Hi,
Im getting into scales, modes, and soloing a lot more seriously now due to the fact Ive felt Ive been in a rut for the last few months. Im trying to figure a few things out and I think Im on the right trail but not sure, so if you don't mind could you steer me in the right direction?
So far I know the first minor pentatonic scale, Blues scale, Ionian, Dorian, and Aeolian modes. But I havent really been blending them together in usage. This is my thoughts on what I can do, but is it correct?
I could start by playing the major scale, then move 3 frets back from the root, and play its relative minor with the minor scale, min pent scale, or blues scale. Or I could also move to the sixth scale step and start Aeolian, min. pent, or blues there. Or I could also move up to the octave and play the major again. Is this right or am I just cookoo for coco puffs?
Thanks,
-Jesse Acosta
http://www.ayun.net/nomadik/
You're on the right track.
Moving down three frets is one octave lower than moving up to the sixth note, so your position shifts are playing the same notes in a different register. Let's say you're starting in A major on the fifth position....
Moving down three frets (to the 2nd) puts you in F# for the relative minor, minor pentatonic, or blues scale... which is the minor pentatonic with one added note.
Moving up to the sixth note:
A-B-C#-D-E-F#-G#-A
Puts you at the 14th fret, one octave higher than three frets back. Moving up you mention the Aeolian mode, which is the natural minor scale - I'm guessing that when you mentioned the relative minor, you mean the harmonic minor scale - it's just one note different from the Aeolian mode.
That's a pretty big shift, though, as is moving up the neck an octave... even though you could do a scale from A-B (or A-C#) at the fourth or fifth position for a range of two octaves or a little more, when you go up an octave to the 17th position, you'll be moving 'down' from the 1st E string to the 3rd or 4th string to continue the scale. Before learning other scales and modes, you should probably learn the other major scale positions... then you could do the A major in different registers without the big leaps.
Position shifts are going to sound 'smoothest' if the notes continue on the same string; if you're in fourth position and hit the B with the 4th finger on the 1st string, shifting up to the 6th or 9th position for the next note (C#) will sound better than leaping up and down, and having to change strings.
Guitar teacher offering lessons in Plainfield IL
Don't forget also to trust your ear to create a pleasing melody. I never had any luck turning scales into solos -- they always just sounded like scales. I discovered that good, strong melody is anchored by chord tones (those notes that make up the chord you're playing against), so if you can train your mind's eye to 'see' them, and us them as your main notes, you'll find the others will fall into place more easily.
The beauty of thinking chord tones is that when chords from outside the key come into play, you can simply continue following the chord tones --for example an F#7 in the key of D -- and your melody will stay on track.
I put a lesson together at http://planetalk.thatllteachyou.com/chrdtns/ if you're interested in reading more about this non-scalar approach to soloing/improvising.
Kirk
Kirk
You know we have been going over this type of topic a lot lately.
Scales and patterns should be used to identify locations of notes. They are a tool to lessen the time spent wondering where so you can free yourself to play.
Although I highly recommend learning them and understanding them, don't lose sight of the fact that they are merely a collection of ordered notes.
Nick's right about the use to identify note locations. But scales are useful for other reasons too - scales (and arpeggios) when practiced in every position present fingering problems to be solved... which improves technique.
As Andres Segovia said:
The practice of scales enables one to solve the greatest number of technical problems in a shorter time than the study of any other exercise.
Guitar teacher offering lessons in Plainfield IL
That's true.
You just want to keep in mind that not many guitarists say:
"Man did you hear that guy? He rocked. When the solo came around he played a G major scale."
Yep... you can separate guitar studies into two different areas: technique and communication.
To build technique you do drills, scales, picking exercises, arpeggios, etc.
To build communication you play with others, listen critically, and try to get in touch with what you want your instrument to say.
You pretty much want to have both... you don't want to be the guitarist who can play anything but has nothing to say... but it's not much better being able to envision brilliant solo lines and not be able to carry them off.
Guitar teacher offering lessons in Plainfield IL
You pretty much want to have both... you don't want to be the guitarist who can play anything but has nothing to say... but it's not much better being able to envision brilliant solo lines and not be able to carry them off.
Ive been near both ends of the spectrum, and trust me, neither end is very fun. balance is key, take the middle way, because trying to compensate when you overdo one thing can send you flying off balance in the other direction.
think deep into both areas of guitar and you will be a well-rounded player. Im trying to sort these things out right now, and it's not easy.
