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Greetings, new visitors!
This is Rodrigo Moreira, a guitarist, bassist, and the editor of this blog. If you've arrived here through this page, welcome to the 10th post in a 15-part series where I teach music theory as it applies to guitar, covering everything from simple intervals to improvisation and arrangements. You can find links to all previous posts right below this paragraph—just click to access any of them.
For my regular visitors, thank you for your continued support. Starting now, I'll be posting four new articles every month and adding extra material to the store section. If you haven't already, please bookmark this blog and leave a comment at the bottom of this post with any topics you'd like to see covered in the future.
Thank you all,
Rodrigo
List of posts:
Simples Intervals -> Compound Intervals -> Triads -> Drop-2 Chords -> Drop-3 Chords -> Shell Chords & Extensions -> Triads & Extensions -> Chord Melody -> Guitar Arpeggios -> Guitar Scales -> Major Keys -> Minor Keys -> Harmonic Minor Keys -> Melodic Minor Keys
WHAT ARE MUSIC SCALES?
If intervals are the distance between two notes, triads are chords formed by combining three different notes, and tetrads (also known as 7th chords) are created by combining four different notes. Arpeggios are the notes of these chords played individually. We can define scales as sequences of notes that include the notes of a chord and its tensions, played one at a time.
Student: Could you give me an example?
Rodrigo: Sure thing! Have you ever heard of the pentatonic scale?
Student: I’ve heard of it!
Rodrigo: Awesome! The Pentatonic Scale, specifically the minor 7th pentatonic, is the most well-known scale across various music genres. Its formula consists of the root, minor third, perfect fourth, perfect fifth, and minor seventh (or R, b3, 4, 5, b7). Are you following me?
Student: Yes, I read the other articles.
Rodrigo: Great! Let’s take the C minor 7th pentatonic as an example. This scale consists of C, Eb, F, G, and Bb. If you think of it as a chord, it would be a Cm7(11), where F (the 4th) becomes the tension 11th, and the other four notes are the chord tones of the Cm7 chord. That’s why it’s called the “minor 7th pentatonic” because it essentially forms a minor 7th chord with an added tension.
Student: Impressive! What if, instead of F (the 4th), I added D (the 2nd)? Would it still be considered a minor 7th pentatonic?
Rodrigo: Absolutely! Although, in this case, since the term “minor 7th pentatonic” is commonly understood to include the 4th, I would name it the “minor 7th (9) pentatonic” to make it clear.
Student: How about adding A (the 6th) instead (C, Eb, G, A, Bb)?
Rodrigo: Same principle. I would call it the “minor 7th (13) pentatonic.” Since a minor chord with a major 13th is characteristic of the Dorian mode, I might also call it the “Dorian Pentatonic.” Similarly, a minor pentatonic with Ab (the b6th) could be called the “Aeolian Pentatonic,” and with Db (the b2nd) could be called the “Phrygian Pentatonic.”
Student: But why do most musicians know the minor pentatonic as having the 4th degree instead of the other tensions?
Rodrigo: Most likely because it’s the easiest one to play. The minor pentatonic, Cm7(11), is often displayed as patterns with two notes per string, making the notes conveniently positioned under each other on the fretboard. This layout makes it straightforward for guitarists to visualize and play.
I'm getting a little ahead of myself with certain names here, but you'll understand the origin of each Greek mode better when we study major and minor keys. For now, I want you to grasp the following concepts:
Pentatonics: (Pent: five - tonics: tones) consist of five-note scales, which are essentially four-note chords with one added tension. Examples include the minor 7th pentatonic, minor 7th (b5) pentatonic, minor 6th pentatonic, major 6th pentatonic, major b2 pentatonic, and major b6 pentatonic.
Hexatonics: (Hex: six - tonics: tones) consist of six-note scales, which are four-note chords with two added tensions. Examples include the whole-tone scale and the blues scale.
Heptatonics: (Hept: seven - tonics: tones) consist of seven-note scales, which are four-note chords with three added tensions. Examples include the major natural scale, minor natural scale, melodic minor scale, harmonic minor scale, and all Greek modes derived from these scales.
Octatonics: (Oct: eight - tonics: tones) consist of eight-note scales, which are four-note chords with four added tensions. Examples include the symmetrical diminished scale and the half-whole scale.
