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Perr cone of joing tintin cal LA ensuite soe Cars Bk fs tee rn ng Catena lr pop of lo Sei Abe abet and leben! Cn Mh, he eed he Mare Bo Swe Lay Caron The aan i an Si ha oom a heir mesmo lo st ret snc Though the pesos bu ecu bo marr gee th on Soot gop unesthe he Gnlr on erebuduCane cm" 7 BW brea cena Pops on eres Re eo wrth mont eure ‘oat Give Up Thea ly ergy eer bey oon te Tee wounes alate duteeon ron ths deg ut ae pats CS: and MESA Benge oped fom an unbided yer ema seth shee sypingperormnes THE MAIN RIFF ‘The melody of "DoritGive ItUp celles on a two-bar riff that is seeped in 2 methoct known as “wiad superimposition” a hall- ark of Larry Cariton's improvisational syle. This is where one or more lads (ote than the triad of the chord over which they are seing, played) are superimposed over or placed on top of” a chord. ‘The riff represents the frst nyo measures of the melody (Section B of the transcrip: tuon), and is played in one form or another G Major Pentatonic eee {and in several keys) throughout each ‘melody section. Here, the chord is G7 and the miads outlined by the melody areG, K and By. The G isthe fundamental trad of the G7 of course, butt the F 2nd Ry are the superim posed triads. The answering notes are from the G minor pentatonic scale (G-B-C-D-F aad when combined with the triads, the result isa bluesy, almost Mixelydian tonal THE MELODY ‘Over chord progression loosely basedon blues changes, the 20-bar melody (doubled by Girs 1 and 2) unfolds as a series of five four-bar sections, The first, second, and fourth sections (17 chord) are comprisest of the main 1iff (with variations in the second bar of each) followed by 2 neo-measure sus pension of the last note of the phrase. The ‘third section is essentially the same but rmod ulates up @ minor 3rd to match the chord (a 117 substitute V2). The ff seciton (V7-1V7-17) is pure uptown blues, accenting the 3rd and root of each change with a liberal dose of halfstep bends and sides After the modulating solo sections, the melody returns at Section F Although the key ‘snow F, the melody and the chord progres sion follow the same structure as they did in the key of G THE SOLOS: The solos follow the same chord progres- sion asthe melody but cach modulates. halt step up (guitar in A, organ in A. guitar in Bo tn effective method for sustaining interest ‘when two oF more soloists are in line 10 per G Minor Pentatonic Don’t Give It Op if ifs il] Hutt [|p fom. Larry isthe first at bat (Gur 9, transi tioning effordessly into the key of A> with 2 halt-step bend (another Carlton trademark from a D (Sth of G) to an Es (Sth of Ab). From there he juggles A> major pentatonic (Ai-Bi-C-E-£) licks with Ao minor pentaton. le (AwC}Ds-#+-Gi) leks over the Ax? chord (check out those sneaky bends in measures 1-6), On the Cs7 change, he simply transpos- tes the major!minor pentatonic mix up a ‘minor 3rd For the turnaround bars (E97-D)7-AI7) he shifts into a higher geat, hurling some A> blues scale (AMC-DHEh-E-G) licks into 1e brew. He keeps up this flery pace hroughaut the next chorus (GU. 4 takes over change), finishing off with some snazzy E57 and Dx? arpeggios, before tossing the ball 1 Mathieson for the organ solo in A For the stop-time solo in Bh (Git, 3), tariton‘lexes is fusion chops on a couple of noice lines. The “inside/ outside” lk in bars 5 and 6 (cycled BY-D-A-D notes) is a bona fide head tamer, and the chramatie line over the BP transition chord glides so gracefully into the new key of Etat the listener is bard. ly aware that the modulation was a starting “Sth away! Things arent over yet though, as LaREy demonstzetes throughout the final melody (Section F) with some breahcaking lls placed impessibly high on the neck of his 335, Showing no signs of fiuiguoy he solos: non-stop through the outro section, relent: lessly pulling motf after motif out from his seemingly inexhaustible bag ot licks. ‘As you pick your way darough che tan- scription, 1 will becorne/eviddent chat Larry Carlton is an extrerpély: ehord-consclous player, facithaing bis uncanny ability for lta-smooth transitions from chord to chord and key to key.And youre intrigued by bis ‘majer/minoe pentatonic concoctions, see ‘what youcan come up with by ovedaying the -cntatonic bexes found in Fig 1, (Make sure ou use its of half-sep bends) Thougl by tbo micansa box playes, Lazry does draw a ot Cf information ftom patiems like these, ‘SEPTEMBER 2000 + 4 The Magazine YouCan Ply 498° DON’T GIVE IT UP ‘As Recorded by Larry Carlton (From tho MCA Recording LARRY CARLTON) Trenscribed by Adam Perlmutter ‘Music by Larry Carlton Intro Fast Shute J = 162(JJ= or Sa (Rayan section vere) OY a 7 (stig ais 1m op a sony ‘eg rrr eas ea ASAP Inara Copa Seevessifeonres ‘rs Prser 4140 GuitarOne SEPTEMBER 2000 + wwnveritwrenemag com Don’t Give It Up ay “ous us ‘SEPTEMBER 2000 + @4 The Magazine You Can Ft Don’t Give It Up LS A % a 142 QuitarOne SEPTEVBER 2000 + womn.guteronemasicom Don't Give it Up @ (ir. 3 (aint) [arias as 2 1 snsnnnanananene semmannnnannnvens = 4 = TC] Guitar Soto on ae ee wo ee ee Rg ES ww 1 | SEPTEMBER 2000 + G4 The Ms Don’t Give It Up Ba 444 GuitarOne SEPTEVSER 2009 + wrwgitwrenemagcom Bane RAR i Gi. 3 ace, or foc Sa esta) he) SEPTENBER 2000 © @1 The Nagazine You Can Fley 148. (DL Keyboard sote At is ia he ttacet 9 2t ce 146 Guitarone S=>TEMEH 2000 « yn Don’t Give lt Up an D7 Ar “E] Guitar soto Gu. Laces Bk Sher ‘SEPTEMBER 2000 + @1 The Maguzre You Can Pay 447 Don’t Give It Up de 140 QuitarOne SEPTEMBER 2000 + ww. ——— — SEPTEVBER 2000 + @4 The Magazine You Con Poy 449 150 GuitarOne SEPTEMBER 2000 + wiv | Don’t Give It Up Gir tnt B tm ba? ‘SEPTEMBER 2000 * @1 The Magaz Don’t Give It Up a Paes 152 GuitarOne S=PTEWBER 2000 + yawn guleroneren.con Don’t Give It Up Outro-Guitar Solo ee SEPTEVBER 2000 © @4 The Magarre You Can Pay 183 Don’t Give It Up loco ae 184 GuitarOne SEPTEMBER 2000 « ww Don’t Give It Up SEPTEMBER 2000 * @1 The Magazre You Gan Pay 158 Don’t Give It Up 4186. GuitarOne SE-TEMSER 2000 « wi Don’t Give It Up AAAAR ~~ kh RNA loco SEPTEMBER 2000 + G1 The Magazrne You Can Pey 187 Don’t Give It Up fa--= 188 GuitarOne SEPTEMEER 2009 + wwngltaronemas.cem