Grab some of the legendās guitar magic by adding some jazz to your blues.
Intermediate
Intermediate
Overview:
- Find out how to effectively use ghost notes.
- Make Carltonās gritty pick-scratch technique a part of your playing.
- Learn some quick tricks to apply colorful chordal extensions to your solos.
Letās play a quick game of Jeopardy! The category: Guitarists with Wildly Successful 50-Year Careers. The answer: With over 3,000 sessions under his belt, this guitarist has been a first-call session player, recording with artists such as Steely Dan, Michael Jackson, and Dolly Parton. He's also a successful solo artist, having released 36 albums, and a four-time Grammy Award winner. The question:
Who is Larry Carlton?
Perhaps unknowingly, we have all heard Carltonās signature, lyrical guitar style more times than we can imagine, on a countless number of classic records, movie soundtracks, and TV themes. Just check out his impeccable touch and tone on Mike Postās theme from TVās āHill Street Blues,ā for which Carlton won the 1981 Grammy for Best Instrumental Performance.
Now, letās break down his style with an exploration of some of his classic work with Steely Dan and over his solo career.
It Begins with the Blues
Carlton earned the nickname āMr. 335ā for his almost exclusive use of a Gibson ES-335 model during much of his early career. Known for his āsweetā sound, he seamlessly married the soul of blues, the spirit of rock, and the sophistication of jazz. The foundation for his playing, though, is decidedly the blues, and one of his early idols was blues master B.B. King. Traditional blues is a style with a somewhat purposefully limited vocabulary, most of which is drawn from the six-note blues scale (1āb3ā4āb5ā5āb7). All this means is that itās the playerās style which must take center stage.
Carltonās playing is brimming with personality, which he expresses in tastefully subtle ways. Ex. 1 emulates his distinct touch in songs such as āBlues Birdā from his classic 1982 solo album Sleepwalk.
Itās the nuances of Carltonās playing with stand out here, as itās more about how he plays the notes than the notes themselves. Notice how the slowness of measure 1ās initial bend and the overbend on beat 4 of measure 2 both pack a hefty punch. The vibrato for the Eb at the end of measure 2 doesnāt begin until after the note is held for a bit, allowing it to just hang in the air for a moment. Then in measure 3, the dot over the āandā of beat 3 indicates the note should be played staccato, or short. Similarly, the accents in measure 4 indicate to play those particular notes a bit louder.
Itās fun to note that a classic Carlton technique is the way he often chooses to pick notes on the higher strings exclusively using upstrokes. However, instead of using the usual flat part of the pick, the key here is to scratch the strings with its narrow inside edge, which lends a gnarly grit, as you can hear in Ex. 2.
These Ghosts Arenāt Scary
To capture Carltonās style, weāre going to need to dip our toes ever so slightly into the pool that is jazz guitar. Donāt worry, though, you donāt have to be able to improvise over saxophone colossus John Coltraneās āGiant Stepsā to avail yourself of some of the styleās finesse and flavor.
Letās look a key nuance of jazz phrasing that contributes to the character of Carltonās playingāghost notes. These notes are almost not played, sounded just enough to give a phrase a certain ābounceā that is so common in jazz. Steely Danās 1976 release The Royal Scam, was a coming-out party of sorts for Carlton, having contributed a number of soon-to-be classic solos, most notably in āKid Charlemagne.ā Ex. 3, however, is a motif he plays throughout the albumās title track. Meant to sound implied, ghost notes are often fittingly indicated in parentheses, as shown in our example. Play each of these softer, so as to make it sound as if theyāre bouncing off of the ones which surround them.
Hitting All the Right Notes
Carltonās vast knowledge of jazz harmony gives him the ability to add a variety of colors to his playing which arenāt common in blues or rock guitar. He accomplishes this by touching on extensions, notes built on top of a 7th chord that āextendā the chord. For example, some common extensions of a Cmaj7 chord (CāEāGāB), are its 9 (D), #11(F#) and 13 (A). Each of these notes has a distinct color that Carlton uses as if heās painting on a canvas.
Ex. 4 is reminiscent of his playing on Miles Davisā āSo Whatā from his Grammy-nominated 1987 live album Last Nite. Played over a Dm11 chord, the phrase lands squarely on the 11 (G) on the first beat of measure 1, then continues with a series of descending arpeggios, touching on the 9 (E) and 13 (B). Play this phrase slowly, absorbing the unique character of each of these notes.
Hereās Carlton smokinā on an alternate live version of this classic tune:
Ex. 5 is an example of how Carlton approaches using extensions in more of a rock setting. āDonāt Take Me Alive,ā another song from The Royal Scam that showcases Carltonās mastery, features this phrase in its intro solo.