The following categories are mostly used in atonal music, which involves breaking the concept of a tonal center (or key center) and may not be immediately useful, but it's important to know they exist:
Nonatonics: (Non: nine - tonics: tones) consist of nine-note scales.
Decatonics: (Dec: ten - tonics: tones) consist of ten-note scales.
Undecatonics: (Undec: eleven - tonics: tones) consist of eleven-note scales.
Dodecatonics: (Dodec: twelve - tonics: tones) consist of twelve-note scales.
HOW MANY SCALES ARE THERE?
There are as many scales as mathematics permits by combining the 12 notes of Western music, considering a minimum of 5 notes (pentatonic scales). If you consider only pentatonic scales and apply the principles of combining chords with tensions, you'll end up with an overwhelming number of pentatonic scales. There are 11 types of 7th chords (maj7, min7, dom7, min7(b5), dim7, min(maj7), 7sus4, maj7(#5), maj7(b5), dom7(#5), and dom7(b5)). For each chord quality, you could create new pentatonics by adding one tension (b9, 9, #9, 11, #11, b13, 13, etc.). This number increases further if you consider major 6 and minor 6 chords as part of the 7th chords as well.
Needless to say, these numbers increase even further when you move to hexatonic and heptatonic scales, as you can combine even more tensions simultaneously.
Student: I remember reading about avoided notes in previous posts. For example, I know that for minor chords, the b9th is an avoided note. Would it still make sense to have a min7 pentatonic scale with a b9th?
Rodrigo: That’s a great question! First of all, most scales have avoided notes, but that doesn’t mean you should never play them. In fact, if you never play them, you'll miss out on the unique sound of that scale or mode. The issue with avoided notes arises when we end our melodies or phrases on them, letting them ring out for a long time. This creates a minor 9th interval with one of the chord tones, resulting in a lot of dissonance. The same principle applies when playing chords: if you play a min7 chord and add the b9 on top, it creates the same dissonance. In conclusion, avoided notes should be used as passing tones to connect chord tones.
Student: Oh! I think I got it.
Rodrigo: I should mention something else: the idea of avoiding certain notes is becoming outdated. Many improvisers and composers now use those dissonances intentionally, as your ears can adapt to them. The concept of "can do" or "can't do" doesn't really align with the purpose of art. I always emphasize this: if it sounds good to you, use it!
For educational purposes, it makes sense to study avoided notes because they have been a foundation of Western music for centuries. However, this is one of those cases where you need to learn the rule first before you can effectively break it.
Student: I know you said we'll get to major and minor keys soon, but I have an important question about that topic. From what I've seen on other music theory websites, a single scale generates a lot of chords, and technically, I can use that one scale to solo and compose melodies over those same chords. For example, I saw that the C major scale (C, D, E, F, G, A, B) generates the following chords: Cmaj7, Dm7, Em7, Fmaj7, G7, Am7, and Bm7(b5). So, if a song has chords like Am7 | Dm7 | G7 | Cmaj7, shouldn't I just think of the C major scale notes to create my solos?
I'm asking because it seems your approach to improvisation is more like what jazz players do, right? Thinking of each chord individually.
Rodrigo: I don't really like the idea of separating what people do by style. The concept of thinking of chords individually is what all good melody creators do, whether they're aware of it or not. Sure, you can think of the C major scale to solo over the chord progression you mentioned, but if you don't emphasize the notes belonging to Am7 (A, C, E, G) while the harmony plays that chord, the melody won't make sense when you switch to the next chord. To listeners, it will sound like you're just playing random notes that "work" in the context, but the melody won't have a coherent movement.
In the end of the day, the two approaches are essentially the same, but thinking of the chords individually will lead to better melodies.
DO I NEED TO KNOW ALL THE GUITAR SCALES?
Absolutely not! In fact, many guitar heroes made their entire careers using only major 6 and minor 7 pentatonics, the blues scale, and the major and minor natural scales.
Student: So, what’s the purpose of learning more than that?
Rodrigo: What if I told you that you could have a successful career as a painter using only black, white, and gray? How would you react? Would you think, "Well, that's easier, so I'll focus on that," or would you be surprised and wonder about all the other colors like blue, red, green, yellow, brown, orange, purple, turquoise, indigo, gold, silver, beige, magenta, pink, violet, among many others?
It's the same with music. There are so many sounds to explore. Would you be satisfied sticking with what most people use? I'm honestly asking because there's nothing wrong with it. It can be just as challenging to sound original with familiar scales as it is by exploring new ones.
