larry carlton lesson

8/17/2019 Larry Carlton Lesson

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A Lesson With Larry Carlton

A Breakdown Of The Style And TechniqueOf Virtuoso Guitarist Larry Carlton

By Bob Murnahan

www.leadguitartactics.com




© 2012 Bob Murnahan - All Rights Reserved www.leadguitartactics.com

Page 4

Introduction

If you have been following my teaching or are familiar with me in any way, shape or

form, then you know that Larry Carlton is my favorite guitarist. It all started back in

1978 when a friend of mine handed me an album and said, “You need to listen to this.”

I put in on the turntable and red it up...and yes I am dating myself taking about albums

and turntables! I was instantly blown away. I remember thinking...This is how the gui-

tar is supposed to sound!

If you want to hear what I heard then check out this link...

http://www.youtube.com/watch?v=5Wq1i409CVU

If the song sounds familiar Larry freely admits that it is a rip of Steely Dan’s song, Peg.

There were a combination of things that stood out on this record for me.

1. Larry’s tone - Carlton has always been recognized for his killer guitar sound.

2. The combination of rock, blues and jazz type ideas.

3. The melodies - I don’t think there is a guitarist anywhere with more taste than Larry.

From that point on I went on a Larry Carlton frenzy. I learned almost every solo off of

that recording note for note. I bought every recording as they were released. I went to

see him live. I think you get the point.

As the years progressed Carlton started to get back to his roots and explore his blues

side. He was always quick to point out that B.B. King is one of his major inuences. In

1983 B.B. joined Larry on his album friends and played on the track Blues For T.J.

I decided to make a study of B.B. King’s solo on that recording as a study to see if I

could spot the B.B. Inuence on Larry. It is available under the title, A Lesson With The

King.

While it is a complete course of study on it’s own, it did not feel complete to me without

the Larry Carlton solo...so, in the following pages I would like to present, A Lesson With

Larry Carlton. If you like the blues, you will love this. It’s a veritable treasure chest full

of ideas. Let’s get to it.





Page 5

Blues For T.J. is your basic 12 bar blues in the key of C with a quick change. If you

don’t know what that means a blues with a quick change goes to the IV chord in meas-

ure 2. See below.

12 Bar Blues

Loop 1

I am going to assume that you are already familiar with the basic 12 bar blues at this

point so I am not going to go any deeper into this for now. I want to stay on task and

talk about what can be learned from Larry’s solo in this song!

I will be referring to each snippet of the solo as a loop and you will be given the au-

dio les in corresponding sections. This should help keep you organized as you work

through the solo on your own.

hold bend

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hold bend

1/4 full full

10

16

121413

15

16 1315 12 15 10 10 8





Page 6

The main points of interest here are the 2 step bend up from Eb up to G and the open-

ing 3 notes. As you will when loop 2 comes around, Larry repeats the opening 3 notes.

This has the effect of tying the rst 2 loops together and gives continuity to the solo.

On the bend, one would normally expect a whole step bend from Eb up to F. By bend-

ing 2 steps up to the G Larry creates a match with the C7 chord spelled C, E, G, Bb.Most great players always nd a way to “play the changes.”

Here is an alternate ngering for loop 1.

Loop 1 A

hold bend

2

full

hold bend

1/4

full full

6

11

8 108

11

11 811 8 11

10 10 8

I also have to take a moment to talk about Larry’s picking technique and touch. It’s al-

most like he just coaxes the notes out of the guitar.

Check out the exercises that I recommend on the video to help you get control over

your picking. The rst one simply helps you get control over dynamics. The second one

has you explore the different sounds available by changing the angle of your pick.

This is denitely an over looked facet of guitar playing. There are lots of different tonal

colors available...even if it is just a piece of plastic hitting some steel strings!





Page 7

Loop 2

Now take a look at loop 2.

2

1/4 full full full

12 1413 1816 18 18 18 18 18 16

1716 18 16

1717

1716

17

Loop 2 has more of the classic Larry phrasing that we talked about in loop 1. In addi-

tion, check out the control that Carlton demonstrates on his bending. He has the ability

to bend perfectly in tune and hit all of the micro-tonal variations in between.

When doing a transcrition like this, you have to make several choices, ngering being

one of the most important. Often, it’s difcult to pinpoint but you can use the timbre of

the notes to help. I point this out on the video.

Here is an alternate ngering for loop 2.





Page 8

Loop 2 A

Loop 3

2

1/4 full full full

8 108 1311 13 13 13 13 13 11

1311 13 11

1312

1311

13

full full full full

18 18 16 1618 1617

18 18





Page 9

Loop 3 is short and sweet but I think it clearly demos the B.B. King inuence on Carl -

ton. Be sure to work on the rst nger bending.

TIP...let the lower strings slide over the top of the bending nger to make it easier.

Loop 4

Once again all of the classic Carlton elements are present in this one...the picking

touch, the precise control of bending, the choice of notes, vintage Larry through and

through.

Be sure to check the little demo on the video where I talk about the power of dynamics.

You can take the simplest of phrases and turn it into a masterpiece by applying dynam-

ics. I really encourage you to explore this and add it to your playing.

2

full full full full 1/4

18 1818

18 18 20 18 1617

1815

1617 14

16 17 16 1717 17 17





Page 10

Loop 5

Loop 6

2

hold bend

full full

12 1413 11 12 13 12 13 12 13 12

13 12 13 12 13 12 1313 12 13 12 13 12 13

1/4

15 1816

151613 13

Short, sweet and simple...not much more to say about this one.





