S E S S I O N S

Lynyrd
Scofield
B Y A L E X S K O L N I C K

A STUDENT OF MINE IS FOND OF
Lynyrd Skynyrd, and asked me to transcribe a
few of their licks. While we were working
through some phrases, I noticed one that was
strikingly similar to something John Scofield
might play.
Here’s what I mean: Ex. 1—our starting
phrase—is similar to one in Skynyrd’s “That
Smell.” Although the original starts on beat four,
we’ll begin on beat one for simplicity. This lick
is based on a fifth-position A-minor pentatonic
scale, and uses a combination of picked notes
and hammers.
To spice up the line for a jazzier sound, we’ll
start by changing the fingering. Ex. 2 shows the
same phrase, but this time played only on the Alex Skolnick leads workshops, teaches pri-
third and fourth strings. Notice how the second vately, and plays in jazz combos throughout
C (the and of beat two) is now a pull-off. This the San Francisco area. For info on his jazz/fu-
small change gives the lick a more liquid feel. sion group the Skol-Patrol, visit www.skol-pa-
The next variations feature chromatic pass- trol.com.
ing tones. Ex. 3’s is on the third string, while
Ex. 4 has one on the fourth string.
Finally, Ex. 5 offers chromatic passing tones
on both strings. The slurs and chromatics make
this line sound jazzy, yet notice how it still re-
sembles our original phrase.
Rework your own favorite rock licks: Refinger
them, add slurs and passing tones, and tweak
their rhythms until the phrases morph into cool
lines for funk, bebop, Latin, or fusion. g

Ex. 1

4 ö ö ö ö ö ö ö
1 3 1 1 4

ö w
1 3

&4
3 1

=============== =

T
5
A
5 7 5 7 5
B
7 5 7

Ex. 2 Ex. 3

44 ö ö ö ö ö ö ö ö w 44 ö ö ö ö ö b ö ö ö ö ö ú .
2 4 2 4
1 4 1 1 3 1 3 2 1 3
3 1

===============
& = ===============
& =

T 5 7 9 5 7 5 T 5 7 9 5 7 6 5 5
A 7 5 7 A 7 5 7
B B

Ex. 4 Ex. 5

4 ö ö ö ö ö ö ö bö ö ö n ú . 4 ö ö ö ö ö bö ö ö bö ö n ö bö ö ö n ö
4 2 4
1 2 3 1 1 3 2 1

&4
3 2

&4
3 2 1 1 3 1 3

=============== = =============== =
1
( )

T T 5 7 9 5 7 6 5 5 5
A
5 7 9 5 7 5 5 A
7 6 5 7 B
7 6 7 6 5 7
B
 S E S S I O N S
Gypsy Scales &
Oriental Modes
B Y T I M S PA R K S
SO-CALLED “GYPSY” SCALES necked” lute. Played from Morocco
are derived from Middle Eastern to India, these are the oldest
modes. Harmonizing these modes known fretted stringed instru-
is an innovation of flamenco gui- ments. This family includes the
tarists. This results in some inter- bouzouki, saz, rebab, and sitar.
esting chord forms, a few of which They usually have three or four
are shown in Ex. 1. The sequence courses of double strings; melodies
of modes follows an oud style, and are played mainly on the top
these phrases are meant to have a course, while the lower strings cre-
free, improvisatory feel. ate droning rhythms.
(The oud is a round-backed, The shape of a long-necked
fretless lute played in Africa and lute’s neck dictates that the scale
the Middle East. It’s mostly fin- motion moves vertically up and
gered in the first position and is down the string (as opposed to
good for playing quarter-tones— across the fretboard, as on guitar).
modal intervals that fall between Approach these lines with the
major and minor with a “sweet same spirit as you would the blues.
and sour” sound.) In this example, the open-B the first finger changes fretting po- explained to me by Yanaris Ase-
Ex. 2 is a selection of modes string adds a drone quality. Note sition to support the trills and em- makis, who plays excellent Greek
played in the style of a “long- the large stretches, and the way bellishments. This technique was bouzouki on my Guitar Bazaar

Ex. 1
Em add9 #
F add4 #n
Am 5 5
1 4 1 X4 3 X X 3 2

Free time

#4 ö # ö ö # ö ö ö# ö ö 64 # ö ö #ö ö ö ö
ö ö #ö (n)ö # ö n ö ö ö ö ö
3
ö ö ö
4 4