Rodrigo: See? This type of question highlights a major issue with music education. We often focus on what we can or can't do, how long it takes, or how much we need to know, but there are no definitive answers to these questions. Just as there's no minimum number of scales you need to know, there's no maximum either. An artist thrives by exploring everything at their disposal, whether it's their technical skills or knowledge limitations.
When you attend music school, it's common to hear professors say that you can solo over a Dm7 chord using modes like D Dorian, D Aeolian, D Phrygian, D Dorian #4, D Dorian b2, and so on. While this makes sense, if you stop there, you'll never truly understand how to extract the real sound of each mode, use it freely, or recognize it in the future. Without breaking that barrier, you might hear a great improviser playing an Eb Dorian mode over a Dm7 and not understand why. Music books might call it "playing outside" because there's no better explanation, but experienced improvisers know that the dissonance created by playing that mode one step above can make sense once resolved back to Dm7. Or, it might be something they felt in the moment.
There's nothing wrong with the chord-scale system, as long as you don't stop there. Our aural skills often aren't developed as much as our visual skills. It takes time to assimilate the sound of chords, tensions, scales, modes, arpeggios, etc. First, we create visual and tactile connections (chord and scale shapes), and gradually, we start connecting those shapes to their sounds.
To help you begin to understand the different sounds of each scale and mode, later in this post, I’ll provide not only the recommended shapes but also audio tracks for you to listen to. Remember, you won't be able to "memorize" their sounds immediately. It will take time and experimentation to internalize them.
With all that in mind, I'll share a list of the most common scales and modes that are essential to every great improviser's repertoire.
TOP 22 MUST-KNOW GUITAR SCALES
Here’s a list of the most common scales and modes used to improvise solos and compose melodies across all music genres. For this post, I'll focus exclusively on heptatonic scales, as they cover all the Greek modes and will set the stage for my next post on major and minor keys. The only exceptions will be the Symmetrical Diminished and Half-Whole scales, which are octatonics, and the Whole-Tone scale, which is a hexatonic. Additionally, I’ll dedicate a separate post to pentatonic scales and another to the use of the blues scale.
Major 7th chords (e.g., Cmaj7): These chords can generate the following scales by combining different tensions: Ionian mode (major natural scale), Lydian mode, and Lydian #2 mode.
Minor 7th chords (e.g., Cm7): These chords can generate the following scales by combining different tensions: Aeolian mode (minor natural scale), Dorian mode, Dorian #4 mode, Dorian b2 mode (same as Phrygian 6), and Phrygian mode.
Dominant 7th chords (e.g., C7): These chords can generate the following scales by combining different tensions: Mixolydian mode, Mixolydian #4 mode, Mixolydian b6 mode, Mixolydian b2b6 mode, and the Half-Whole scale.
Minor 7th (b5) chords (e.g., Cm7(b5)): These chords can generate the following scales by combining different tensions: Locrian mode and Locrian 2 mode.
Minor major 7th chords (e.g., Cm(maj7)): These chords can generate the following scales by combining different tensions: Melodic minor scale, Melodic minor #4 scale (also known as the jazz minor scale), and the Harmonic minor scale.
Diminished 7th chords (e.g., Cdim7): These chords can generate the following scale by combining different tensions: Symmetrical Diminished scale.
Dominant 7th suspended 4th chords (e.g., C7sus4): These chords can generate the following scales by combining different tensions: Mixolydian mode, Dorian b2 mode, and Phrygian mode.
Major 7th (#5) chords (e.g., Cmaj7(#5)): These chords can generate the following scale by combining different tensions: Lydian augmented mode.
Major 7th (b5) chords (e.g., Cmaj7(b5)): These chords can generate the following scales by combining different tensions: Lydian mode and Lydian augmented mode.
Dominant 7th (#5) chords (e.g., C7(#5)): These chords can generate the following scales by combining different tensions: Altered scale and Whole-tone scale.
Dominant 7th (b5) chords (e.g., C7(b5)): These chords can generate the following scales by combining different tensions: Altered scale, Whole-tone scale, and Mixolydian #4 mode.
You might think there are more than 22 scales or modes, but that's because some scales and modes can be used with multiple chords.