Page 11

Loop 7

Once again you hear the B.B. King inuence on Larry. Listen to B.B.’s solo on this track

and you will hear this exact lick. And, notice once again the effect that Larry’s use of

dynamics has on this lick!

hold bend

1 1/2 1 1/2

2

1 1/21 1/2 1 1/21 1/2

15 15 15 15 15

1416

16 14 16 13

On this one it’s more wide bending. Focus on staying in tune and holding that rst bend

for the duration. And, listen to the speed of the bends. Notice the release speed on the

rst bend and how quickly Carlton does the 2 step bend. There can be lots of variation

in bending when it comes to how quickly you push the note up and release it.

This Area Intentionally Bank





Page 12

Loop 8

2

full 1/4 1/4

11 811 10 8

1010

88 8

10 810

8 98

8

10

Loop 8 is pretty much straight ahead blues. Here Larry is playing good old box 1 of the

pentatonic/blues scale.

There are 2 spots here where he alludes to the chords being played, both in the sec-

ond measure. The rst one is the note E at the 9th fret, 3rd string. This is the third of

the C7 chord and clearly matches the harmony at the time.

The last note G, at the 10th fret, 5th string occurs at the exact moment the tune hits the

ve chord.

As I mentioned earlier, this is one of the signs of a seasoned player. Even though thelick is primarily blues, Larry still manages to target the chord tones.





Page 13

Here’s another nod to B.B. King. This lick is very similar to some of the ideas that B.B.

played in his solo. Once again I refer you to the recording.

It’s interesting to note that even though players might play the exact same ideas, they

will sound different. B.B has sort of a rough edge and Carlton is “smooth.” This is

where all of the different elements of phrasing show up.

That’s why it’s a good idea to learn licks and use them in your own playing immediately.

It’s not cheating...improv is not some sort of magic conjured from thin air. Eventually

the licks will become part of your vocabulary and start to sound like you.

Loop 9

2

1 1/2

hold bend

1 1/2 1 1/2 full

1/4

15 18 15

15 15 18 13 1316 13

1416 13





Page 14

This is probably my favorite lick in the whole solo. Great note choices, bending, a slip

into the major pentatonic scale and the octave C’s at the end.

When memorizing a lick lik ethis one be sure to take it a few notes at a time. It will bemuch easier that way. Once you have it memorized it will be much easier to focus on

what you are playing.

Loop 10

2

hold bend

full

full full full full full

18 1818 18 18

17 1518 16

1718 18

181816

1719

17

2017

18

19

17 1719 17

20

17 17





Page 15

Loop 11

Loop 11A

full

full

22 2020

1720 17 20

17

1717 15

15 1315

1512

1315 12

Transcribing a solo like this is not an exact science. If you look at different interpreta-

tions from various sources you are likely to nd some differences. In doing the video for

this lick I discovered an error that I made the rst time around. Above is the way I rst

heard it and below is the modication.

full

full 1/2

22 2020

19

17 15

17 2017

17 1515 13

1515

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Page 16

Loop 12

2

full

hold bend

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1315

1512

18

1413 16 18

18

18

1413

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1413 18

1818 18

1413

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Page 17

This is a longer but due to the bending theme Larry has going here I felt it all t togeth-

er. Check out the cool stretch at the end of the second measure. The bend is at the

18th fret and the fretted note with the pinky is at the 20th. This might be a challenge but

worth the effort.

3

hold bend

1/4

20 1817

16

17 17 17

Loop 13

18

17

2017

19

17

18

17

19

1717

A cool little sequence of notes and a chance to work on the picking again. Even though

this seems easy, the phrasing makes it a challenge.





Page 18

Loop 14

Loop 15

Here’s a repetition of an earlier idea and another nod to B.B.

hold bend

fullfull full full full

1311 13 12 13 12 13 1313 12 13 13 13

hold bend

1 1/2 full 1/4 full

15 13 1311 15

15 1313

1213

1113

1213 13

Another test of your bending ability. Be sure to check out the video for this one. Takenote of how you can take advantage of bending multiple strings at once. In this one

Larry plays both notes together, but you can seperate them too.





Page 19

It’s back to the blues to take it home. Notice the similarity between this line and the one

that ends the rst chorus. Coincidence? What do you think?

Starting on the next page you will nd the tab for the entire solo.

Loop 16

full

13 11

12 1110 810

108

810

1010

810 8

10

98

10

This Area Left Intentionally Blank





Page 20

3

4

6

hold bend

2 full1/4 full full

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full full full full

full full full full 1/4

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1716 18 16

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Page 21

7

8

9

1/4

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16 17 16 1717 17 17

15 1816

15

16 13 1312 14

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13 12 13 12 13 12 1313 12 13 12 13 12 13

2





Page 22

10

o en

1 1/2 1 1/2

2

1 1/21 1/2 1 1/21 1/2

15 15 15 15 15

141616

14

11

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full

hold bend

1/4 1/4

1 1/2

16 13 11 811 10 8

1010

88 8

10 810

8 98

8

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15 18 15

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Page 23

13

14

hold bend

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Page 24

16

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full

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22 2020

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Page 25

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hold bend

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2017

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hold bend

1 1/2 full 1/4 full

15 13 1311 15

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full

13 11 811 10 8

1010

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6

There you have it. I hope that you enjoy the licks and ideas presented in this courseand the video...I know I sure have. And, I had another chance to dive even deeper into

the playing of my favorite guitarist.

The most important thing is to take what you like and put it to use immediately. Make

the ideas a part of you and your playing.

If you have any questions be sure to drop me a line. I am happy to help.

Best Wishes,

Bob

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