S E S S I O N S

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.
Heres what I mean: Ex. 1our starting
phraseis similar to one in Skynyrds That
Smell. Although the original starts on beat four,
well 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, well
start by changing the fingering. Ex. 2 shows the
same phrase, but this time played only on the
third and fourth strings. Notice how the second
C (the and of beat two) is now a pull-off. This
small change gives the lick a more liquid feel.
The next variations feature chromatic pass-
ing tones. Ex. 3s 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
Alex Skolnick leads workshops, teaches pri-
vately, and plays in jazz combos throughout
the San Francisco area. For info on his jazz/fu-
sion group the Skol-Patrol, visit www.skol-pa-
trol.com.

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Lynyrd
Scofield

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Ex. 1
Ex. 2 Ex. 3
Ex. 4 Ex. 5
B Y A L E X S K O L N I C K
SO-CALLED GYPSY SCALES
are derived from Middle Eastern
modes. Harmonizing these modes
is an innovation of flamenco gui-
tarists. This results in some inter-
esting chord forms, a few of which
are shown in Ex. 1. The sequence
of modes follows an oud style, and
these phrases are meant to have a
free, improvisatory feel.
(The oud is a round-backed,
fretless lute played in Africa and
the Middle East. Its mostly fin-
gered in the first position and is
good for playing quarter-tones
modal intervals that fall between
major and minor with a sweet
and sour sound.)
Ex. 2 is a selection of modes
played in the style of a long-
necked lute. Played from Morocco
to India, these are the oldest
known fretted stringed instru-
ments. This family includes the
bouzouki, saz, rebab, and sitar.
They usually have three or four
courses of double strings; melodies
are played mainly on the top
course, while the lower strings cre-
ate droning rhythms.
The shape of a long-necked
lutes neck dictates that the scale
motion moves vertically up and
down the string (as opposed to
across the fretboard, as on guitar).
Approach these lines with the
same spirit as you would the blues.
In this example, the open-B
string adds a drone quality. Note
the large stretches, and the way
the first finger changes fretting po-
sition to support the trills and em-
bellishments. This technique was
explained to me by Yanaris Ase-
makis, who plays excellent Greek
bouzouki on my Guitar Bazaar
S E S S I O N S

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Ex. 1
B Y T I M S P A R K S
Gypsy Scales &
Oriental Modes
CD. Yanaris says he learned this
style from a Gypsy violinist, so
there you are.
Also, thanks to Sakher Hat-
tar, oud virtuoso and director of
the National Orchestra of Jor-
dan for his explanations and in-
spiration. g
Odd-meter specialist Tim
Sparks is the 1993 National Fin-
gerpicking Champion. His Gui-
tar Bazaar CD features intense
fingerpicking compositions in-
fluenced by Middle Eastern and
Balkan music. You can see
Sparks perform his music on a
companion video [both from
Acoustic Music, 1610 Crestview
Ave., Seal Beach, CA 90740].
Send us your candidate for Lick of the Month (preferably notated and
on cassette), along with a brief explanation of why its cool and how to play
it. If we select your offering, youll get a funky custom T-shirt thats available
only to Lick of the Month club members. Mail your entry to Lick of the Month,
Guitar Player, 411 Borel Ave. #100, San Mateo, CA 94402. Include your name,
address, and phone number. Materials wont be returned, and please dont
call the office to check the status of your submission. Youll get your shirt
if your lick is chosen. g

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6-string elec. bass
* Notes sound one octave lower than written.
** Hammer-ons, pull offs and slides optional.
**
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F7(I) B 7(IV) F7 , B 7 ,
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(Cm7) (F7)
(G m7) (C 7) , ,
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B A R I T O N E W E S
L i c k o f t h e M o n t h
DON WARE, OUR AUGUST LICK CHAMP, HAILS FROM
Bethlehem, Pennsylvania. He writes, Wes used a 6-string bass guitar
(tuned an octave lower than standard, la Danelectro or Fender
VI) for three tunes on Movin WesSandy, Tune Up, and Body
and Soul. While commonly heard in country, the 6-string bass is
almost unknown in jazz. This lick shows that Wes was as agile on
thick strings as he was on a regular guitar. Note the En against F7.
This n7-against-b7 rub creates a characteristic bop sound that says
Charlie Parker. Check out bar 4, where Wes implies a IIm-V7 move
heading into the IV7: Cm7-F7 into Bb7. (You can also hear this as
a b5 substitution, Gbm7-Cb7.) Wes didnt play the slurs and slides,
but Ive included them as optional ornamentation. g