ALL SCALE POSITIONS YOU NEED TO KNOW (1-OCTAVE, 2-OCTAVE, 3-OCTAVE)
I’m going to show an alternative approach to playing positions that differs from the conventional method. Traditionally, playing positions are defined by the position of your index finger. For example, if you play the C major scale starting from the F note on the 1st fret of the low E string, this is known as “the first position.” Playing the same scale starting from G on the 3rd fret of the same string is referred to as “the third position,” and starting from A on the 5th fret is “the fifth position,” and so on. This method results in seven different positions for playing any heptatonic scale, as each of the seven notes provides a new starting position. However, I believe that two of these positions are unnecessary and add extra work without significant value. Therefore, I recommend eliminating the scale shapes starting from the 4th and 7th degrees, as the positions starting from the 3rd degree and the root already cover the necessary range.
In the following images, I’ll show you how to play scales in 1, 2, and 3 octaves using the C major scale as an example. These shapes cover the entire fretboard, and the C major scale shapes can easily be adapted to any other heptatonic scale by moving certain notes up or down one step. Spend as much time as you need working on these positions, as they can be applied to any other scale and mode.
I’ll start by demonstrating all the different ways to play the C major scale and will highlight the five most important ones at the end of this section.
C major scale formulas:
R, 2, 3, 4, 5, 6, 7 (C, D, E, F, G, A, B); or
Cmaj7(9,11,13); or
“Whole step; whole step; half-step; whole step; whole step; whole step; half-step”
1-OCTAVE SCALE
Left Hand: Start the following example with your pinky finger and finish with your middle finger.
Right Hand: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
The same pattern should be practiced starting from the E string, but in this case, you should start with your pinky finger and finish with your index finger.
LH: Start the following example with your middle finger and finish with your pinky finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
The same pattern should be practiced starting from the E string, using the same fingering pattern.
LH: Start the following example with your index finger and finish with your middle finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
The same pattern should be practiced starting from the E string, using the same fingering pattern.
1-OCTAVE SCALE ON 1 STRING
LH: After playing E (open string), play F with your index finger, G with your middle finger, and A with your pinky finger. Then, shift your hand to play B with your index finger, C with your middle finger, and D with your pinky finger. Complete the octave by shifting your hand again and playing the E on the 12th fret with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
*As a rule of thumb, when moving up the fretboard on the same string, always shift and change positions using your index finger.
LH: After playing B (open string), play C with your index finger, D with your middle finger, and E with your pinky finger. Then, shift your hand to play F with your index finger, G with your middle finger, and A with your pinky finger. Complete the octave by shifting your hand again and playing the B on the 12th fret with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: After playing G (open string), play A with your index finger, B with your ring finger, and C with your pinky finger. Then, shift your hand to play D with your index finger, E with your ring finger, and F with your pinky finger. Complete the octave by shifting your hand again and playing the G on the 12th fret with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: After playing D (open string), play E with your index finger, F with your middle finger, and G with your pinky finger. Then, shift your hand to play A with your index finger, B with your ring finger, and C with your pinky finger. Complete the octave by shifting your hand again and playing the D on the 12th fret with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: After playing A (open string), play B with your index finger, C with your middle finger, and D with your pinky finger. Then, shift your hand to play E with your index finger, F with your middle finger, and G with your pinky finger. Complete the octave by shifting your hand again and playing the A on the 12th fret with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: After playing E (open string), play F with your index finger, G with your middle finger, and A with your pinky finger. Then, shift your hand to play B with your index finger, C with your middle finger, and D with your pinky finger. Complete the octave by shifting your hand again and playing the E on the 12th fret with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
2-OCTAVE SCALE
LH: After playing E (open string), use your middle finger to play F, your pinky finger to play G, and continue this pattern. Use your middle finger for any note on the 2nd fret.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
The image above illustrates the C major scale starting from its 3rd (E), and the following image shows the same pattern one octave higher. The purpose of the second image is to demonstrate that when starting the pattern from the 3rd, we start and finish with our index finger. In the lower octave, we cannot use the index finger because some notes are played on open strings.
LH: Start the following example with your middle finger and finish with your middle finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: Start the following example with your pinky finger and finish with your pinky finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: Start the following example with your middle finger and finish with your middle finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
LH: Start the following example with your index finger and finish with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
3-OCTAVE SCALE
The 3-octave scale is much easier to memorize than the previous ones because it repeats its pattern every two strings.