# ö # ö ö
4

4 ö ö ö ö
1 1 2 1 1

öö
==================================
& öö #ö #ö =
2
( ) 3
2
( ) 2
4 3 4
3 3
4
1 3 1
2 2

w.
1 1

w w w.
1

0 0
T
0 1 4 4 1 0 0 2 0 0 1 4 1 0
A
0 3 3 0 0 3 3 0 0 1 2 1 1 2 2
B
2 4 4 2 3 4 4 4 3
0
0 2

Bmaj7
X1 3 2 ( )

Em

# ö ö ö # ö ö ö ö ö ö ö (n)ö ö # ö ö ö ö # ö ö ö 2 1

ö n ö ö n ö ö bö ö ö ö ö ú
4 2
# ö
4

& w. ö (n)ö
1 1

================================== =
2 2 1 1
3 2 2 3
2 3 2

1 w. w.
0 3 2 0 0
T
0 0 1 4 4 3 3 2 2 0 0 0 0
A
0 3 3 3 0 0 1 1 0
B
4 3 2 3 3 2
2
0
CD. Yanaris says he learned this the National Orchestra of Jor- Sparks is the 1993 National Fin- Balkan music. You can see
style from a Gypsy violinist, so dan for his explanations and in- gerpicking Champion. His Gui- Sparks perform his music on a
there you are. spiration. g tar Bazaar CD features intense companion video [both from
Also, thanks to Sakher Hat- fingerpicking compositions in- Acoustic Music, 1610 Crestview
tar, oud virtuoso and director of Odd-meter specialist Tim fluenced by Middle Eastern and Ave., Seal Beach, CA 90740].

Ex. 2 3
3 3
ö #ö ö ö ö ö ö
3 3
ö ö
# 5 öö n öö # öö öö öö öö ö ö öö öö öö 7 öö ö#öö öö ö ö ö öö ö öö ö öö öö n öö ö ö 5
Free time 1 2
3 1 1 2 1 2 1 1 2 2 1 2
1 1 1 1 3 1 1 1 1 2

& (4)
=========================== (4) (4)

0 1 4 5 7 5 7 5 4 5 7 7 8 7 6 7 12 11121111 8 7 8 7 6 8 7 7 5 75
T
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B

3 3

# 5 # öö ö öö ö öö öö ö ö öö ö öö 6 öö n ö (n)öö b ö öö ö öö öö öö öö ö ö öö
1 2 1 2 2 1 2 2
1 1 1 1 1 1 2

& (4
===========================
) (4)

4 0 2 4 5 4 5 4 2 4 0 0 1 3 4 4 3 1 3 1 1 3 1 0
T
0 0 0 0 0 0 0 0 0 0 0 0 0 0
A
B

L i c k o f t h e M o n t h
B A R I T O N E W E S

DON WARE, OUR AUGUST LICK CHAMP, HAILS FROM thick strings as he was on a regular guitar. Note the En against F7.
Bethlehem, Pennsylvania. He writes, “Wes used a 6-string bass guitar This n7-against-b7 rub creates a characteristic bop sound that says
(tuned an octave lower than standard, à la Danelectro or Fender ‘Charlie Parker.’ Check out bar 4, where Wes implies a IIm-V7 move
VI) for three tunes on Movin’ Wes—‘Sandy,’ ‘Tune Up,’ and ‘Body heading into the IV7: Cm7-F7 into Bb7. (You can also hear this as
and Soul.’ While commonly heard in country, the 6-string bass is a b5 substitution, Gbm7-Cb7.) Wes didn’t play the slurs and slides,
almost unknown in jazz. This lick shows that Wes was as agile on but I’ve included them as optional ornamentation.” g

ö = 190 b b
b b
(G m7) (C 7)
6-string elec. bass
F7(I) B 7(IV) F7 (Cm7) (F7) B 7
* ×
ö ö ö ö ö ö ö ö b ö ö ö b ö ö ö b ö(n)ö ä Jö ö b ö b ö ö b ö ö
3

44
2 1 2 1 1 1

ö
1 3 4 2 1

b
3 1 3 3 2 1 3

ö
4

ö
3 2

& öj ö ö ö
==================================
1 3 4
1
3
1 ö n ö b ö b ö (n) ö ö=
3
2 1
1 2

4 3
**

T
6 8 9 8 7 8 7
A
5 7 5 7 7 10 9 8 10 8 7 6
B
5 7 7 7 8 10 7
5 7 8 8 7 6 4 5
8 6
* Notes sound one octave lower than written.
** Hammer-ons, pull offs and slides optional.

