Help with learning scales

I play country music, and have been playing guitar for years... but I only learned scales at the start when i took lessons, and basically forgot them because i stopped using them. But I want to go back and start learning them again to improve my soloing, and be able to just solo to a number of tunes, without having to memorize the solo to every song.

Any recommendations on where i should start, or a website that I should look at?

Thanks!

Start with the major scale and master it...know what you are playing, not just patterns...

:!:Start with the major scale and master it...know what you are playing, not just patterns...

What should I use as the root note?

All 12 my friend.
Start with C. If you want to make it more interesting follow the circle of 5th's: C G D etc.

What is your knowledge of theory? Also, will you be able to find the notes on the fret board or are you looking for a diagram?

My advice to you would be to focus most of your attention on learning the Major scale since all scales are pretty much based on the Major scales. Try to get as familiar as you can with the major scale in each key, up and down the fretboard. Also it will help you a lot if you stick with one key at a time.

I played guitar in bands in the 60s, as a teen, and we had a set list of lots of the popular songs back then.. I played lead guitar. I learned chords from song books. That was a good way for me to start, because my enthusiasm stayed high and I succeeded. I watched Bill Kirchen play one night in late 1991 here locally, [he lived near here in the 90s], and he 'blew my mind".. The friend I went to see him with said that he gave guitar lesson and I was freeked. For the next 2 or 3 months I left messages at his home, wrote a letter to him at the the club, [The Sunset Grill], he play at every Thursday night, and finally he returned my call. He agreed to give me some lessons. I thought for sure that he would show me all his slick moves, etc., so I was surprised when the first lesson was similar to the one and only guitar lesson I ever had, [in 1966]. Page one "Berkeley Modern Guitar, book one. First lesson was lesson one, page one... how to play the open major C scale. It took me many many hours to be able to do it at a steady beat. After a week I could play it, Bill just had me go through this book, to learn all the positions, about 8 or ten totally different fingerings for the C scale. Position means what fret your barring finger is on. I don't think I could have ever done this on my own. I suggest getting a teacher to guide you through all of this. Once you know all the major C scale positions, you will know all the other related scales too. I only took these lessons for a year and a half, but I continued on my own and bought a book on Theory for guitar, and learned more. Theory is one big scarey word for something which is a lot easier than the word would make one think.... To end here, let me say that I am way better off for doing all of this than I was. Bill had to go to England, as he was going to do a tour with Nick Lowe. That's when I stopped the lessons. Now, I need to go get some more lessons. The scales take steady practice and patience. Taking lessons was the best thing I ever did in my life.. Good luck..

I took lessons for about six months, the main things I learned was:

1. enough theory to understand what I was reading in the books. And,

2. shape patterns for the major scale, that began with each note in the scale. ex. playing C beginning with the root, the 2nd, the 3rd, etc. therefore, I was learning the modes at the same time.

he also showed me a couple of blues scale shapes the same way. With enough practice, I figured out the rest of the blues shapes on my own.

I played the scales every night for about three years, before i could start at the nut and work my way up to the 12th without stopping. I would sit and, almost mindlessly, practice these shapes every night.

One exercise I made up was to choose a fret, the third for example, and pick out the scale shape for each key at or around that fret; working around the circle of fifths clockwise. C,G,D,A,E,B

Before i knew it i had trained my ear to the intervals of the scales, and could pick out where the next note should be without counting frets. I cannot stress how important that ear training that resulted from this was for me.

mind you, I may have the scales, but Im still working on composition. Putting them together in a way that is more musical than just scales; and throwing a few chords in there every now and then.

start with one octave patterns, go up the C major scale c, d, e, f, g, a, b, c, then down back to c, try and do 3 notes per string as much as you can. learn the one that starts with the index finger, middle finger, and pinky. find comfortable patterns for YOUR hands and play slowly and acknowledge that you are playing the root, the 2nd, the 3rd and so on and so forth up and down the scale.

Then progress to 2 octave scales, in the same manner.

