Major scale praticing

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Thread: Major scale praticing

  1. #1

    Join Date: Apr 2013
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    Major scale praticing

    I'm getting out of the pentatonics for a while. I want to try to shred all over the major scale and modes. Is there a good way to burn this into my brain? I been doing four ascending then coming to the second note of the scale, ascending four then going back to the third, rinse and repeat. I want my practice to be somewhat musical. I'm all ears if anyone has any input. I been using this page for reference. Understanding Legato Playing the bottom has 3nps setup on modes and all that stuff.

  2. #2

    Join Date: Oct 2008
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    When I want to spend some time working on scales, I pick a key, map out all the modes 3 notes per string and then work on one key per week or so. This week I am working in G-Major. I just run up and down through each mode for about a half hour or so, then take my favorite licks and progressions and transpose them, then maybe blow through arpeggios for a while. This helps me get the neck memorized for a particular key.

    Then I may record a quick vamp and noodle around that key for a while.

    For me, once I started transposing my favorite licks between the keys I find it easier to at least be able to play in a different key. It may not be earth shattering new licks, but at least I can be sort of comfortable and get around without hitting too many clams.

    I avoid patterns unless I am working on my picking or legato in particular.

  3. #3

    Join Date: Oct 2008
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    For both sanity sake and so that you can actually learn what things sound like in a musical contest I always recommend you record / loop / create a long sustainy synth pad with the notes of a chord in it and then practice over those. It gives you some context.

    You can record guitar chords or riffs to accomplish the same thing but then you're stuck with one tempo.
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  4. #4

    Join Date: Sep 2008
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    Lately, I've been trying to force myself to play different diatonic boxes from the mode they are typically associated with, since it forces me to think of landing on specific notes, rather than a specific dot in a scale box. If you're used to playing in Em, with that standard position 6 box up around the twelfth fret, then the position 2 A Dorian box is a great place to rip for a different set of comfortable under the finger intervals.
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  5. #5

    Try my YouTube channel!
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  6. #6

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    Quote Originally Posted by MarcelloPato View Post
    Try my YouTube channel!

  7. #7

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    Quote Originally Posted by MarcelloPato View Post
    Try my YouTube channel!
    Dude, this is a community of friends. Your only other post so far was deleted, because it was one of your Youtube videos.

    Spam somewhere else.

  8. #8

    Join Date: Apr 2011
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    Here is something relevant to the thread. The beginning of this video is Govan explaining on how he likes to treat the Pentatonic scales as a "shell" pattern and then add in notes to then add new scale sounds.

    [VIDEO]]Guthrie Govan Professor Shred completo - YouTube[/VIDEO]

    Here is my own personal example. A Major Pentatonic Scale is simply a Major Scale without the 4th or 7th note. What this allows you to do is fill in whatever notes you fill like adding. Here is a chart to show some possibilities:

    Major Scale - Major Pentatonic with Perfect 4 and Maj7th
    Lydian - Major Pentatonic with #4 and Maj7th
    Mixolydian - Major Pentatonic with Perfect 4 and Min7th
    Lydian Dominant - Major Pentatonic with #4 and Min7th

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