This lesson post covers some of the unique playing ideas that legendary L.A. session guitarist “Larry Carlton,” has applied to create both his incredible playing style and his unique sound and tone...
If you’re not too familiar with Larry Carlton, he’s one of the most recorded guitarists in history, with more than 3000 studio dates under his belt.
He has performed with everyone from “Steely Dan,” to “Michael Jackson,” to “Joni Mitchell,” and even music legend, “Quincy Jones.”
In the course of his career Carlton became recognized world-wide as one of the top studio musicians working in Los Angeles, California (the heart of the entertainment industry).
Larry Carlton has written music for both TV shows and for countless major Hollywood Movies. His credits are so abundant that his participation in so many big name studio sessions has resulted in more than 100 gold albums. WATCH THE VIDEO LESSON:
MELODIC CONCEPTS: Larry Carlton uses a number of interesting melodic and harmonic ideas to produce the chord progressions and melody lines used in his playing and composing style.
In this session, we’re going to start with one of his trademark scale ideas that involves playing matched tonality pentatonic scales off of the fifth degree of the chord in use. For example, if there was an “A Major7” chord in a song (that Carlton was soloing over), he’d more than likely grab for the, “E Major Pentatonic” scale to cover that chord.
Most of us would just play the sounds of, "A Major" style scales, (such as the, "A Major IONIAN" or the "A Major Pentatonic"), if we needed to cover the sound of an "A maj7" chord... But, not Carlton.
Rather than just use the obvious choice, “A Major” scale (like many other guitarists would use), the Carlton approach offers a number of new melodic directions due to a new alignment of intervals. Let’s test this principle out using an example of this concept being applied upon a static chord vamp on, "A Major 7th." Example #1). “E” Maj. Pent. over “Amaj7”
CHORD HARMONY: Next, let’s check out a chord harmony idea that Carlton will often use when he’s writing his own material for one of his solo albums. He really enjoys using a blended key center concept that’s referred to as, “Modal Interchange.” If you're not too familiar with Modal Interchange, watch my free, "Modal Interchange" video lesson that's available on YouTube.
In this style of harmony we find that the chords used will actually exist in both the major and the minor key through the sharing of the same tonic note. For example, we could have a progression that begins on an “A Maj7” chord, but then the next chord in the progression could show up as an “Em7.” If you know and understand key signature theory, you’ll realize right away that “Em7” doesn’t exist in the key of “A Major.” It’s found from within the key of “A Minor.” However, even though this chord doesn't "fit," when it is used within the same chord progression, things end up sounding pretty cool. Let me play you an example of how something like this sounds… Example #2). Modal Interchange Progression
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CONCLUSION: Larry Carlton is without a doubt a highly prominent figure to guitar players of the 70’s and 80’s. And, his solos on Steely Dan songs like, “Kid Charlemagne,” were still considered some of the standard must-learn pieces we were learning when I was studying guitar at GIT back in 1991. What is so interesting about Larry Carlton is that, it wasn’t just his style, it was also his sound. It was silky smooth when it needed to be and it had just the right amount of crunch when he wanted some over-drive included. His guitar tone is really something to be reckoned with. So, when it comes to his gear it’s actually quite surprising how basic he’s kept things over the years… In respect to his guitars, Carlton is best known for his 1969 Gibson ES-335.
Other guitars that he owns and plays include a; 1954 Fender Telecaster along with a 1962 Fender Stratocaster...
He also owns a 1955 Gibson Les Paul Special...
When it comes to amps, he’s kept things pretty basic over the years in that department as well, with him either playing through a Fender Vibrolux...
or his standard setup which includes a custom Dumble amplifier.
VISIT THE C.G.S. WEB-SITE: Well, I'd like to end the discussion by saying, thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com and sign up your FREE lifetime membership... Later on you can always upgrade to either a Basic, or a Premium lesson package and start studying all of the professionally organized guitar courses that I've organized for the members of my website... Also, I'd be interested to hear your thoughts on all of this in the comment section... if you enjoyed this video, please give it a thumbs up and subscribe for more on YouTube, (remember to hit the bell). Thanks again and we'll catch up next week, for another episode of the, "Guitar Blog Insider."
NEW The twelfth lesson of "Rhythm Guitar" covers Country Strum Patterns. Examples of the most common country guitar strums are introduced. Alternate bass notes and accent lines are the focus. The lesson twelve material is organized around 3/4 and 4/4 time with examples of ballad strumming, alternate bass, back beat accenting and faster strumming with 16th-notes. There's also a section dedicated to the application of moving bass lines.
A bonus for BASIC and PREMIUM web-site members are the (9) MP3 play-along tracks that will help with learning each rhythm example.