Send us your candidate for Lick of the Month (preferably notated and Guitar Player, 411 Borel Ave. #100, San Mateo, CA 94402. Include your name,
on cassette), along with a brief explanation of why it’s cool and how to play address, and phone number. Materials won’t be returned, and please don’t
it. If we select your offering, you’ll get a funky custom T-shirt that’s available call the office to check the status of your submission. You’ll get your shirt
only to Lick of the Month club members. Mail your entry to Lick of the Month, if your lick is chosen. g
 S E S S I O N S
L A P T O P G U I T A R

6+6+4=Bluegrass
Ex. 1
Open-G tuning, w/ slide
G
#4 ö ö ö ö ö nö ö
& 4 {#ö
============ { eú =

D
B
G T
.. 3
0
0
3
0
0
2 0
..
D A 2 5
B B
G

Ex. 2
Open-G tuning, w/ slide
G
#4 ö ö ö nö ö
& 4 {#ö
============ ö ö{ ú =

D
B
G T
.. 3
0
0
3 2 0
.. 0
D A 2 0
B B
G

Ex. 3
Open-G tuning, w/ slide
G G7
# 4 ö ö ö ö ö ö ö ö ö ö bö
& 4 #ö ö
================= ö nö ö ú =

D 0 2 0 0 2 0
B 0 0 0 0
G T 3 3 3 0 0
D A 3 0
B B B Y D AV I D H A M B U R G E R
G

Ex. 4 IN THE BEGINNING, THERE WAS EARL SCRUGGS.

Open-G tuning, w/ slide
His brilliant banjo picking and flashy syncopations started
G G7
#4 ö ö ö nö ö #ö ö ú
a 5-string revolution, and laid the foundation of the bluegrass

4 ö # ö ö banjo style. When Scruggs and singer/guitarist Lester Flatt

==================
& ö =
ö #ö ö ö ö
hired Buck “Uncle Josh” Graves to play Dobro with them in
the early ’50s, Graves began to do for the “acoustic Hawaiian
steel guitar” what Scruggs had done for the banjo. Instead of
D 0 2 0 3 0 pursuing the languid Hawaiian sound on his resonator in-
B 0 0
G T 0 3 3 0 strument, Graves developed a highly charged technique that
D A 0 2 0
B B 0 combined bluesy slide riffs and syncopated three-finger rolls.
G 0 3
In the late ’60s, Dobroist Mike Auldridge picked up the
Ex. 5 thread of Graves’ approach. Notes tumble from Auldridge’s
Open-G tuning, w/ slide squareneck guitar in sparkling, syncopated cascades.
G7 The following examples are meant to be played lap-style,
#4 in high-G tuning (G, B, D, G, B, D, low to high) with a thumbpick,
& 4 {#ö ö nö ö ö ö ö ö nö ö ö ö #ö ö ö ö { ú =
================== two fingerpicks, and a Stevens-style solid bar for a slide.
Much of the momentum in bluegrass-style Dobro comes
from moves such as Ex. 1 . This banjo-style roll breaks up
D
B
G T
.. 0 0
.. 0
a measure’s worth of eighth-notes into a combination of
two three-note groups and a two-note group: 3+3+2. Fea-
D A 3 3 3
B B 2 3 3 3 2 3 3 3 2 3 3 turing the same syncopation, E x . 2 is a classic Scruggs
G
 #9-3-5 lick recast for Dobro. echoes the first six, an octave up.
Each group of eighth-notes is twice as Got a little too much free time on your David Hamburger teaches at the National
long in Ex. 3. Stretching across two bars, the hands? Ex. 5 is the bluesy solution, a 6+6+4 Guitar Summer Workshop. Check out Ham-
16 available eighth-notes are subdivided into lick that lends itself to infinite repetition. burger’s Electric Slide Guitar [Hal Leonard].
two six-note groups and a four-note group: Finally, Ex. 6 turns things inside out with For David’s solo album, King of the Brooklyn
6+6+4. In Ex. 4, the second group of six notes a 6+4+6 syncopation. g Delta, or info on clinics and private instruc-
tion, write to Chester Records, Box 170504,
Ex. 6
Brooklyn, NY 11217.
Open-G tuning, w/ slide
G7
# 4 nö ö ö ö nö ö
& 4 #ö ö ö ö ö ö ö ö #ö ö ú =
==================

