10 steps to learn a new scale

Lately I asked myself what would be the most efficient, most laser focus method of learning any new material on the guitar such as scales.

I observed myself for a few weeks while practicing usual and uncommon material, what works, what doesn’t.

This post is based on my practicing experience as a guitar player passionate about productivity. My rule is just a picture of my way of practicing at the moment, knowing that methods or systems are meant to be improved.

The approach is a progressive and structured way of learning new material on the guitar, a method that can be adapted to arpeggios, intervals and clusters, too.

My main equipment is a guitar, a timer, a metronome and a looper pedal (or EHX Freeze pedal).

My timer sets the framework of my practicing schedule. If I don’t set clear goals, I won’t hit any target. All my objectives are set in advance, ideally the day before in order to avoid any trivial decision before starting the practicing session.

As for any learning process, repetition is the path to mastery. I practice regularly and commit to the schedule I’ve decided. If I’ve planned 30 min, I practice with total focus during 30 min, nothing less, nothing more. Focus is a muscle and I stick to my schedule to get fit.

As an example these 10 steps are applied here on G melodic minor scale.

1. Master the structure. This is theory, the s..t sandwich we all have to eat. If I can’t explain it, I can’t play it, period. Harmony is the grammar of music. I know that without theoretical knowledge I can’t go very far. There are a lot of great books about harmony. What is the scale made of? What are the intervals? How many notes? What is the name? Am I talking about a mode or a scale?

2. Know the context. This is theory again. Each scale is related to a specific system. Major, melodic minor, harmonic minor are basic systems. Diminished, augmented, whole tone are advanced systems. What system is related to that scale? What chords can be played on this chord? (By the way, is my chord knowledge robust enough to experiment easily on the guitar?)

3. Identify the root on the guitar. I draw a map of the scale on the guitar. Scales start from a root, the lowest note of the scale. I use low and medium strings (E, A and D strings) to have clear pictures on the guitar. The root can be an open string too.

4. Physically feel the intervals with the root. This step is inspired by the great Mike Stern who recommends to sing the root, slowly play the scale, ear thoroughly each note to connect ears and fingers with the rest of the body, as a complete resonant ensemble.

5. Hear the sound of each note on chords. I use a looper of a Electro-Harmonix Freeze pedal to play the chord. Then I simply experiment each note on chords. I try all main chords related to the scale, in all possible systems I've identified in step 2. For example I test G melodic minor on several chords, such as Gm, C, Am7, C7, D7, BbMaj7#5, F#7#9, etc...I test the sound of the scale with chords and notice its resonance in me.

6. Master each string. This is the horizontal approach. I disconnect scales from any pattern or positions. I apply the structure mastered in step 1 on each string of the guitar. I identify each note (name, neck position) of the scale on each string.

7. Master two basic positions (root on E and A). This is the vertical approach. Major chords positions are grounded in E and A strings. I use this comfort zone to apply the root of the scale on these position. I visualize basic scale positions and more advanced (3 or 4 notes per strings).

8. Practice patterns in position. This is where fun begins. Once the comfort zone is spread out and grounded on scale positions, I apply groups of notes or patterns to the scale. I use cycles, polyrhythm, odds groups of notes.

9. Improvise with constraints. Contraint is the mother of opportunity. I focus on specific limits and practice in small batches (10 min for example). 2 or 3 strings, a specific neck area, an interval, a rhythm pattern, etc...

10. Improvise for fun. I gather all the material I've learnt so far. I forget all limits I've experienced before. I just play for fun with the heart, doing my best to create beautiful music with everything I know on today's subject. Singing the phrases I'm playing is a great way of coming up with cool and original ideas.

( Note: George Benson is the boss )

www.soubelet.com

Pays Basque 2015

Some pictures of French Basque Country shot during 2014 holidays. 

Pattern transposition (part 2)

 Hi !

Today I'm getting back to pattern transposition and focus more on cool material that can be applied directly in a warmup situation or strict practicing sessions.

I've written a 9-bar phrase that can be broken down into 6 sequences. Each sequence can be view as an exercice on its own. This approach is inspired by the great Pat Metheny practicing book "Guitar Etudes".

