Major Scale Improvising Guitar Lesson

Chapter 1: (01:44) Series Overview Welcome to Lead Guitar Techniques with Dennis Hodges! Watch and listen as Dennis improvises a mean solo in the key of E major. Learning the art of improvisation is the primary goal of this lesson set.

Improvisation begins with learning a handful of scales. Most scales are derived from the major scale. Consequently, Dennis has decided to begin his discussion of scales with the major scale. In the scenes that follow, Dennis explains the basic music theory pertaining to this scale. You will learn horizontal and vertical patterns that will enable you to play in a variety of keys across the fretboard.

In addition to scales, Dennis will cover a variety of lead guitar techniques throughout this series. Future topics include harmonization of a melody, tapping, sweep picking, bending, and much more! Chapter 2: (03:23) Major Scale Steps, One String Major Scale Theory

Every scale is based on series of steps. These steps are referred to as intervals. The major scale features a distinct scale pattern of its own. This pattern consists of the following interval pattern: whole, whole, half, whole, whole, whole, half. A whole step is comprised of two frets across the same string. A half step occurs from one fret to the next.

Learning Scales in a Horizontal Fashion

Note: The following information regarding horizontal scales is taken from lesson 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.

Applying the Major Scale Pattern to the 1st String

Dennis explains how the interval pattern of the major scale can be applied to the 1st string. The lowest possible note that can be played on this string is E. One whole step or two frets above E is the note F#. Remember that a whole step is represented by two frets. Continue to follow the pattern of whole and half steps listed earlier until you reach the next E note located at the 12th fret. Then, descend the scale back down. Remember Steve Eulberg's scale mantra: "What goes up must come down."

Applying the Major Scale Pattern to the 3rd String

This time around, Dennis does not begin the major scale pattern with an open string note. Instead, he begins with the note played at the first fret of the third string. This fretboard location produces the note G# or Ab. Once again, follow the major step pattern until you reach the G# note one octave higher at the 13th fret. Check your work by playing along with Dennis.

Horizontal Major Scale Quiz

First, pick a string number at random. Then, pick a fret number. If you are playing an electric, choose between 1 and 7 for the fret number. Pick between 1 and 4 if you are playing an acoustic. Electric guitars allow you to play in a higher range. Once you have chosen a string / fret location at random, play a horizontal major scale beginning with this note. Do not worry about note names just yet. Simply focus on the whole and half step pattern that defines the major scale. Notes will be discussed in later lessons. Chapter 3: (04:51) C Major Scale and Theory Relationships The musical alphabet consists of the notes A, B, C, D, E, F, and G. After G, the alphabet simply repeats. A specific pattern of whole and half steps can be applied to the musical alphabet. Half steps occur between the notes B and C. They also occur between E and F. A Whole step occurs between the remaining pairs of notes in the alphabet. Examine the following interval relationships listed below.

Between A and B: Whole Step
B and C: Half Step
C and D: Whole Step
D and E: Whole Step
E and F: Half Step
F and G: Whole Step
G and A: Whole Step

If the natural note names (notes with no sharps or flats) are written in order beginning with the note C, the C major scale is formed. This order of notes follows the interval pattern that defines the major scale.

C Major Pattern in First Position

In the last scene, you learned how to play the major scale from a horizontal perspective. Now, Dennis will demonstrate how the major scale can be applied to a vertical fretboard pattern.

Note: First position is frequently referred to as "open" position, because it contains several open string notes.

Note: Open the tablature / notation to this scale listed under the "Supplemental Content" tab.

Practice up and down this one octave fretboard pattern. Then, memorize it. Begin to play it in time with a metronome to work on rhythm. Count the beat out loud as you play through the scale. Play the scale pattern along with Dennis at 01:17 in the lesson video to ensure that you are not playing any incorrect notes.

Picking Practice

Practice through the scale using a variety of picking techniques. Play through the scale with all downstrokes. Then, use strict alternate picking. Start the alternate picking pattern with a downstroke. The next time around, begin with an upstroke. Developing your picking technique will come in handy later when playing solos.

Scale Degrees

A specific number can be applied to each note in the major scale. These numbers are frequently used when discussing important theory concepts. Play up the C major scale. Assign a number to each note. Within the single octave of the scale, C to C spans 8 notes. The appropriate scale degrees are listed below:

C: 1
D: 2
E: 3
F: 4
G: 5
A: 6
B: 7
C: 8

Forming Chords with the Major Scale

The first, third, and fifth notes from any major scale form a major chord of the same letter name. For example, the first, third, and fifth notes from the C major scale form a C major triad. Respectively, these notes are C, E, and G.

Pick these notes individually. Then, play them and let them each sustain. Watch Dennis at 2:30 for an example of these exercises.

Apply this formula to the remaining major scales. For example, the first, third, fifth notes of the E major scale form an E major chord. The same is true of A major. Hopefully you are beginning to understand how chords and scales are intertwined. Since a chord is built from a specific scale, that scale can be used when played over its related chord.