Then do scales up and down the neck on one string at a time without worrying which note you are starting with, just go lowest note available on that string all the way up. This is for memorizing position shifts.

And by all means, get a teacher that values stuff like this if you want good help.

Start with the major scale and master it...know what you are playing, not just patterns...

The advantage and disadvantage of the guitar is that you can learn patterns and just move about on the fretboard to fit whatever key you are playing in. This make improvising in different keys very easy but it can hinder your ability to learn the notes on the fretboard. I used the Segovia Scales to help break that pattern (even though he did use definite patterns of his own). They really helped me to get around more of the fretboard and also helped my reading tremendously.

Although a nice technical workout, the segovia scale book uses the ancient ascending harmonic minor to descending natural (aeolian) minor, and it would sound totally wacky at a honky tonk joint. :lol: IMHO

At the top of this entire website!

I watched Bill Kirchen play one night in late 1991 here locally, [he lived near here in the 90s], and he 'blew my mind".. The friend I went to see him with said that he gave guitar lesson and I was freeked. For the next 2 or 3 months I left messages at his home, wrote a letter to him at the the club, [The Sunset Grill], he play at every Thursday night, and finally he returned my call. He agreed to give me some lessons. I thought for sure that he would show me all his slick moves, etc., so I was surprised when the first lesson was similar to the one and only guitar lesson I ever had, [in 1966]. Page one "Berkeley Modern Guitar, book one. First lesson was lesson one, page one... how to play the open major C scale. It took me many many hours to be able to do it at a steady beat. After a week I could play it, Bill just had me go through this book, to learn all the positions, about 8 or ten totally different fingerings for the C scale. Position means what fret your barring finger is on. I don't think I could have ever done this on my own. I suggest getting a teacher to guide you through all of this. Once you know all the major C scale positions, you will know all the other related scales too. I only took these lessons for a year and a half, but I continued on my own and bought a book on Theory for guitar, and learned more. Theory is one big scarey word for something which is a lot easier than the word would make one think.... To end here, let me say that I am way better off for doing all of this than I was. Bill had to go to England, as he was going to do a tour with Nick Lowe.

Actually, it should be sticky at the beginning of the entire friggin' internet>

The only scales you need are the major in all positions and a good fingering for a chromatic scale.

Here's a good version of the major scale positions:
http://fredhamilton.com/site/wp-content/uploads/majorscalepositions.pdf

Although a nice technical workout, the segovia scale book uses the ancient ascending harmonic minor to descending natural (aeolian) minor, and it would sound totally wacky at a honky tonk joint. :lol: IMHO

Yes, it is the melodic minor scale. Pretty wacky indeed. I have used that scale a few times (though not at a honky tonk). But as you said, it is a nice technical workout. Helped me get to know and get around my fretboard a lot better. :smile:

Whoops, looks like we got a little sticky note going here.

I wonder if I have a way with words sometimes. I reread my posts and they do come off a little short, or harsh. Ya know, music theory should be a funny subject at times because no matter how far we dig into it, we have to keep it in perspective and ask ourselves... Will this help me acheive my goals as a musician?

Let's have a toast to melodic minor shall we boys... bottoms up!!

I practice mel.min. both the 'new' jazz way as well as the traditional asc/desc way.

It's all good as the kids say.

The only scales you need are the major in all positions and a good fingering for a chromatic scale.

Here's a good version of the major scale positions:
http://fredhamilton.com/site/wp-content/uploads/majorscalepositions.pdf


OOhhh...slow down there, cowboy...


Depends on what you want to play...Jazz ain't much fun without some melodic minor.

Yeah, but to play melodic minor, you just have to shift two fingers, which is easy when you've mastered your major scales. Simply play your major scale in a relative minor position and sharp the 6 and 7 when you feel like it.

When you're building off a solid foundation of major scales, you can tweak for different sounds.

When you think of scales as related to other scales instead of as a unique pitch set, you never really learn to use them properly.