Paid Web-site members (BASIC and PREMIUM), can watch the associated video lessons and download the detailed PDF handout, along with the MP3 clap /strum play-along tracks...
Join the member's areato download the PDF handout and MP3's. Study all of the examples with full access to both video lessons. Be sure to spend some additional time on learning the "Rhythm Jam Challenge" piece that I performed at the start of the lesson in the "Part One" video...
PART ONE (free on YouTube):Example one explores ballad strumming in the country feel. This "waltz style" application focuses on the most common chord harmony used in the country style, (the "I-IV-V").
This time signature of example one is 3/4 waltz time. It also applies the popular country music, "alternate bass-note" process of playing the chords "root" into the chords third or fifth degree. PART TWO:In example two, the rhythmic feel changes from 3/4 to common time (4/4) with a back-beat accent applied through an emphasis of the up-beat of two.
PART THREE:
In example three, a steady sixteenth-note groove is applied with traditional country music style alternate bass.
The feel is steady and consistent with down - up alternate strumming leading the way across a consistent beat that incorporates root and fifth bass tones in the key of "C Major."
PART FOUR:In example four, an eighth-note country strum pattern also adds a moving bass line that incorporates both alternate bass as well as, a melodic scale runs that connect one measure to the next.
The example four strum pattern applies chord shot emphasis upon the up-beat of both "1" and "2." However, around these chord shots are also follow-up melodic phrases that connect each measure.
Learn how to create your own "personal rating system" for acoustic guitars - so that what you end up playing /buying is right for you...
Acoustics come in (2) two main types, the classical, and the steel-string acoustic. But, choosing a guitar will depend upon a number of factors. This post is designed to both help you rate the type of instrument for the type of playing you enjoy, as well as, address the level of guitarist that you are right now. Armed with that information, you can go forward and match the "correct" acoustic guitar for your personal playing style and the specific playing level your at along with the right price point. WATCH THE VIDEO:
First, let’s break down guitar types:
Classical (Acoustic) Guitars: The classical guitar is built to use plastic guitar strings only, (stringing one with steel would damage these guitars). The classical is generally constructed with a smaller body size, using a deep sound chamber. They also will tend to not come with any built-in electronics (for plugging them into an amp, or into a PA).
What Classical Guitars do offer, is easy playing action, and a wider neck for an easier time playing the basic chords, (making classical an excellent guitar for beginners). Plus, the Classical Guitars wider neck also makes these instruments fantastic for doing finger-plucking (as would be the case if you were studying a more classical guitar finger-picking repertoire).
NYLON STRING GUITARS: Another name for 'classical guitars' is that of also calling them “nylon string” guitars. Although these two names are often used inter-changeably, the classical is generally thought of as the standard regular body without any electronics, and the nylon is the guitar type that often (but not always) has a cut-away body, and includes electronics for amplification.
The classical /nylon design of guitars range in price from as low as, $120 to well over $9000. And, their price point depends largely upon the guitars; build quality, the types of woods used in the construction, as well as the quality of the; tuners, the nut, and the design and build of the bridge and saddle. When playing these types of acoustic guitars, (for the most part), we do not use a guitar pick. Instead, we play them with our fingers. The structural design of these guitars tends to promote players sitting down when playing them, (rather than standing).
The classical /nylon string's wider neck and lower tension creates an easier time for making chords. Since these guitars are not restricted to just playing classical music, if you string them with normal tension nylon strings, they make an excellent guitar that’s perfect for beginners.
Next, let’s jump into the world of “Steel-String” guitars. Steel-String Acoustic Guitars: This category of guitar is also part of the acoustic family. And, just like the classical, the body of an acoustic steel-string uses an open / hollow acoustical chamber for naturally amplifying the sound you create from the instrument.
These guitars can cost between $130 up to way over $10,000. Yes, you heard that right! The new Martin “OM-Arts and Crafts,” has a price tag of over $11,000 dollars! Rating the differences between a guitar that costs $130 to a guitar that costs 100x that amount is like trying to compare the build of a $12,000 Nissan Versa sedan, to a $13 Million dollar Rolls Royce Sweptail. The fit and finish, the amount of time that goes into the assembly and the quality of every piece involved in the construction all plays a big factor in where the costs come from. But, guaranteed, the $11,000 guitar has an incredible dedication to detail that the $130 guitar simply won’t have.