LH: Start by playing C with your index finger. Shift your hand and play D with your index finger again, then play E with your middle finger, and F with your pinky finger. Move to the next string and play G with your index finger, A with your middle finger, and B with your pinky finger.
This creates a simple pattern: (4;3) - four notes on one string (using your index finger for the first two notes) and three notes on the next string. Follow this pattern until you reach B on the high E string, and finally play the last C with your index finger.
RH: The square-shaped symbol above the notes indicates a downstroke, while the V-shaped symbol indicates an upstroke.
DO I NEED TO KEEP THE SAME FINGERINGS AND PICKING DIRECTION?
No, you can use any fingering that feels more comfortable for you. I chose these fingerings because they are easily adaptable to other scales.
The picking directions I provided are based on the principle of economic picking, which combines alternate picking and sweep picking for maximum efficiency.
ECONOMIC PICKING:
When playing more than one note on the same string, we alternate.
When moving to a string below, use a downstroke if the previous stroke was a downstroke.
When moving to a string above, use an upstroke if the previous stroke was an upstroke.
The goal of economic picking is to make the picking motion as smooth and efficient as possible. As a general rule, we try to keep the same picking direction whenever possible.
LIFE HACK
Earlier, I mentioned that I would highlight the most important shapes among those I've shown. Let me start by saying that all of these shapes are important. To achieve a high level of proficiency, you will eventually need to master all these positions. However, if you're looking for a short answer, here it is: You need to know the five 2-octave scale shapes and the 1-octave scale shape on the high E string (1st string).
The 2-octave shapes already contain the 1-octave shapes. However, it's important to know the 1-octave shapes as they serve as a reference point for where the scale starts repeating itself. In the long term, this knowledge will help you identify the names of other notes around the fretboard.
Think of the five 2-octave shapes as follows: one starting from the 3rd degree, one from the 5th degree, and three starting from the root. Among the root-starting shapes, there’s one that starts with the pinky finger, one with the middle finger, and one with the index finger. This system applies to all scales and keys.
Use the root notes on the A and E strings as your reference points. Many of the scale positions I demonstrated earlier use the note C on the 3rd fret of the A string and the C on the 8th fret of the E string as starting points. This is because guitarists typically memorize the notes on these two strings quickly, due to how bar chords are displayed on the fretboard. When mapping scales (regardless of the key), look for the root on the E string and play the three 2-octave shapes starting with different fingers. These three shapes will cover the entire scale in three different directions.
For the remaining two shapes, locate the same root on the A string. The 5th degree will always be directly above the root (on the same fret if it’s a perfect 5th), and the 3rd degree forms a diagonal with the root (forming a minor or major 6th interval with the root).
[5th and root - G and C]
[3rd and root - E and C]
**As a rule of thumb, always be aware of the root's location, regardless of your starting point.
If you only memorize vertical shapes, you'll struggle to transition between different positions on the fretboard. By learning how to play the 1-octave scale on the high e string (1st string), you’ll solve this problem. Additionally, since both the 1st and 6th strings are Es, the scale is positioned the same way on both strings, simplifying the learning process.
Why is this method more effective? Many traditional methods recommend memorizing all the Greek modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) to master the major scale across the fretboard. However, after investing hours in memorizing these modes, students often struggle with applying them and still feel lost on the fretboard. In reality, knowing the names of the modes is similar to knowing the names of scale positions—it doesn't change absolutely anything. Modes only have meaning in context, such as when playing over a specific chord; otherwise, they sound like variations of the major scale (we’ll explore the Greek modes in more detail in the next post).
Instead, focus on locating the chord tones (root, 3rd, and 5th) when learning scales and start from there. By doing this, you'll always have the five most important shapes, which will remain the same to all keys
THE SOUND OF EACH SCALE (AUDIO TRACK, TABS, STANDARD NOTATION)
For each of the following examples, you'll see a diagram to help you remember the chord from which the scale and its tensions originate (blue circles represent the chord tones, and orange circles represent the tensions). Following the diagram, you'll find the scale's formula, standard notation, tablature, and an audio track. The audio track will feature the original chord in Drop-2 root position, the tensions of the scale, and the scale itself played sequentially in eighth notes, triplets, and sixteenths.