My evidence is every post about modes in the history of the internet.:mrgreen:

In my opinion, if you're thinking about playing scales at all you're using them improperly. Practice scales to get them in your fingers, but when improvising, don't think about scales, thinking about the notes of the chord and connect them in all sorts of ways. Most of the discussions about modes are "when should I use the dorian mode," which I think is the wrong question. I think the question should be "what are the notes of the chord and/or extensions of the chord, and how can I connect them in surprising, tuneful ways?" The surprising, tuneful part rarely involves going up and down a scale.

Very true.


I rarely practice scales anymore, but I frequently go over their characteristic pitches when shedding a tune...soI might not think "I'm gonna play C lydian here" but I know how to grab an F# when I want that sound...

It might be a little early to talk about using scales if the OP is talking about learning scales - take a leaf out of the classical repertoire and practice them (regardless of which position they are in) - in different intervals , 3rds , 4ths etc - not to mention the diatonic triads and 7th arpeggios...this all might be further down the track too - but the practice of scales should be a technical thing as well as a conceptual one -

i.e use the study of them to improve your ear, your chops around the fingerboard and your right hand. And to map out key areas on the fingerboard too.

At some stage you might want to look at some etudes - Theres a Bill Leavitt book with some classical studies for plectrum which gets you practicing in different keys using diatonic (and chromatic) scale positions and interval groups.

The only scales you need are the major in all positions and a good fingering for a chromatic scale.

Here's a good version of the major scale positions:
http://fredhamilton.com/site/wp-content/uploads/majorscalepositions.pdf

How is the chart read? That's what I don't understand. It doesn't look like tablature, so how do you apply it to the neck? I may already know these scales and just don't know it. But I'd sure love to play the charts you sent anyway.

When you think of scales as related to other scales instead of as a unique pitch set, you never really learn to use them properly.

My evidence is every post about modes in the history of the internet.:mrgreen:

AGREED!

How is the chart read? That's what I don't understand. It doesn't look like tablature, so how do you apply it to the neck? I may already know these scales and just don't know it. But I'd sure love to play the charts you sent anyway.

Well, it does look a bit odd, though the standard notation is fine. If I had to guess, I'd say that the circled numbers under the notes are the string to play, and the numbers over the notes are the fingers to use. Not the fret to use, because that C note (first note, first staff) sure isn't 1 fret up from your low open E (it's 8). And the next note, D, isn't 1 fret up from C.

Well, it does look a bit odd, though the standard notation is fine. If I had to guess, I'd say that the circled numbers under the notes are the string to play, and the numbers over the notes are the fingers to use. Not the fret to use, because that C note (first note, first staff) sure isn't 1 fret up from your low open E (it's 8). And the next note, D, isn't 1 fret up from C.

Yes, the circled numbers are the strings and the plain numbers are the fingers. You have to already know where notes are on the neck because some positions use an "open" hand: your index and middle fingers fret notes two frets apart, like the very first two notes on the page:

6th string: C (index, 8th fret) D (middle, 10th fret).

I play country music, and have been playing guitar for years... but I only learned scales at the start when i took lessons, and basically forgot them because i stopped using them. But I want to go back and start learning them again to improve my soloing, and be able to just solo to a number of tunes, without having to memorize the solo to every song.

Any recommendations on where i should start, or a website that I should look at?

Thanks!

I agree with what's been said but the short cut would be get the pentatonic patterns down, then figure out what key the song is in and let loose...2-5 notes up/down/across/diagonal with a dynamic tempo to your ear and you can fake for most 90 percent of the audience. Otherwise Segovia's diatonic study imo offers alot of hidden gems along away.

What percent of the music you will play is in a minor key? 50%, 20%, 5%? Then, when does the minor scale make its appearance in a major key? I think this is what jazztele if thinking of. Actually, peering deeper into his mind, I think he (and Ken) use minor as a way to introduce altered notes in their improvs. But, look, here we are talking about minor. Until you have majors mastered, don't dilute your energy with minor. The minor scale can easily be construed as a major scale with altered notes.