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7 7 8 6 7 12 12 11 11 11 8 8 7 7 7 6 8 7 7 5 5
Ex. 2
S E S S I O N S

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Open-G tuning, w/ slide
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3
IN THE BEGINNING, THERE WAS EARL SCRUGGS.
His brilliant banjo picking and flashy syncopations started
a 5-string revolution, and laid the foundation of the bluegrass
banjo style. When Scruggs and singer/guitarist Lester Flatt
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
pursuing the languid Hawaiian sound on his resonator in-
strument, Graves developed a highly charged technique that
combined bluesy slide riffs and syncopated three-finger rolls.
In the late 60s, Dobroist Mike Auldridge picked up the
thread of Graves approach. Notes tumble from Auldridges
squareneck guitar in sparkling, syncopated cascades.
The following examples are meant to be played lap-style,
in high-Gtuning (G, B, D, G, B, D, low to high) with a thumbpick,
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
a measures worth of eighth-notes into a combination of
two three-note groups and a two-note group: 3+3+2. Fea-
turing the same syncopation, Ex. 2 is a classic Scruggs
Ex. 3

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Ex. 2
Ex. 4
Ex. 5
B Y D AV I D H A M B U R G E R

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+
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=
Bluegrass
Ex. 1
L A P T O P G U I T A R
#9-3-5 lick recast for Dobro.
Each group of eighth-notes is twice as
long in Ex. 3. Stretching across two bars, the
16 available eighth-notes are subdivided into
two six-note groups and a four-note group:
6+6+4. In Ex. 4, the second group of six notes
echoes the first six, an octave up.
Got a little too much free time on your
hands? Ex. 5 is the bluesy solution, a 6+6+4
lick that lends itself to infinite repetition.
Finally, Ex. 6 turns things inside out with
a 6+4+6 syncopation. g
David Hamburger teaches at the National
Guitar Summer Workshop. Check out Ham-
burgers Electric Slide Guitar [Hal Leonard].
For Davids solo album, King of the Brooklyn
Delta, or info on clinics and private instruc-
tion, write to Chester Records, Box 170504,
Brooklyn, NY 11217.

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Ex. 6
S E S S I O N S

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E7alt
7 7
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9 10 7 12 9
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9 15 13 13 16
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12 10 10 13 13 15
13
13 14
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 lets transfer
some of his ideas to guitar. In the spirit of free
play, I havent 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 stringscheck
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
E triad in bar 1, beat one (here, the 3G#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 Breckers latest concepts
on his new Two Blocks from the Edge [GRP/
Impulse]. g
New York session player, performer, and
teacher Gil Parris says, Thanks, Michael, for
your continued support and inspiration. Gils
new self-titled solo album [RCA/BMG] features
David Sanborn, Bob James, and Harvey Mason.
Ex. 1a Ex. 1b
Ex. 2
Ex. 3
Sax Lines for
6-Stringers
B Y G I L P A R R I S
Hanging in New York: Parris with archtop
and mentor Michael Brecker.
ACCESSING NOTES ON CALL
To sample or record any lesson in
this months Sessions, call 1-900-370-
0020 and enter the appropriate four-
digit code. It costs 75 per minute.
Youll need a touch-tone phone and
parental permission if youre under
18. To better control your phone time,
use these touch-tone commands: 7
= forward ten seconds; 8 = rewind ten
seconds; 9 = pause ten seconds; # =
skip to end;
*
= repeat lesson.
This months lessons are also
available on CD for only $6.95 (plus
$3.95 s/h). For credit card orders call
1-800-222-5544, or send check or
money order to Notes On Call, August
98 Lessons, 146 2nd St. N., Ste. 201,
St. Petersburg, FL 33701.
Crank up the inspiration with GPs Sessions sampler CD.
You get 11 high-voltage lessons for only $5.00. Call 1-800-222-5544.
Net-heads: For the lowdown on GPs music notation symbolsand to hear
Sessions sound samplesvisit www.guitarplayer.com.
N O T E S O N C A L L
August 98 Guitar Player lessons:
1649 - 6+6+4=Bluegrass: DAVID HAMBURGER
1650 - Sax Lines for 6-Stringers: GIL PARRIS
1651 - Lynyrd Scofield: ALEX SKOLNICK
1652 - Gypsy Scales & Oriental Modes: TIM SPARKS
1653 - Cutting Edge Blues Guitar: MARK DZIUBA
1654 - Lick of the Month: BARITONE WES
1655 & 1656 - Leni Stern lesson: ANDY ELLIS
AUGUST 1998 GUITAR PLAYER 154