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: 3:2 Complementing Melody	P-TAB \| CHART \| JAM
Direct Link:

A good rhythm part supports the melody without getting in the way. If you start the progression here with a Gmaj7 voicing that has the maj7 (F#) on top, watch out - it's going to clash with the melody, which moves from the maj7 (F#) to the tonic (G). Instead, stick that maj7 on an inside voice.

The accompaniment should have a great pulse and never be too static. For this tune, I like a part that matches the rhythm of the melody. The top of the melody is the song's hook, and it has a motif that works nicely in a backing part.

With that motif in mind, check out the notation where I've included a few nice voicing choices to start with. Try playing the rhythmic motif while using those voices. Once you're comfortable with the ones I've provided, mix in your own voicings and also try your own variations on the rhythms.