Mr 335 TV

Larry Carlton's 335 Improv

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

RATING:

POST IT

Channel: Larry Carlton's 335 Improv Video:	P-TAB \| CHART \| JAM
Direct Link:

One cool and very useful quality about raised-9 chords is that you can move them around in minor 3rds and the chords will all be harmonically related. Just take any 7#9 and move the whole thing up or down in increments of one-and-a-half steps (that is, a minor 3rd, or 3 frets on the neck). The chord functions the same way even though the voicing has changed.

This very quickly opens up your comping options. You start with the one 7#9 chord, then move it around by minor 3rds to five or six other positions, and find all kinds of new sounds to work with. Find another way to shape the same voices and you will multiply your options again - just slide the new shape around in minor 3rds.

As I show in the video and notation, you can expand your options yet again when you recognize that the top three notes in the raised-9 shape make up a major triad. Just like the full raised-9, the triad can be moved up and down the neck in minor 3rds. Interesting!