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 )

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