In terms of learning theory, I would start by analyzing a melody and comparing its notes on strong and weak beats to the chords in the accompaniment. This is a very real, practical use of theory for any musician. When I was starting out, I had no clue how melodies and chords were related. Those were the dark ages for me. I believe learning that should be the highest priority, after learning the rudiments of what notes are found in what scales and chords.

I recommend working on your major scales for at least two months before introducing minor. And then wait another 4-6 months before thinking about modes. Otherwise, you are piling up way too much partially digested material when you can't even play the major scales with skill and confidence. My time spans above assume 1-2 hours a day, every day.

Most of the discussions about modes are "when should I use the dorian mode," which I think is the wrong question. I think the question should be "what are the notes of the chord and/or extensions of the chord, and how can I connect them in surprising, tuneful ways?" The surprising, tuneful part rarely involves going up and down a scale.

I totally agree - a lot of Jazz education (for instance) prescribes chord/scale relationships in practice as well as theory and while I think its important to get to know that stuff - its 'dangerous' knowledge musically, and it's been abused in pedagogy.

But practicing scales doesnt need all that rationale to just start playing them - and playing them(amongst other things) is important. Im not discouraging understanding -but I am against the philosophy of practicing something only because its seen as some kind of silver bullet or fast track to sounding 'good'. Scales help to build technique - map and locate notes(and chords) on the fingerboard , and train your ear if you practice them properly- and that doesnt mean just playing them up and down.

Really - if we create a scales vs 'sounds' duality we end up missing the point. Scales are sounds - have lots of sounds contained in them and are a viable way of developing technique and eventually understanding aspects of diatonic harmony.

For me, learning scales was a big deal. There are several different scales, and a lot of finger positions to try to remember, even if you follow the "moveable box pattern" method. Of course, the trick isn't just learning the scales, it's usually combined with listening to what you're playing and improvising at the same time.

Jazztele said, "Start with the major scale and master it...know what you are playing, not just patterns...". and this is what worked for me.

Once I had the major scale box patterns down pretty well, and knew that in this pattern the 3rd was here, and that a little further up the neck, the 3rd was over here, etc., the whole neck seemed to open up for me. Minor scales, blues scales, modes, etc. came pretty easy after that.

Start with one scale - it doesn't have to be a major - and learn the box patterns for it. Then learn where the root, 3rd, etc. is in each pattern.

For me, learning scales was a big deal. There are several different scales, and a lot of finger positions to try to remember, even if you follow the "moveable box pattern" method. Of course, the trick isn't just learning the scales, it's usually combined with listening to what you're playing and improvising at the same time.

Jazztele said, "Start with the major scale and master it...know what you are playing, not just patterns...". and this is what worked for me.

Once I had the major scale box patterns down pretty well, and knew that in this pattern the 3rd was here, and that a little further up the neck, the 3rd was over here, etc., the whole neck seemed to open up for me. Minor scales, blues scales, modes, etc. came pretty easy after that.

Start with one scale - it doesn't have to be a major - and learn the box patterns for it. Then learn where the root, 3rd, etc. is in each pattern.

yes, you will actually begin to hear where the roots are first, I did at least.

Do a search for Major Pentatonic scales and learn the different modes to start off with. They are pretty basic, but hit the safe notes. When you get those down, move on to different scales :)

Here's a good version of the major scale positions:
http://fredhamilton.com/site/wp-content/uploads/majorscalepositions.pdfThese are great! Thanks for sharing! :cool:

I play country music, and have been playing guitar for years... but I only learned scales at the start when i took lessons, and basically forgot them because i stopped using them. But I want to go back and start learning them again to improve my soloing, and be able to just solo to a number of tunes, without having to memorize the solo to every song.

Any recommendations on where i should start, or a website that I should look at?

Thanks!

There's a lot to learn on scales - in my case even though l learned them I couldn't relate to them musically.