Now, youāve likely played this lick many times before. But itās how Carlton implements it here that is striking. Using rock-style string bending, he directly targets the 9 (D) and 11 (F). How does he find them? Well, hereās a quick trick: Over a minor chord, you can often play the minor pentatonic scale a fifth above. So, over the Cm7 chord in Ex.5, instead of using the standard C minor pentatonic scale (CāEbāFāGāBb) Carlton uses G minor pentatonic (GāBbāCāDāF) which readily makes the 9 (D) available via a host of basic pentatonic licks you almost certainly already know. Itās a jazzy take on rock playing without sounding like youāre trying to impress your friends with some highfalutin jazz licks.
Hereās yet another instance (Ex. 6) of Carlton targeting extensions, this time within a beautiful fill over a major chord in āDaddy Donāt Live in That New York City No Moreā from Steely Danās 1975 album Katy Lied.
How does he do it this time? Weāre in the key of E minor, with Cmaj7 functioning as the bIVm chord, and he simply draws from the E minor scale (EāF#āGāAāBāCāD). Not impressed? Take a closer look to see how Carlton views the fretboard as a palette of colors, aware of how each note in the scale functions over the chord. He subsequently targets the major 7 (B), 9 (D), and 11 (A), letting the notes ring over each other for effect.
Ex. 7, our final music example, is a Carlton-style phrase that makes use of some of the key elements weāve discussed above: targeting the 9 of the Dm9 and Fm9 chords (E and G, respectively), with the addition of some well-placed staccato, accented, and ghosted notes.
Larry Carltonās unique and soulful style most certainly developed out of his keen melodic and rhythmic sense. But it also leans heavily on the musical nuances he has consistently mined throughout his storied 50-year career. Focusing on them in your own playing can be a path to finding your own unique voice on guitar.
Do you need to spend a ton on a gig-worthy axe? Probably not.
There has never been a better time to get your hands on a gig-ready guitar without breaking the bank. Sure, weāve all lusted after the high-end models, but these 10 guitars balance affordability, features, and construction.
SquierĀ J Mascis Signature Jazzmaster
This affordable signature Jazzmaster fromĀ Dinosaur Jr.ās famed dealer of decibels offers the traditional lead and rhythm circuits Ć la vintage JMs, but pairs that with an Adjusto-Matic bridge and a slightly wider nut.
$499 street
JacksonĀ Dinky Arch Top JS32Q DKA
This sleek shred machine builds on Jacksonās Super-Strat lineage with a 24-fret compound radius neck thatās smooth and fast. Itās loaded with a pair of the companyās high-output humbuckers. One twist: This particular model comes as a hardtail. Dive bombers need not apply.
$299 street
EpiphoneĀ Nancy Wilson Fanatic Outfit
Heartās lead axe-wielder brought back her classic signature model this past year. The mahogany body is based on the NightHawk and has a figured maple veneer top. Other highlights include a pair of ProBucker pickups (FB720 and 3 Slant), through-body construction, and twin parallelogram inlays.
$579 street
epiphone.com
ESPĀ LTD SN-200HTĀ
Although this is definitely a modern speed demon, the traditional styling shines through with a basswood body and maple neck. Itās outfitted with a charcoal metallic finish, thin neck, and a push/pull tone knob. The guitar comes loaded with ESP LH-150 pickups and a fixed bridge.
$449 street
KramerĀ Assault 220
The classic lines in this Les Paul-shaped body are tried and true, but Kramer has updated it to create a modern-rock marvel. A mahogany body and licensed Floyd Rose tremolo with locking nut are highlights, while other features include alnico V humbuckers, K-Speed SlimTaper āCā neck, and 24 medium jumbo frets.
$379 street
GretschĀ G2215-P90 Streamliner Junior Jet Club
A mix-and-match approach can always open up new creative pathways and this particular Gretsch solidbody combines a BroadāTron BT-2S with a P-90 Soap Bar. The wraparound bridge is anchored to a nato body with an aged white binding.
$399 street
IbanezĀ AZES40
Born out of the higher-end AZ series, this budget HSS guitar aims to cop the same vibe and feel of its more boutique counterparts. They are available in three colors, each loaded with ceramic pickups, T106 bridges, and Jatoba fretboards.
$349 street
SireĀ Larry Carlton S7
One of the newest models in Carltonās line of signature models is this S-style setup featuring an HSS pickup array. Other highlights include a roasted maple neck, alder body, bone nut, and a 2-post tremolo bridge.
$599 street
G&LĀ Tribute ASAT Classic
Built upon the bones of Leoās timeless T-style designs, this ASAT Classic offers bolt-on construction, sassafras or poplar body, and a hard rock maple neck. As the name suggests, even the pickups pay homage to Leoās design with a pair of MFD single-coils.
$589 street
YamahaĀ Revstar RS320
Inspired by the design style the company uses in their high-end motorcycles, this nato-bodied model comes in at the price of a high-end pedal. It features a pair of ceramic YGD humbuckers and a thin neck profile with a rosewood fretboard.
