Prog rock guitarist and teacher with a passion for Music Theory applied to Guitar.
Posted on Jun 02, 2016 05:03 pm
Do you feel like you play the same solos over and over again? Have you been trying to find a way to break out of sounding like you're using the same scale patterns again and again? Do you find that your hands choose where you play rather than your ears?
This has happened to almost every player at one point or another. From the perspective of a guitar teacher, I believe the issue stems from the way players are taught different scales over the last thirty years. Scales are important to learn, but most "instructors" have put them emphasis on learning them by heart and simply playing them up and down.
What this has created is a large number of guitar students who get stuck playing scale patterns that aren't as universally useful as they are taught - and you may have been taught this way, too. If you have been following my articles you may have heard me discussing the CAGED system in these terms. But that's a debate for another article.
There are hundreds of ways to get out of this mode of thinking. One of the best, however, is to master the scales instead of just learning, and being trapped by them. In the end, there needs to be a paradigm shift in the way scales are taught.
To get started, we're going to go in the diametrically opposed direction, leave behind the scale patterns, and move across the fretboard in a different way. We are going to traverse the fretboard using intervals and paying close attention to the different sounds this makes possible. I'll show this specifically in one, simple example: playingdiatonic intervals of sixth. Melodies created with intervals of sixth are soothing, and can be blended into any genre with ease, and if this doesn't strike your fancy, you can always use different intervals, like an open fifth or a tense seventh to spice things up.
I created a short video below to show you what I mean, as tablature and text can't always go deep enough. Take a look through it now:
Remark: the patterns that I've shown aren't the most important part of the lesson. The important part is how interval patterns (the 6th, in this case) can help guide how we move around the fretboard. Of course, this will not sound like the typical "linear" scale everybody is playing.
To really leverage the possibilities, try using these ideas with other intervals, or maybe also with an arpeggio (3 notes rather than just 2) to liven up your lead guitar in new ways. In the end, that's what we're all after.
About the Author: Tommaso Zillio is a prog rock guitarist and teacher with a passion for Music Theory applied to Guitar.