D 3 0 2 0 3 0 2 0
B 0 1 0 0
G T 3 3 0 3 0
D A
B B
G
 S E
Sax Lines for
6-Stringers
B Y G I L PA R R I S
BECAUSE SAXOPHONE PLAYERS SPEND
their lives developing melodic skills, they can
teach us a lot about building single-note lines.
Tenor titan Michael Brecker has an incredible
command of improvisation, so let’s transfer
some of his ideas to guitar. In the spirit of free
play, I haven’t included fingering. Try rendering
each phrase at least two ways.
Examples 1a and 1b are two “false fingering”
sax licks. You can emulate this sound by playing
the same note on two different strings—check
out the B- and G-string F, for instance. Pay close
attention to the pull-offs.
Ex. 2 starts with another “false fingering”
idea and features chromatic colors. Notice the
S S I O N S
E triad in bar 1, beat one (here, the 3—G#—is
written enharmonically as Ab), and the Bb triad
spanning beats two and three. Brecker always
finds clever ways to superimpose chords over
the harmony.
A beautiful symmetrical pattern over E7,
Ex. 3 sets up an altered dominant sound.
You can hear Brecker’s latest concepts
on his new Two Blocks from the Edge [GRP/
Impulse]. g
Hanging in New York: Parris with archtop
and mentor Michael Brecker.
New York session player, performer, and
teacher Gil Parris says, “Thanks, Michael, for new self-titled solo album [RCA/BMG] features
your continued support and inspiration.” Gil’s David Sanborn, Bob James, and Harvey Mason.

Ex. 1a Ex. 1b
ö
b4 ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö ööööööööööööö
= 110 Cm or C7 Cm or C7

bb4 ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö ö b
& 4 {
================================== { & 4 { ={

T .. 6
10
6 8 6
8 5
6
10
6 8 6
8 5
.. .. 6
10
6 11 8
10
6
10
6 11 8
10
6
10
6 11 8 6 6 11 8 6 6 11 8
10 10 10 10
..
A 8 8
B

Ex. 2

ö
b 4 ö ö ö ö ö ö ö ö ö ö ö ö bö ö bö ö bö n ö n ö bö ö ö ö ö ö ö Î
= 116 Cm7

b
& 4
====================== =

6
T
8 8 11 10 10 9 8 7 11 9
A
12 8 12 12 12 12 10 9 7 10 10 7
B
9 8 10

Ex. 3

ö ö
### 4 ö ö ö ö ö ö ö ö # ö ö ö ö ö ö n ö ö n ö n ö # ö ö # ö ö # ö ö Î
ö E7alt
= 110

& 4
====================== #ö =

7 9 7 10 7 12 9
T
9 9 14
A
9 15 13 16 13 15 12 10 13 10 15 13
B
15 12 13
14 13
 N O T E S O N C A L L
ACCESSING NOTES ON CALL
August ’98 Guitar Player lessons:
To sample or record any lesson in
1649 - 6+6+4=Bluegrass: DAVID HAMBURGER this month’s Sessions, call 1-900-370-
0020 and enter the appropriate four-
1650 - Sax Lines for 6-Stringers: GIL PARRIS
digit code. It costs 75¢ per minute.
1651 - Lynyrd Scofield: ALEX SKOLNICK You’ll need a touch-tone phone and
1652 - Gypsy Scales & Oriental Modes: TIM SPARKS parental permission if you’re under
18. To better control your phone time,
1653 - Cutting Edge Blues Guitar: MARK DZIUBA
use these touch-tone commands: 7
1654 - Lick of the Month: BARITONE WES = forward ten seconds; 8 = rewind ten
1655 & 1656 - Leni Stern lesson: ANDY ELLIS seconds; 9 = pause ten seconds; # =
skip to end; * = repeat lesson.
This month’s lessons are also
Crank up the inspiration with GP’s Sessions sampler CD. available on CD for only $6.95 (plus
You get 11 high-voltage lessons for only $5.00. Call 1-800-222-5544. $3.95 s/h). For credit card orders call
1-800-222-5544, or send check or
Net-heads: For the lowdown on GP’s music notation symbols—and to hear money order to Notes On Call, August
Sessions sound samples—visit www.guitarplayer.com. ’98 Lessons, 146 2nd St. N., Ste. 201,
St. Petersburg, FL 33701.

AUGUST 1998 GUITAR PLAYER 1 5 4