$399 street
Guitarist and producer Chris Greatti joins us in discussing our home-studio layouts. Plus, we talk about musical obsessions.
Q: What is your current home-recording setup?
Chris Greatti ā Guitarist/Producer
Photo by Gianennio Salucci
A: I do all my sessions at my house in L.A., so it's fully set up to track any instrument quickly while still retaining a super casual vibe. I just got the Adam A77X monitors (which I'm loving). The vocal chain is a Peluso 22 251 mic into a Universal Audio LA-610 pre/comp into an Apollo x8p. As for guitars: 2020 Fender Ultra Jazzmaster (which I use on everything), Gibson '61 reissue SG, my custom Carbonetti Strat-style, Gibson Firebird and Hummingbird, some old Silvertone acoustics, etc. The amp situation du jour is a Kemper (for quickness) with a Dumble preset from Top Jimi. The pedalboard features some classics from MXR, EarthQuaker, and Strymon. I prefer my Fender P bass with flats. The synth setup just got upgraded, too: Moog Sub 37, Roland Juno-106, Mellotron M4000D, and some terrible toy Yamahas. Lastly, and arguably most importantly, I just bought seven sunset lamps and they're improving my life drastically.
āCurrent Obsession:
Caroline Polachek, Lewis Taylor's Lost Album, Teenage Fanclub, Portishead's Dummy, Yves Tumor, perpetually a little Lady Gaga, and Van Halen. I've been getting back into the Strokes, too. Their guitar parts are always so creative and they're insanely tight and unique as a band. But to be honest, I've been crazy busy this year producing albums for Yungblud and Palaye Royale (not simultaneously, but in quick succession) and have mainly been in the headspace for those projects, deliberately trying not to take in too many outside influences.
Portishead - Wandering Star (Official Video)
Daniel LeSaux -Ā Reader of the Month
Daniel LeSaux
A: My recording setup is small, but I was able to pack a lot into a tiny space. I built my own cabinets to maximize the use of the room. My pedalboard is at lap level to make tweaking easier. My studio is called "Moose Tracks," a nod to the state of New Hampshire, where I live. In my digital workstation I use a PreSonus Studio One with a PreSonus 1824c interface and a PreSonus FaderPort II. I have KRK Rokit 5 monitors, KRK KNS 8400 headphones, a Mackie Micro Series 1202-VLZ Mixer, and a Mackie Big Knob Passive Monitor Controller. My outboard effects include: Klark Teknik EQP-KT Passive Tube Equalizer, Klark Teknik 76-KT FET Peak Limiter, Klark Teknik KT-2A Opto Electrical Tube Leveling Amplifier, PreSonus Studio Channel strip, and a Samson S-Patch 48-Point Patchbay. I have way too many pedals to list!
āCurrent Obsession:
I've been chasing the perfect on-the-verge-of-breakup clean tone, similar to the tone Larry Carlton has been using in his recent releases. That tone is so alive and expressive. It takes high gain and a gentle touch to achieve it. And as soon as you dig in a little bit, the notes explode! It allows so much tonal variation depending on the pick attack, the pick angle, and whether you use upstrokes or downstrokes. It also makes it easy to switch from rhythm to lead just by varying the pick attack. To get that tone, I'm playing a stock Epiphone Dot using a blend of both pickups into a Custom Tones Ethos Clean II running into a Two Notes C.A.B. M+ with a 1x12 Electro-Voice open back cabinet sim. I have an MXR Carbon Copy in the FX loop and an MXR M300 as a send on the Mackie board. I'm currently working on an album of original tunes using this setup.
Rig Rundown - Larry Carlton
John Bohlinger - Nashville Correspondent
John Bohlinger
A: I've laid down all my dough on recording rigs four times in my life. A few years back when the Mac tower that drove my Digi 002 died, I shifted from my Pro Tools rig to a streamlined Universal Audio Apollo Twin/Logic combo. Although the old system was primitive, I knew it well, could work fast, and get decent results. After this last change, I feel like I'm relearning the rig every time I turn it on.
Current Obsession
Letting go.
Shawn Hammond - Chief Content Officer
Shawn Hammond
A: To track myself (guitar, vocals, keys) and Connor, my drummer, live together, I use a 4-input Audient iD44 and a 2-input Apogee Duet feeding GarageBand. Guitars (and keys, which go through my guitar rig) are miked with a Royer R-121 (sometimes also with an SM57). A Shure KSM32 large-diaphragm condenser is the drum overhead, a Rode M2 dynamic is on snare, and an Audix D6 is on kick. For bass, I often go direct into a Warm Audio WA-2A tube compressor, in addition to miking the amp with the Audix. For vocals, I use a Shure SM7B. Monitors are a pair of KRK Rokit 7 G4s.
Current Obsession:
Using all the aforementioned stuffāand getting back to gigging!