Audio: - The third phrase (mm. 14-16) is based on the D Phrygian scale (1 b2 b3 4 5 b6 b7). Once again you can see Allan refusing to highlight only one harmonic possibility for the vamp he is playing over, choosing instead to color the simple vamp with phrases that imply more harmonic motion than is really there. For this lick Allan is using very wide intervallic lines via string skips - something very common to his playing. Notice again how he avoids the downbeat when starting a phrase. To play these string skipping lines, be sure to practice at a slow tempo where you avoid hitting the string you are not playing. Allan ends this phrase in the first beat of measure 16 with a lick from hell! - A double string skipped line that finishes outlining D Phrygian. Once again, take care to play these lines in time and with precision.  

Audio: - Another string skipping idea is used throughout measures 20-24 where the scales used are: D Phrygian for the first 3 measures, D Phrygian Dominant for the 4th measure and D Half/Hole Diminished for the 5th measure. Notice the almost Rubato feel the phrases have, always with such a smooth and efficient execution. This line ends in measure 25, where the vamp changes to G. Allan stops on the same note allowing it to sing a bit, showing the clear change in harmony by sitting on the root for a few moments.