Your Guitar Rating System: We need to constantly evolve our own personalized guitar rating system, because not all of us will be walking into a music store ready to buy a guitar that costs over $11,000. You’ll need to determine your price point, and what you’re willing to spend to get the guitar that will be best for you at your stage of playing. Are you a beginner, or are you an intermediate player? Or, perhaps you've played awhile now and you’re more advanced. In that case, (more advanced) you’ll be looking for different quality and builds of guitars. These points are a particularly serious factor in your rating system. Plus, you’ll need to spend time playing a lot of different types of guitars before you buy. You might think that a $300 guitar is maybe too low priced for you, until you so happen to pick-up that one $300 acoustic and fall in love with the action and the tone. You’re going to have to play a lot of guitars before you actually zone into what is going to offer you’re your highest rating for what you like the feel and the sound of.
CONCLUSION: Armed with all this information, you should now be fully capable of going shopping for a classical or nylon string guitar and be able to rate it from a scale of 1 to 10 with respect to how it fits your individual playing needs.
In developing your personal rating system for acoustic guitars, I want to leave you with one last group of ideas to consider. The first being wood used in the construction. TONE WOODS: The most common are; Spruce, Cedar, Mahogany, Maple and Rosewood. As you’re developing your rating system, be sure to try out these different woods and determine which ones appeal to you the most.
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BASIC OR ELECTRIC /ACOUSTIC: Next, is deciding whether or not to go with a plain acoustic guitar, or an acoustic-electric guitar. The electronics will certainly add more cost, but if you won’t use the electronics on a regular basis, it might be best to skip that set-up. GUITAR BRANDS: The next area for your rating system would fall under brands. You might determine that a Martin, or a Yamaha is the right make for you. Or, maybe not... Maybe Taylor’s or Gibsons are the right maker and those are going to be the brands for you. Perhaps, you play an Ovation and determine that make and that style is the best for you. Regardless, you’ll need to try out a number of guitars before you settle on the brand that you decide you like the best.
SHAPE and HARDWARE: The final area of establishing your rating system is going to be learning to zero in on your personal favorites when it comes to everything relating to the shape and the guitar’s build hardware. This includes; the feel and shape of the neck, the tuning machines, the fingerboard design, and the woods and electronics from the guitars nut all the way down to the bridge. You’ll want to become familiar with what sound you personally enjoy the most. Whether that’s a playing comfort thing, or a resonance thing, where you decide you like mahogany better than spruce. Or, you like a rosewood bridge over an ebony bridge. After some time, you’ll make a lot of detailed distinctions about the build and the hardware. These personal distinctions will play a huge factor in your rating system for the guitars that you’ll consider purchasing over the years ahead.
VISIT THE WEB-SITE: Thanks for joining me, If you'd like to Find Out What You Should Learn Next on Guitar - take a look at the courses over on my website at CreativeGuitarStudio.com. My step-by-step; Beginner, Intermediate and Advanced courses will cover what you need to know, along with how to be able to move forward and become the best player that you can be. I've worked on these courses since 1992 and I feel that all together they're the best guitar program you'll ever find. The courses will help you learn to identify what's required to get you up to the next level of guitar playing, in a very organized way, that makes sense. I look forward to helping you further at CreativeGuitarStudio.com As always, if you enjoyed this video, please give it a thumbs up and subscribe for more, until next time, take care and we'll catch up again on the next video. Bye for now!
NEW This unique Creative Guitar Studio course explores exercises for increasing dexterity and coordination between the hands. The goal of the course is to increase awareness, mobility and control.
Lesson 011 of Guitar Technique is a detailed lesson plan on string bending that focuses on the most popular bend techniques used in nearly every type of guitar oriented style of music.
Our lesson on guitar string bending will study how any finger of the fretting-hand can be used to either push upward, or pull downward, on any guitar string to alter its regular pitch.
Paying members of the Creative Guitar website can watch both video lessons and download the PDF handouts, and the MP3 play along tracks...
Join the member's area to download the PDF handout and start study of these exercises. Study all of the examples with full access to both video lessons...
PART ONE: (Free on YouTube) Covers the Basic 3rd-Finger Upward Bend Technique (bend distances include; one and a half step, Full, and 1/2).
PART TWO:Example two is all about using fingers other than the most popular third to produce string bends. The other topic covered here in exercise two involves downward bending, (pulling the string toward the floor). The downward bend direction lessens the stress upon the fingers nail-bed.
PART THREE:
Exercise three is an overview of one of string bending's most unique elements, the
"Pre-Bend /Release." This bend technique will first push a note up with
no sound, and then (while held-up bent), the string will be struck and
then released. The overall effect of this unique sound is often referred
to as the "crying bend."
PART FOUR:Exercise four studies how to apply bending with double tones (2-note chords). This technique is sometimes called "Chordal Bending." Although, doing true chordal bending, customarily requires the grip of an entire chord, we will be applying this concept with only two tones.
Smooth Jazz covers a wide selection of styles and artists. In this lesson, I’ll be teaching concepts that revolve around the guitars approach when it comes to playing Smooth Jazz melody lines...