Playing the notes of the chord individually forms what is called an arpeggio. Since the notes within this arpeggio are the notes that comprise this chord, a C major arpeggio can be played over a C major chord in a solo. These notes can be played in any order over the chord. Chapter 4: (03:42) C Major, 1 Octave Pattern in 5th Position When learning a scale, it is important to learn where it can be played in a variety of different vertical positions on the fretboard. Dennis demonstrates the C major scale in fifth position. This means that the first finger is playing all of the notes at the fifth fret. This particular scale pattern is a one octave scale pattern. The notes in this pattern are one octave higher than the scale pattern that you learned for open position in the previous scene.

Practicing the Scale

Begin on the fifth fret of the third string. This note is C. Watch closely as Dennis plays through the rest of the pattern at 00:30 in the lesson video. Tablature and notation to this scale pattern can also be found under the "Supplemental Content" tab. Pay close attention to the fingering used. This fingering will allow you to play the scale with maximum speed, control, and accuracy.

Pause the lesson video and practice through the scale pattern. Play the scale along with Dennis at 01:05 in the lesson video to ensure that you are playing the correct notes. Remember to ascend and descend when practicing any scale. Once again, memorize this pattern. Then play it along with a metronome. Play a note for each click of the metronome. This produces quarter notes.

Next, determine which notes from this pattern form a C major triad. Remember that these notes are the 1st, 3rd, and 5th of the scale.

Shifting the Pattern to New Keys

This pattern can be moved to any position on the fretboard. However, it can only be used on the top three strings. Changing positions alters the key of the scale. For example, if you slide this pattern up two whole steps (4 frets higher), the scale becomes an E major scale. Practice through the major scale in this key. Then, find the E major arpeggio within the scale. This scale pattern will be used as the basis for improvisation in the following scene. Chapter 5: (10:02) Improvising within the Pattern Dennis explains how to improvise and create your own licks spontaneously by using scale segments and arpeggios. A backing track is included with this lesson for you to jam along with.

At first when improvising, limit yourself to the three notes that comprise the tonic triad. Refer to the lesson video if you need a review of where these notes are located within the vertical E major pattern. These three notes will always sound consonant with the backing track, because they are part of the tonic chord. Limiting the number of notes you can use will force you to create interest by applying various rhythms.

Dennis provides some examples of improvised licks that apply this method. Notice how each lick is a logical statement. Space is placed between each brief idea. This allows the music to breath and flow. A musical phrase is often compared to a spoken or written sentence. Every phrase must complete a logical idea. In addition, punctuation or silence must separate a phrase from the next. This can be accomplished by sustaining the last note of the phrase or by not playing at all. In time, you will learn how to use silence musically. This shows maturity, taste, and refinement in a solo.

Feel free to get creative with the rhythm. However, you must have an awareness of what rhythms you are playing. Are you playing quarter notes, eighth notes, or a combination of different rhythmic values? Make a note of the rhythm choices that Dennis uses in the lesson video. Also, notice how he repeats rhythms that he likes. Repeating these rhythms give his improvised solo a sense of unity.

When playing with the backing track, do not try to blaze a solo. Strive to create simple, catchy ideas. Often, simple, catchy ideas are the most enjoyable to listen to. Remember to crawl before you walk, and walk before you run. Speed will come with time and experience. If you can make a solo sound interesting with one note, just think of the possibilities with three notes! The possibilities are multiplied exponentially when all seven notes of the major scale are thrown into the mix.

Step 2

Next, limit your options to notes one, two, and three from the scale pattern. Now, you have two tones from the tonic chord and one chord that is outside of this chord. Dennis improvises with these three notes at 06:00 in the lesson video.

Don't be afraid to add techniques such as bends, hammer-ons, pull-offs, and slides to make your solo sound more expressive.

Step 3

Repeat this process with the third, fourth, and fifth notes of the scale. Once again, you have two chord tones and one non-chord tone to work with. Compare how the color of each individual note works along with the backing track. For example, the A note can sound kind of sour if you linger on it. However, it sounds great if you use it in passing from the third scale degree to the fifth or vice versa. Notice how Dennis uses many slurs. Slurs are very conducive to improvising with these three notes since they are all played on the same string.

Step 4

Now, use the first five notes of the scale when jamming along with the backing track. Dennis provides an example at 09:10. Repeat this 4 step process on a daily basis. Chapter 6: (01:14) Solo over the Backing Track In this scene, Dennis demonstrates a solo in the key of E major. He composed the beginning section of the solo. Later in the solo, he begins to improvise. Try this approach during your own practice sessions. Also, feel free to imitate some of the licks that Dennis plays. Chapter 7: (00:45) Wrap-Up Hopefully this first lesson gives you a taste of what to expect from the Lead Guitar Techniques series. In the next lesson, Dennis will break down the minor scale in a similar fashion. You will learn important theory concepts pertaining to this scale. The relationship between minor scales and chords will be discussed in detail. After learning theory, Dennis demonstrates minor scale patterns that can be applied to your own improvised solos.

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