Major Scale Jam (Guitar Lesson)

Chapter 1: (02:32) Major Scale Jam In the previous lesson, Dave taught you how to play several important major scale patterns. Before proceeding to the remainder of this lesson, make sure that you have each of these patterns memorized. Also, you must be able to play these scales musically and in strict time. For a quick review of the scale patterns presented in the previous lesson, look over the major scale patterns provided under the "Supplemental Content" tab. Dave runs through a review of these scales in the lesson video as well.

Adding Some Fun to Technical Practice

Let's face it, practicing scales and technique can get boring rather quickly. This lack of excitement can result in less focused practice. This can ultimately lead to reinforcement of bad habits. The last thing you want to do is simply go through the motions when practicing any technical material. You will not improve your speed, control, or musicality by practicing in this way. Your scale practice must remain focused at all times. Practicing scales in new, creative ways will help you accomplish this goal. For this reason, Dave has prepared a JamTrack designed for major scale practice.
Chapter 2: (01:06) Play Along Example Using the JamTrack

When practicing with the JamTrack, you will play through each scale in the order in which Dave taught them in the previous lesson. You will begin with the E major scale played in first position. You will only play the ascending pattern of the scale. Then, proceed to the F major scale and play its ascending fretboard pattern. Continue through these patterns until you have completed the upper octave version of the E major scale played in 11th position.

First Section of the JamTrack

The JamTrack is divided into two sections. Dave demonstrates how to play along with the first section in this scene.

This track is played in 12/8 time. Each note is held for a dotted quarter note in this time signature. If you are unfamiliar with playing in this time signature, simply use your ears and follow along with Dave's example. The appropriate major chord is played along with drums to ensure that you are playing the correct scale.
Chapter 3: (02:50) Playing with Section 2 Dmac reviews how to play over the first portion of the JamTrack before proceeding to the second section. Make sure that you can play through the first section cleanly and in time before moving forward. The second section involves playing through the scales in a quicker rhythm.

Over the second section, the root note is played as a dotted quarter note in 12/8, and the remaining notes are played as eighth notes. Eighth notes are grouped in sets of three in this time signature, giving them the sound of a triplet rhythm in 4/4 time. Watch Dave closely for a clear example of how to practice along with the second section of the track.

Note: A transcription of how to play along with this section can be found under the "Supplemental Content" tab.
Chapter 4: (04:40) Final Thoughts Beginning Improvisation

In addition to practicing scales in the traditional ascending and descending practice, you can also practice your improvisational skills along with the JamTrack. Dave provides an example of this idea within the context of the A major pattern played in fourth position. Once you have mastered playing through the scales in strict time, begin to experiment with creating your own melody ideas within each scale pattern. The best way to get acquainted with the process of improvising is through simple trial and error.

This type of practice will serve as a building block or stepping stone on your way to playing complete improvised solos.

Improvising Guidelines

1. The most important component in a solid improvised solo is a clear rhythmic feel. You must be aware of what rhythmic note values you are playing at all times. For example, are you playing groups of eighth notes, triplets, sixteenth notes, etc.?

2. An improvised musical phrase is often compared to the spoken or written sentence. Each phrase that you play must express a logical, complete thought. You do not want to play the musical equivalent of the run-on sentence. Add punctuation between phrases by sustaining a single note or by simply not playing at all.

3. Use your ears to guide you through an improvised solo. Do not simply "connect the dots" by relying on scale patterns and muscle memory. This will result in an unmusical, robotic sounding solo.

4. Learn licks from your favorite guitarists. This process will serve as a spring board for your own lead guitar ideas.

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