#1
What does playing scales everywhere around the neck in in simple english actually mean.

Does it mean playing it in more positions and starting on the C (for example 1st fret on b string and then upward (in tone) or is it for example starting at the F on the E string and then playing just the notes which are in the scale
Quote by razorback91
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Yes, its its own kind of metal, but its still metal.
#2
I think it just means playing scales in different positions on the neck. Such as 5th string roots etc
#3
I believe (but don't quote me) that what your describing is harmonizing. Harmonizing is basically playing a lick that fits with the rest of the song well. So as far as soloing is concerned, you basically use scales. Being able to move these scales around, or AROUND THE NECK, and keep the solo relevant to the song is harmonizing.

Depending on the how aggressive you attack this it can mean playing, I dont know, the C major pent a steps away or perhaps an entire 5th apart, but they would still sound relevant to the solo/song, or harmonized.

I'm still a music student, so perhaps what your describing is different. Hope this helped.
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#4
I think that "playing all round the neck" means that you don't just learn scales as blocks in positions but rather that you learn where the notes are on the whole neck, so that when you solo you move your left hand up and down then neck, rather than just keeping it in one position.

One good way to learn this is to start at the 15th fret on the top e string and widdle your way down to open e on the bottom string. It's a bit like going for a walk, each time you can try a different route and you'll soon discover bits you like and bits you don't.
#5
^ Or that you learned all the blocks or patterns and they connect completly so you can find/see/play any notes in the key/scale anywhere on the neck. If you know only one position of the pentatonic in a given key then you limited to playing in 2 places on the neck or wanking by ear not knowing what your doing so much. However if you know all 5 of the shapes and can visualize them shifting up or down for difernt keys you can find notes in key and express yourself over the entire fretboard as oppesed to staying in 1 box.

THeres different ways to think aobut it some like to think only in shapes some like to learn all the notes and then nkow the notes of the scale thus knowing every note in key on the whole fretboard instead of thinking of patterns. I do a little of both I know shapes but also know most of the notes im playing. Still working on it.

If you only go by shapes you have to have a good ear/feel to play over chords and accent the notes you want beacsue you dont nkow what they are. If you know the notes your playing and a little theory background you can have ideas of target notes to hit on certain chords or changes. Its strange how different people see the fretboard differantly but part of what makes everyone style different.
#6
It's the ability to play in a key or scale all over the neck. That's actually it in simple english.

That's knowing every position of every note in the scale, and being able to move between any of them.
#7
Quote by 08L1V10N
What does playing scales everywhere around the neck in in simple english actually mean.

Does it mean playing it in more positions and starting on the C (for example 1st fret on b string and then upward (in tone) or is it for example starting at the F on the E string and then playing just the notes which are in the scale


Well playing scales everywhere around the neck means exactly what it sounds like it means: playing scales everywhere around the neck

If you know your C Major scale and can play it in one position.... thats just one position. If you know all of the positions of the C Major scale that cover the entire neck, then you can play it "everywhere around the neck".
shred is gaudy music
#8
Freepower and Munky have got this.

I'd like to add that being able to solo all over the neck is a massive step in your guitar ability. When you can fly across 16 frets without even thinking about it, assuming your playing is tasteful and not just wank, you're getting quite good, and even if it is wank, your technical ability is good..
#9
^ yeah, I had lessons with Martin Goulding once. We could literally just shout out fretboard positions and he could legato almost anywhere on the fretboard in any key without looking. Ascending or descending in pitch, up or down fretboard, in any combination. Try it and you quickly realise how limited your fretboard knowledge is. At the minute, fretboard knowledge is actually my top priority at practice time.
#10
I can't just play a scale fingering, but I know a bunch of little transition licks and arpeggios that allow me to navigate the neck, which is really all that matters.

The outcome is all that matters. While I rant that you should learn theory and proper technique, if you find something unconventional that consistantly works, go with it. There was an American sprinter in the late 80s-mid 90s (or maybe swimmer; I was young then) who had a weird style of running (or swimming), but it worked for her and she won gold medals and I think set at least one world record.
#11
scaleref.com - This tool might help you learn, it can display 100+ scales/chords in any tunning/key all over the neck. And you can play along and improvise
#12
I've gotten pretty good at moving around anywhere I want within a scale on the
neck. I'd point out, there's not really any single way to do this ultimately. It's
a cumulative effect of looking at and practicing the scale in a lot of different ways.
It probably is easiest to first get very familiar with all the finger positions and
then working on things that go from position to position.

Being able to play a scale anywhere on the neck is just a step. The next step is
being able to change, from anywhere on the neck, to other scales/keys.