IONIAN MODE
(R 2 3 4 5 6 7)
LYDIAN MODE
(R 2 3 #4 5 6 7)
LYDIAN #2 MODE
AEOLIAN MODE
(R 2 b3 4 5 b6 b7)
DORIAN MODE
(R 2 b3 4 5 6 b7)
DORIAN b2 MODE
(R b2 b3 4 5 6 b7)
DORIAN #4 MODE
(R 2 b3 #4 5 6 b7)
PHRYGIAN MODE
(R b2 b3 4 5 b6 b7)
MIXOLYDIAN MODE
(R 2 3 4 5 6 b7)
MIXOLYDIAN #4 MODE
(R 2 3 #4 5 6 b7)
MIXOLYDIAN b6 MODE
(R 2 3 4 5 b6 b7)
MIXOLYDIAN b2b6 MODE
(R b2 3 4 5 b6 b7)
HALF-WHOLE SCALE
LOCRIAN MODE
(R b2 b3 4 5 b6 b7)
LOCRIAN 2 MODE
(R 2 b3 4 b5 b6 b7)
MELODIC MINOR SCALE
(R 2 b3 4 5 6 7)
MELODIC MINOR #4 SCALE
(R 2 b3 #4 5 6 7)
HARMONIC MINOR SCALE
(R 2 b3 4 5 b6 7)
SYMMETRICAL DIMINISHED SCALE
(R 2 b3 4 b5 b6 bb7 b8)
MIXOLYDIAN MODE OVER 7SUS4
(R 2 3 4 5 6 b7)
DORIAN b2 MODE OVER 7SUS4
(R b2 b3 4 5 6 b7)
PHRYGIAN MODE OVER 7SUS4
(R b2 b3 4 5 b6 b7)
LYDIAN AUGMENTED MODE
LYDIAN AUGMENTED MODE OVER CMAJ7(b5)
(R 2 3 b5 #5 6 7)
READ! |
P.S. Notice that the way I wrote the Lydian Augmented formula for the Cmaj7(b5) differs from the one I used for the Cmaj7(#5). Although it's the same scale, the note F#—previously interpreted as the tension #11—becomes part of the chord in the case of Cmaj7(b5). We then refer to it as Gb, the diminished 5th (b5). The same principle applies when you encounter the C7(b5) chord-scales.
LYDIAN MODE OVER CMAJ7(b5)
(R 2 3 b5 5 6 7)
ALTERED SCALE
WHOLE-TONE SCALE
ALTERED SCALE OVER C7(b5)
(R b2 #2 3 b5 b6 b7)
WHOLE-TONE SCALE OVER C7(b5)
(R 2 3 b5 b6 b7)
MIXOLYDIAN #4 OVER C7(b5)
(R 2 3 b5 5 6 b7)
HOW TO PRACTICE GUITAR SCALES?
Memorize the C Major Scale: Start by learning the different ways to play the C major scale. Focus on playing the scales up and down, including on a single string, without using a metronome for now.
Test Your Knowledge: Once you feel confident, return to the 1-octave C major scale on the high e string. Play a random note and see if you can play the entire scale downward to the low E string from that note.
Improvise Over a Vamp: A "Vamp" is a one-chord backing track, which you can either record yourself or find on YouTube. For the C major scale, search for “C major Vamp” or “One chord backing track in C major.” Start improvising freely and make sure you use both low and high notes to create a dynamic melody or solo.
Explore Matching Scales: Experiment with different scales that match the chord you are soloing over. For example, over a Cmaj7 chord, try using the Ionian mode, Lydian mode, and Lydian #2 mode, one at a time.
Incorporate Rhythmic Variations: If you have a solid rhythmic foundation, go back to the scale shapes and play them using various rhythmic figures such as eighth notes, triplets, quintuplets, septuplets, and sixteenth notes. At this point, you can use a metronome. Remember, practicing different rhythms without applying them to your solos is not effective.
Improvise Over Complex Chord Progressions: Once you are comfortable with the previous steps, challenge yourself by improvising over more complex chord progressions, such as IIm7-V7-Imaj7 (e.g., Dm7 G7 Cmaj7). Ideally, you should use different scales for each chord based on the content from this blog. For this progression, a common choice would be D Dorian, G Mixolydian, and C Ionian. This step will be significantly more challenging, so take your time and respect your learning process.
Solo Over Entire Songs: Finally, practice improvising solos over complete songs. This will help you apply everything you've learned in a more musical context.
If you want to learn more ways to practice scales, be sure to bookmark this blog and check back next week for new tips and techniques!
Thank you for reading all the way through.
All my best,
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