Ce Ul) Den OL ULC G0 ie ura Ne ce Se eet eee ey Ce ne ae ad De era) Mastor Class. Nor does ho resist the idea bocause he's See ee een signature style, Actually, ae you'll seon find out, Soottcld Cee ee un ultarplaye.com OCTOBER 2002 GUITAR PLAYER 5angularriffs an melodies. "just worry about giving too much im. portance to « particular lick or a ran,’ ‘Scofield ofhislesson tactics, “Tve never been into tothe lick aciory’ approach o teaching guitar, because alick or phrase by itself may be cool, ‘but out pf eon it usualy as mo ean, AS Wiatyou play before and after the lek—the set ‘upand therelease—that makesit sound fresh. Scofield should know, Having shared stages and studios with such legends as Miles Davi Chaules Mingus, Chet Baker, Gery Burton, and Bly Cobham, hehas leaned theartofjamning, from the very best. And if there’ one thine the New York guitarist is iber-enthused to teach, ifs how te play aneconclont leads that shattor the eonfinos of grids, ealse, and oth cersuch intellectual approaches to imprewiaing, es Frey Omej7 ohroma Hes puting, tho cart before che horse, Ascalemay be toch lcallyapproprine fora sven key, utmost great players dont actualy use scales 10 improvise, san jace mesic comes rom melody, nos from seals. Flying Colors Suis the chon! ia Es 1 What do you hea? ityour ears iden a garden-warlety Gna, ymitecertainiynot wrong because that ely wht th notes spel. What cof woud Flceyou to heat however is aiverdofimedod fe possibile. “There are ways to take your baste modal jam and add mote colors, sys Scud, wh tareylimitshimselt jst theC majo finn) scale when hes improvising nthe ke’ f ever have, Improvisation "hore ate notes in amajor key that arent de fined, which meansyou can tweakthemfornew J Ee available! cmay7 Frey B minor pentatonic scale * 68 GUITAR PLAYER OGTOBER 2002 guitrphyecem sounds. Forexample, why notsharp the tll oan intresting Iydianvite, whi Bheyou you can alko think of a sharped 11" sound’ Scofield demonstinces by playing Bx. \whien siars with the 2nd finger om the reot.G atthe ith fret Up untiits inst note, this ranks aninnosent Gna)? arpegglo. The enlgmale Rh tac completes theascent implies Cnay7#it, adding a layer of melodic mntigue thet wil surely cate peoples ears, The Fourth Dimension “Talo do alot of stuthwth fourts in ma jorkeys,” reveals Scofield. They sound cool and re eay to bring out in the Lydian scale [plays Ex. 3). See the stacked fourths startingon the thin noe? 4 followed by B, then then, and finaly D,Tlove that sound” Scot iinet dering is th fom Sienna eo scale tied th degree (FI you kno Sete ett ae tie dil Be) aida bor ka opahnecnell shares ts fingering entirely withthe 2 minor pentatonic sele presented in Ex 4. In other tor, you can ind ce root ofa aor Key Gn tho lor ating just diop down a hale si (one fret and play a pentatotie scale, You bring ou the given key Lydian mode—not to anenon all those glorious fourtis—using & simple fingering tha you've probably been thangsince your fist guarlesso, Hip the Clydin ee ernIm Ex. 5, Scofleld sticks enclrely to the B ‘manor pentatonie saps, generating more tasty Tourths in the key of C major Since this de «conding phrase never ge the ton, you may ‘yantto struma Gmajrbbefore you pla trough 1, Othecwise, your ears may be ticked into hhearmgit as minor run, Ax Sense One of the trickiost thing to teach ina ‘guitar lesson—whether in printorin person— is phrasing Scofield, lke many jazz greats, Has th ubcanny Kock for playing laced notes that massage the eroove by landing slehybohng he beat No mara fit he ry Conaeeee ota ere ene seat theta Yate riedang eco re eerteee ree seit ie ieee eed eae earn Cmair Aownbest hetypicelly bears downon select ‘dnote a¢ in Bc G which i another improvised Clydian run, Over amodium-tempo rook or sunk groore. ry bringing out Ex. four acoeared otes—two of which aie followed by slars— by picking them harder than the others. In ‘ims, thisapproaca wilhelp youlearn to hear chains of nbtes and transform mochanicel sounding runsinto truly melodic statements, Hops, Skips, and Jumps Another hala of Seals sos ithe melodie leap, Ike te way vide intervals sound,” says Scofield, illustrating with the jagged noifinBe 7 Ibraksupthe Clydan se wa severe anguas ums. “This ast diate Ivaferent sun fom wht you get sera cling thesete ins mor linear fishinn” The Open Road ne way Seaficidl gots into high gears by kick statingi¢ with amating rips thafestane ¢ -c600 mar jangling open strings. “Ifyou play only bam chords, youll play only in bars" puns Seo "Vin, Pm jastkidding, Donttprine hau" ‘Too late. What Scofield does went rite Iheweves. xe the nwo fa gripsin Ex. which employs on “Loozer” from his AG Go album ‘Tes-drive them fr youuselfand use them ar ate afunky -1V loop in Gf. Star of by staying (on exch chord for two measures, nd di the ringing sounnl—the I chord has ro open stings, che elghth-position 1V chord basone, irytouise apen notesarytimel can! ss Scofield, serving up another sample of open- siring comping in Ex. 9, “This i like my p= sression on‘Jeep on35' also from 4 Go Gis ot lots of whet I call rub rotes—novesthecci- ‘ate minor cr major seconds, or sharpednlnths” Tw AB, the rub nore ie the open B, Ener ited by Scatioles wadomank halt-diety tare, tho opon atring eroatosa dissonant major se. ‘ond egains: the Cf. Silay in Doan aba ‘minor aocond'is created es the open D grinds m8 fesse w (My) eae ‘eS chijs1s §—FErie.19 HOG ube t rttt pee Site (_] Era Ercuecd truefire.com ‘90 GUARPLAYER ocTOBER 2002 gultepleyercon * aimasr mony tn 0 5a ows We" TER Ap SO.