Major Scales Guitar Lesson

Chapter 1: (00:29) Lesson Introduction DMAC shreds some mean licks derived from the E major scale to demonstrate how this scale can be applied to improvised guitar solos.
Chapter 2: (02:21) Major Scales Why Are Scales So Important?

This lesson begins a series of lessons solely dedicated to scales. Dave explains the importance of scales and why you must learn and master not only the theory behind them, but also how they are applied to the fretboard.

1. Scales are the basic building blocks of music.
2. Knowledge of scales is necessary to understand how chords are built and how they function.
3. Scales are the basis for more many important music theory concepts.
4. Knowledge of scales will help you develop lead techniques.
5. Practicing scales is conducive to building speed and overall technical ability.
6. Learning scales will increase your overall understanding of the fretboard.

Practicing scales and technique is often compared to practicing specific drills for a sport. Repeating certain movements is necessary to ensure that the mind and muscles are working together.

Music Theory?!? Yikes!

Don't allow yourself to be intimidated by music theory. In his lessons pertaining to scales, Dave will introduce theory concepts very slowly. He starts from square one and gradually works his way into slightly more advanced concepts. If you have any questions regarding the music theory presented in these lessons, contact any of the JamPlay instructors. Chapter 3: (06:42) E Major Scale Preliminary Information

Before you begin to practice these scales, you must memorize some preliminary information. At this point, you should have the note names across the entire sixth string memorized. This information is essential in order to determine the proper root note or starting point for each scale pattern. For example, if you wish to play a C major scale, you have to know where this root note is located on the fretboard. This note is located at the 8th fret of the sixth string. Consequently, the C major scale begins with the note C at this fretboard location.

Proper Technique

Similar to basic fingering exercises, scales provide an opportunity to address specific technical issues. Make sure that you adhere strictly to the following rules concerning technique whenever you practice scales. These rules will allow you to play with minimum effort and maximum accuracy.

1. It is perfectly acceptable to look down at your hands when practicing scales. As you become more fluent and comfortable with them, begin to focus less on your sense of sight. Allow your ears to guide you through the scale.

2. Keep all left-hand fingers as close to the fretboard as possible at all times. The pinkie finger has a strong tendency to float away from the fretboard when it is not being used. This bad habit can be eliminated in due time with proper attention and practice.

3. When playing through all of these scales, adhere strictly to the fingerings that Dave demonstrates. These fingerings will allow you to play through the scales with minimum effort.

4. Use the tips of the fingers to fret notes. Do not use the fleshy pads of the fingers!

5. Keep all finger relaxed and slightly bent at all times.

6. Keep the thumb perpendicular to the middle of the neck. Do not let the thumb creep up over the top of the neck. (Exceptions to this rule will be discussed in later lessons.)

7. Only the pointed tip of the pick should make contact with the strings. Do not dig the pick deep into the strings.

8. Keep your picking motions as small as possible. You only need to move the pick far enough to produce a clear tone.

9. When playing at slow tempos, use all downstrokes. As you increase the tempo, shift to alternate picking.

Scale Patterns

As Dave demonstrates each of the scales, notice how most of them share the same fretboard pattern. The E major and F major scales demonstrated in this lesson are the only exceptions. This is due to the open strings within these patterns. Similar to chords that contain open strings, these scale patterns or shapes cannot easily be transposed to other keys. Transposition of the E and F major scales requires a re-fingering of these fretboard patterns.

The major scale patterns taught in this lesson span one octave. These patterns are played on the sixth, fifth, and fourth strings. Later in the series, Dave will introduce major scale patterns that span two whole octaves across all six strings.

Always Play Musically!

Regardless of whether you are practicing a technical exercise or a piece of music, you must always play musically. The way in which you practice scales will transfer to the way in which you play melody lines or solo guitar licks. When practicing scales, play them like you would a piece of music. Play slowly and in time with a metronome. Make sure that you are playing with a flowing, connected legato sound. Each note should ring into the next. Also, ensure that you are producing no buzzing notes. Finally, all notes must be played at the same volume regardless of whether they are plucked using an upstroke or a downstroke.

Basic Major Scale Theory

Note: For music theory principles pertaining to the major scale, please visit the JamPlay Scale Library. This area can be accessed from the "Teaching Tools" button on the left side of the homepage.