WHAT IS SMOOTH JAZZ? Smooth Jazz is a music style that is composed around combining the colors of jazz harmony and
pop melody. However, the style of smooth jazz is also extremely diverse
because it tends to include the sounds of; Blues, Rock, and Funk mixed
with different jazz ideas. In the end Smooth Jazz is a
blend of several music styles that has one main theme holding it all together, and
that is the styles strong use of melody. George Benson, (virtuoso guitarist with unimpeachable straight-ahead jazz bona fides), once said, "Smooth Jazz is here to stay - because the songs tend to both focus and also cement a strong melody in very palatable way." All one has to do is listen to his hit "Breezin" for proof of this. There's no arguing that Smooth Jazz is certainly melodic, and it covers all kinds of different directions musically, making it not only an extremely palatable form of music but a very relaxing form as well. George Benson, Bob James, David Sanborn, Herb Alpert, and Chuck Mangione played what would now be labeled smooth jazz as far back as the’70s. And, yes, fans ate it up.
The Pure Tasty Melody of Smooth Jazz In this lesson, we’re going to examine how to apply some of the smooth jazz melody effects that happen when we work out melodic statements that get performed under chords following a jazz harmony. WATCH THE VIDEO:
First, lets begin by taking just one chord, and playing a typical smooth jazz statement over it. We’ll use the “Dmaj7” chord for our example… Example #1). Melodic Statement over “Dmaj7”
In that short "Dmaj7" example above, the melody line was all diatonic to the key of “D Major.” It made use of slightly syncopated sixteenth notes to establish a "pop-jazz" sounding melody idea over the underlying chord of, “D major 7th.” The emphasis here in our first example stresses a smooth easy flowing melody that has a unique sixteenth-note rhythmic feel to it. Notice how the line is only slightly syncopated. If we go too far with an "off-time" feel, we risk leaving the "pop" angle of the melody line behind and we start venturing a little too far towards traditional jazz. As long as we're careful, we can form a melody that carries an impression to it as if it was something from a pop song, (rather than from a jazz piece). Through strong resolutions and balanced phrasing, our lines can be easy to follow for the listener.
Think of your use of the rhythmic style more like something you’d hear in a Motown number or perhaps in a funk tune, rather than a traditional jazz piece. Let’s check out another example. This time we’re going to expand on the chord changes a little more. We’ll move away from the use of strict diatonic melody and diatonic harmony. We’ll still be (more or less) within the key of “D Major.” However, we’ll also be introducing a chord at the end of our part that ends up leaving the key. Have a listen to the next example so that you understand how it sounds. Example #2). Leaving the key
In our second example, the melody line is similar to the part performed back in example one. However, this time we have a number of grace-note slides that apply tones that exist from outside of the key. This is something important to remember when playing in the Smooth Jazz style because it works so well to bring in notes that can generate a jazzy effect. Plus, in this melody, there’s also a new chord appearing in the second measure, (Gmaj7). Of particular note, is how example two has a unique chord that appears right at the very end of the progression. This chord establishes a situation which has the melody leaving the key, (the new outside chord is an, “Am7”).
CONCLUSION: As you can tell, smooth jazz melody applies more variety than a pop song. Plus, with the addition of chords that leave the key smooth jazz harmony expands our melodic options and allows us the chance to add new notes with more of a "jazz feel." Playing outside of a key presents a jazz approach that corresponds into those new chords and sets a particular musical tone. If you enjoy the flowing melodic sound applied in the smooth jazz style, you’ll definitely want to also explore the melodies that are a part of; Pop music, and Motown, along with Soul music, and R and B, as well as, traditional jazz. Plus, definitely keep in mind that smooth-jazz is (above all else) a blended style. It mixes together a number of ideas that end up creating a sound that’s kind of like “half jazz” and “half pop music.” Very interesting stuff… Be sure to spend time listening to music by famous players in this style such as; guitarists - George Benson, Norman Brown, Chuck Loeb, Sheldon Ferguson and Larry Carlton. Plus, of course there’s many who I’m sure you’ll discover along the way...
VISIT THE WEB-SITE: I'd like to end the lesson by saying, thanks for joining me... If you want to learn more about what I do as an online guitar teacher, then head over to my website at creativeguitarstudio.com and sign up your FREE lifetime membership... At any time you can always upgrade to either a Basic, or a Premium lesson package and start studying all of the professionally organized guitar courses that I've put together over the years for the members of my website. Also, I'd be interested to hear your thoughts on all of this in the comment section below... if you enjoyed this video, give it a thumbs up and subscribe for more on YouTube. Be sure to hit the bell so you never miss a lesson. Thanks again and we'll catch up next week, for another episode of the, "Guitar Blog Insider."
