One String Exercise Guitar Lesson

Chapter 1: (12:53) One String Scale I. Importance of Horizontal Scales

Note: The following information is taken from lesson 37 of Brad Henecke's Phase 2 Classic Rock series.

In his book, The Advancing Guitarist, Mick Goodrick argues that one should first master the guitar from a horizontal standpoint rather than a vertical standpoint. This is contrary to how most beginning guitarists learn the instrument. Most beginners learn a handful of vertical scale patterns that can easily be transposed to a different key on the neck. Many of these beginners run into problems while improvising due to this approach. Many players get stuck playing in one vertical scale position. They lack the ability to move up and down the neck to access different notes and potentially, new ideas.

Mick Goodrick presents many specific arguments in his book to support this claim. "Playing on a single string helps to eliminate two potential problems: 'paralysis' (fear of movement) and 'acrophobia' (fear of higher frets), since the entire length of the fingerboard is utilized from the very beginning. Also, Mick notes that "this approach is conducive to learning note locations because you can't rely on a fingering pattern (as in position playing)."

For all of the aforementioned reasons, it is very important that you learn to play each scale across all of the six strings. Keep in mind that this process will take a very long time. It may take years before you can comfortably play all of the scales you know horizontally in all twelve keys. However, the results of this practice are well worth the wait.

II. Lesson Exercises

A. Exercise Goals

Dave has designed the exercises in this lesson to address several specific issues. These exercises will improve your technical ability. They will enhance the synchronization of the right and left hands. By playing through these exercises, you will expand your knowledge of the fretboard. Finally, the material provided in this lesson can be used as a basis for your own lead guitar licks.

B. E Natural Minor Tonality

Both of the exercises demonstrated in this lesson are played in the E natural minor tonality. Remember that E Aeolian is another name for this tonality. Within this lesson, Dave demonstrates how to play through this tonality on the high E string. You should also learn how to play this scale in a horizontal fashion across the remaining five strings. From this point forward, include horizontal scales into your weekly technical practice regimen.

Note: Tablature and notation to these scale patterns can be found under the "Supplemental Content" tab.

C. Rhythm

Both of the exercises presented in this lesson are played in steady quarter note triplets. This rhythm can be quite difficult to master at first. There really is no practical way to count it. Listen to DMAC several times to get a feel for this rhythm. Then, practice the exercise on your own. Finally, try to play it along with DMAC to ensure that you are playing the rhythm correctly. Use all down strokes when playing quarter note triplets.

D. Exercise 1

This exercise and the subsequent exercise each feature notes from the E natural minor scale placed into groups of three. Within the first exercise, the notes in each group are played in an ascending order. The second version of this exercise features a descending pattern of this note group.

E. Beginning the Exercise

The exercise begins in twelfth position. You will play notes at the 12th, 14th, and 15th frets. These notes are E, F#, and G. Notice the fingering that Dave uses to fret these notes. Following this fingering will help you with accuracy issues. Also, this fingering is most conducive to practicing the exercise at high speeds.

Next, the pattern shifts down the fretboard. The first finger is now playing at the 10th fret. In this position, the second finger must stretch up to reach the note E at the 12th fret. Drill this stretch if it is difficult for you.

The left hand must perform larger stretches with each subsequent position shift. This feature of the exercise makes the exercise a great warm-up tool. Your fingers are gradually forced to stretch further as they become more warmed up. Towards the end of the exercise, the fingers receive a nice cool down once the open E string is reached.

The pattern is next shifted to the eighth fret. Dave chooses to play this segment with fingers 1, 3, and 4. You may find it easier to play with fingers 1, 2, and 4. Work on both fingerings to ensure that each of your fingers receive equal practice. Then, decide which fingering feels most comfortable to you within the context of the entire lick.

When the pattern shifts down to seventh position, no out of position stretches are required. This provides your left hand with a temporary rest from stretching. Be very careful when practicing any material that features wide left-hand stretches! Do not hurt yourself! Bring your thumb closer to the bottom of the neck to help with wide stretches.

Continue to shift the pattern down the fretboard until you reach open position.

F. Exercise 2

Exercise 2 features the same three note groupings that you learned in the first exercise. However, the notes within each group are played in descending fashion. Then, the exercise proceeds to the next lower position available within the E natural minor scale. Use the same fingerings that you used in Exercise 1 when playing Exercise 2. At 8:49, Dave provides a side-by-side comparison of both exercises. Notice how descending within each group of three notes greatly impacts the sound of the exercise.

If you find one exercise to be more difficult than the other, spend extra time practicing it. Remember to practice your weaknesses, not your strengths. Typically, most people find the descending pattern more difficult. It is usually more difficult to descend any lick, scale, exercise, etc. than it is to ascend.

G. Applying the Exercises to Solos

These exercises are an excellent stepping-stone to playing improvised licks such as the lines Dave demonstrates at 09:52. These licks are derived from the E Dorian Mode. You'll learn more about modes modes in Phase 2 once you advance to Brad Henecke's Phase 2 Classic Rock series of lessons.

H. Start with the Basics

Dave takes a very practical approach to teaching improvisation. At first, limit yourself to two strings when generating lead lines. Then, continue to add a string at a time. This approach forces you to expand your creativity by limiting your options at first. Chapter 2: (03:11) Using the Backing Track Improvisation

You can practice improvisation with the E natural minor scale by playing along with the JamTrack that is provided in this lesson. Dave provides a brief example of how to practice this process. He begins by playing the first exercise over the track. This is the exercise that ascends within each group of three notes. He follows Exercise 1 with Exercise 2. Next, he plays some harmonics that outline an E minor triad. These harmonics function as a smooth transition into the next section of the track.

The next section is played in the A natural minor tonality. Consequently, Dave shifts gears to this scale within his solo. He plays up and down the fifth position A natural minor scale in steady eighth notes. During the next repetition of the A minor section, Dave shreds some rapid triplet licks by applying some hammer-ons and pull-offs.

Get Creative!

The exercises that you learned in this lesson are just a few sample ideas of what you can play over a JamTrack. Feel free to get creative and experiment. That's the best way to explore improvising. Always let your ears guide you.

Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.