This entry is about technical practicing with harmonic material such as chromatisms and arpeggios. Each element is transposed in intervals (2nd, 3rd, #4th).

Each separate element should be transposed and practiced in all neck areas.

( fig 1. ) is a chromatic lick is inspired by the great Mick Stern. A motive of 8 notes based on Bm starts with the 9th and the 11th and ends with chromatism. Then the motive is transposed in descending #4th cycles. B --> F --> B --> F, etc...

( fig 2. ) The pattern is based on major triads (Eb starting on the 3rd) transposed in 2nds. The transposed motive in Db is approached by a wide interval (sixth) to give an "open" sound. Eb --> Db

( fig 3. ) The pattern is a major 7th arpeggio with superstructure (9 and 13) that begins on the third. The transposition is in 2nds from G to A.

( fig 4. ) This pattern is based on Bm aeolian mode (Bmb6 sounds) and an augmented triad that starts on the b6. Then the motive is transposed in 2nd intervals. Basically, this is a pattern applied on B whole-tone scale

( fig 5. ) The pattern is a major 7th arpeggio with diatonic 4ths. The pattern is in F then transposed in descending 3rds (Db).

( fig 6. ) has an approach similar to ( fig 3. ). This is a major 7th arpeggios with super structure (9, #11, 13) transposed in 2nds. Basically, this is BMaj7(9/#11) made of BbMaj7 and Am7 arpeggios.
The C motive ends with a E triad to come up with CMaj7 #5/#11 sound.

Enjoy it!

Jean-François

www.soubelet.com 

Sixth senses (part 1)

Hi !

Today I’m sharing some ideas on how I like to practice basic material, and to focus on a cool interval, the sixth, very convenient in comp and solos.

The purpose of this post is:
to understand the connection between a third and a sixth,
to identify sixths intervals on the neck, especially vertically,
to play modes in sixths
to practice intervals with different rhythms,
to bring extra notes to the sixth and create patterns,


The sixth is nothing more than an inverted third.
C-E is a major third. E-C is a minor sixth
D-F is a minor third, F-D is a major sixth.

( fig. 1 ) shows these simple intervals and enable to hear thirds and sixths.

Now let apply major and minor sixths on a mode. « Moving chord tones » was all about applying chord tones on a mode (F# mixoydian), today we’re applying sixths on the same mode.

( fig. 2 ) is a plain reminder of F# mixolydian.

Now let’s play sixths on each note of this mode.

( fig. 3 ) is F# mixolydian played in sixths vertically, in Intervals only

If we break intervals into single notes, ( fig. 4 ) shows how to break F# mixolydian into sixths vertically.

I’ll focus on how to play sixths horizontally in future posts.

In my humble opinion, one of the purposes of practicing is to connect the dots between scales, modes, chords and others, in order to have a 360° overview of the basic material.

( fig. 5 ) shows how a play sixths with the addition of 5th, one step or half-step below the sixth. This 3-note pattern is a cool way to practice with a different rhythmic approach, in this case with triplets.

( fig. 6 ) is roughly based on the same approach, now with the addition of 7th, one step or half-step above the sixth.

These two exercices are efficient to practice many different ways of playing sixths, and also to connect the dots with diatonic intervals such as fifths and sevenths. Not to mention that that seventh are really important for chords.

I intend to post about substitutions in the future. For the moment, let’s have fun with sixths on F# mixolydian.

In ( fig. 7 ) the purpose is to play sixths, two degrees above one another.

Ex: F# - A#, then G#-B, then A#-C#, etc…

The structure of this 4-note group is 1-6-3-1.

We notice that each pair of sixths is some kind of arpeggio, not so far from the diatonic arpeggios we all know.

Ex in bar 14: F#/D#/A/F#, G#/E/B/G#, etc…

The benefits of this exercice are:
- mastering sixths positions,
-  introduction to substitution approach,
-  enlargement to the sound,
- coming up with new patterns.

Have fun


Jean-François

www.soubelet.com