Conclusion www.larrycarlton.com

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Channel: Larry Carlton's 335 Improv Video:	P-TAB \| CHART \| JAM
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You can find a world of options even within the simplest chord changes. All of the improvs in this section are based on the vamp from my tune "Rio Samba," which features a two-chord change between F9sus4 and F9. Then it just modulates down a half step to E9sus4 and E9.

When comping, you never have to be stuck strictly with the given changes for a rhythm part. Instead, look for opportunities to alter and expand the changes without straying too far from their basic tonalities. For example, an Eb triad can be used in place of the opening F9sus4 chord. And since the notes in an Eb triad match the upper voices of a Cm7 chord, you can substitute Cm7 every time you see F9sus4.

Check the PDF or PowerTab for notation and tab of the voicing options that I play on the video. Then explore inversions of your own, incorporating new bass and upper-string notes. As you'll see, it can be as interesting and exciting to improvise a rhythm part as it is to improvise a solo.