3: 4 - Improvising Over

Chord Changes

NOTE! This chart was created with Power Tab. A known issue with Power Tab is occasional incorrect labeling of accidentals in standard
notation. The notes are the correct pitch, but sharps and flats may be incorrectly labeled (ex. a D# may be labeled Eb).

Gmaj scale that Larry uses. *Larry omits the C natural from the scale
which gives it more of an open sound and very similar to a Gmaj pentatonic scale. Try mixing in a Gmaj7 arpeggio within your Gmaj soloing

4 V gV V V gV W
1
I4 V V V gV V V V V gV V V V
V
W gV V V
3 2 2 3
T 5 3 3
A 4 2 4
5 4 2 4 5
B 5 2
5 3 2 3
2 5

Listen to this chord very carefully

and see if you can match your single This is the Dmaj scale that Larry is using to make his Notice the Dmaj triad within the scale.
note lines with the sound of this chord melodic lines. Notice that it is actually a Dmaj pentatonic scale. The combined use of scale and triad can be very effective

W V gV V
D/G

I gUUU V V V V gV V gV V
V V gV
5

U V V
g
2 5 5 2 n
T 3 3 5 3 f
A 2 2 4 2
4 2 4 4
B 3
5 5
5 2

Here Larry demonstrates the sound of a Gmaj triad to a Dmaj triad *Even though there is an added 9th ineach triad it is
still considered to be thought of as a triadic approach

V V V V V V V gV V V V V gUUU
9
I V V k V V V k V V gV k V V V j j U
Gmaj triad Dmaj triad
10 7 7
T 3 3 3 3 8 10 8 10 7 7 7
A 4 4 2 2 7 9 7 7
5 4 4 9
B 10

Larry's melodic licks Notice how the lick in Dmaj is the same exact lick that was in Gmaj
V V
Gmaj lick
V V V V gUUU
Dmaj lick
V V V W
14
I U
M
1/2 1/2 M
10
T 10 10 8 10 7
A 9 9 7 7
9
B 10

Fmaj scale or Dminor scale Some Dminor stuff you can use.
They both have the same function and Explore the Dminor scale and develop more fingerings
F/G are relative to each other Dm7 and melodic you can use over the F/G chord

U V V V V eV WW V V VV VVVVVV
18
I UUU VVV V V WW VVV
V VV VVW
U
1 3 5 3
T 1 6 5 6 3 5 6 6 5 3
A 2 7 5 5 2 5 5 2
3 8 7 5 7 3 5 3 2
B 3
8 7 5 5 5 5
 3: 4 - Improvising Over
Chord Changes

*Beware of the use of the B note within the Dminor scale.

Notice how this Dminor scale leads right into as Gmaj7 chord. Sometimes Larry will use a Bb and other times a B natural.
These are some of the concepts you will want to look into once you Both can be used in a Dminor scale for a change of color.
are comfortable with each scale and the chord tones within each scale Do not be confused. Both work well over the F/G chord.

V V V V V V gWW
24
I V V V V W

T 0 1 3 5 6 7
A 0 2 7
0 2 3 5
B
You can also use Larry's same concept used over
the Gmajor chord which is to alternate between the I and V chord
or in this case the Cmaj triad and Gmaj triad.
For the Cmajor chord which is the IV chord in the key of Gmaj
you can always use this Cmajor scale.
V V V V VVV V V V V V V
Cmajor triad
VVGmajor triad
V V V V V V V V V
V V V V V V
27
I W
8 7
T 10 8 8 8 8
A 9 7 9 9 7 7 9 7 9 7
10 9 7 10 10 9 9 7
B 10 7
10 8
10 10

Here is the C melodic minor scale that Larry demonstrates.

The only difference between the Cmaj7 & Cmin/maj7

V V V V V V V V WWW e WWWW
is the E natural to Eb which is also the same in the scales

V e V V V V eV V
31
I V U W
7 8 10 8 7 7 7
T 8 10 10 8 8 8
A 7 8 10 10 8 7 9 8
10 10 10 10
B

*Take notice of this slight change in chords and try to

Notice how the only note different is the the 3rd

V V V V
target these notes in our soloing to make the chord changes clear

V V V V e V V V V
36
I V V V V
Cmajor scale Cmelodic minor scale
7 8 7 8
T 8 10 8 10
A 7 9 10 7 8 10
10 10
B