E Major Scale

A. 1st Position Pattern

The first note in this major scale pattern is the open low E string. Similar to chords, scales have root notes. The root note of a chord or scale is often referred to as tonic. The tonic or root note of a scale names the scale. When playing any scale, always begin and end on the root or tonic note.

Due to the fact that it contains notes played with open strings, this E major scale pattern is played in first position. Position simply refers to the area of the fretboard that you are playing in. First position indicates that you will play all of the 1st fret notes with the first finger. The middle finger frets the notes at the 2nd fret and so on.

From a visual standpoint, the notes on the 5th and 6th string fall in the same fret locations for both strings. This feature will help you memorize this scale pattern. The fourth fret features a change in this pattern. The notes on the fourth string are located at the first and second fret.

B. Spelling of the E Major Scale

Whenever you learn a new scale, you must learn all of the notes contained within the scale. This can be accomplished by studying a diagram of the Circle of Fifths.

Note: A diagram of the Circle of Fifths can be found under the "Supplemental Content" tab. For a full lesson pertaining to the Circle of Fifths, refer to Matt Brown's Phase 2 Jazz series.

The circle indicates how many sharps or flats are in any given key. For example, the key of E major contains four sharps. Once you have determined how many sharps or flats are in the key, look up at the order of sharps and the order of flats. This will tell you which notes are sharp or flat in a particular key. Since the key of E has four sharps, look at the first four sharps listed in the order of sharps. These sharps are F#, C#, G#, and D#. So, all of these notes are sharp in the key of E major. The remaining notes in the scale are natural notes. As a result, the E major scale is spelled as follows: E, F#, G#, A, B, C#, D#, E.

Practice the process of spelling scales with the remaining keys presented in this lesson. Chapter 4: (03:09) F Major Scale Like the E major scale, the pattern for F major that Dave teaches is also played in first position. Remember to use the proper fingering for first position scales when practicing this pattern. Watch closely as Dave plays through this scale pattern. Adhere strictly to the fingering that he demonstrates. Tablature to this scale pattern with appropriate fingerings can also be found under the "Supplemental Content" tab.

Warning!

Be careful when fretting notes close to the nut. Due to the amount of tension placed on the strings at this area of the fretboard, these notes require a little more left-hand pressure to produce a clear tone.
Chapter 5: (19:12) Major Scale Pattern Movable Scale Pattern

The pattern for G major that Dave demonstrates is played in second position. This particular fretboard pattern is movable. This means that it can be transposed to any key on the neck that does not feature any open strings.

Watch carefully as Dave walks you through the notes and their corresponding fretboard locations. Play along with Dave or follow the tablature listed in the "Supplemental Content" section as you first begin to practice each pattern. Then, after you have practiced through the pattern a few times, begin to memorize it. Complete this process in a string-by-string fashion. Also, say each of the note names out loud as you play them. This will help you learn the scale much more efficiently. In addition, this type of practice will give you a clear understanding of what you are playing instead of simply where you are playing. You don't want to be a guitarist that simply connects the dots. You must always have an understanding of what you are playing and why you are playing it.

Transposition

Dave demonstrates how the pattern demonstrated for G major can easily be transposed to other positions on the fretboard. For example, by sliding this entire pattern up two frets, the A major scale is formed. This pattern is used to play the remaining scales presented in this lesson. As long as you know the note names across the entire sixth string, you can slide this pattern anywhere along the fretboard. Simply start on the proper root note, then play through the pattern.

One of the goals of this lesson is to get you acquainted with the locations of various notes on the fretboard. As you develop as a guitarist, it will become more and more important that you possess the ability to play chords and scales in various areas of the fretboard. As you advance, you will realize how this knowledge opens up a multitude of new, exciting opportunities.

Practice Routine

Add the new scales that you have learned in this lesson to your daily warm-up routine. As you learn more scales, you will need to develop a practice routine. It will become impossible to practice all of the scales that you know in a single practice session. Consequently, scales must be organized and spread out over a week's time. For more information about developing a practice schedule, refer to Matt Brown's first lesson in the Phase 2 Rock series as well as lessons 6 and 7 in the Phase 2 Jazz series.

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