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: 5:1 Melody & Rhythm	P-TAB \| CHART \| JAM
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We guitarists always stand to learn something new by watching how another player approaches a composition, a rhythm performance, a melody, or an improvisation. I hope that'll be the case for you as I share my own analysis of the A section from "Room 335."

After watching the video and reading down the notation, roll the clip again and play along. Notice how little things like slides, pulls, and open-string notes have a big effect on how the melody comes across. Likewise, the A section would sound very different if the chords were voiced in another way. For instance, putting the 5th on top of the C#m7 chord maintains the melody going on within the upper voices of the rhythm part.

In the notation, the melody for "Room 335" is transcribed first, with chord names indicated above. The voicing of chords for the whole cycle is shown after the melody.