Definitely LEARN the major scale positions and get comfortable playing them up and down the neck. Play them in various (3rds, 4ths, 5ths, 6ths) Some of them won't be obvious as to how to use them but it's a necessary building block.

While you are dong that try and make sure you can identify the chord tones as you do it. For example: play a G major chord barre chord (3rd fret) and then play the G major scale at the 3rd fret - pay attention to the notes that are part of the G chord voicing.

Next play an A minor chord barre chord (5th fret) and then play your 3rd fret G major scale again but this time start with the 2nd degree of the scale (A note) at the 5th fret. Look for the Am chord tones that are part of the G major scale.

Now move on to the 3rd degree of the scale (B) and play a Bminor chord (2nd fret) - play the G major scale starting at the B note and look for the scale tones.

Keep doing this thru following chords: Key of G

G
Am
Bm
C
D
Em
F#m
G

I'm over simplifying but you'll get the hang of it.


BUT WAIT THERE'S MORE:

Here's a write-up I did for TGP regarding blues - I find it works as a building block for just about anything though.

You might try this as an alternative or compliment to the straight major scale approach.

As I mentioned - I don't really like to think in SCALES. I find it a lot easier to relate to basic chord tonality (major/minor) and ways to connect them. By the way - Larry Carlton talks about this same thing in one of his instructional videos.

Here's an approach to the subject that is fairly simple to put into practice as a STARTING point.


Blues - major/dominant

Example: key of G - G7 (I) C7 (IV) and D7 (V) chords

on the I (G7) chord - G major pentatonic, and/or the G minor pentatonic

on the IV - C major pentatonic and/or G minor pentatonic

on the V - D major pentatonic and/or G minor pentatonic


Practice simple phrases that begin and/or resolve on the key different chord tones for the I, IV and V chords. Work to combine both pentatonic scales (major pentatonic of the chord you are on in the progression, minor pentatonic of the key you are in).


A little over simplistic but I've had quite a few beginner to intermediate players identify with the approach - especially the rock guys who can shred a minor pentatonic but struggle how to play over major/dominant tonality.

Hope it helps somebody...

Scales suck! Seriously what if you learned them well enough to know your keys and got your technique down then moved on? I think guitarists generally get so wrapped up in scales that we forget music.
Go for vocabulary. Licks and devices for whatever style you're dealing with.

Don't get me wrong I'm not saying they aren't important. You should know them, but then move on!

If you do want to practice them, start on e and go to the High e string in c major. Then repeat till you get to the 12th feet. You'd have 7 fingerlings. Then start doing small melodic patterns and intervals.
If you do practice scales play them with everything you've got. Be present through each note and play everything on purpose-otherwise you're wasting your time.

Well scales are music (Mozart, Bach, John Coltrane, the Allman Bros. - how much time do you got?). Sam alludes to this in his last paragraph - "play them with everything you've got". If you don't 'play' them musically then yeah, they suck ... pretty much the same as any music played un-musically.

Then repeat till you get to the 12th feet. You'd have 7 fingerlings.

This is getting fishy! :mrgreen:

This is getting fishy! :mrgreen:

How so? If you start a scale from each of the seven notes you get 7 fingerlings.

Those scale references are true. But even the Allman Bros played vocabulary. I'm just saying if your goal is to play scales to play scales you'll end up sounding really boring. Plus those musicians used the scales as raw material similar to the way jazz improvisers do. But hardly ever do they play much more than 4 notes or so of a scale. They use the language of the music not the alphabet. How many great writers do you think are way into letters and spelling? Not many they're more concerned with the words and scenes they're setting.
I get scales. Ive worked on them for years but now look back and feel like 50% of it was wasted time. Just running them to run them.

How so? If you start a scale from each of the seven notes you get 7 fingerlings.



He was making a funny, Sam. Fingerlings are little fish; fingerings are ways of playing scales. He was trying to make you smiley.

Then repeat till you get to the 12th feet. You'd have 7 fingerlings.

I laughed at the same thing.
See, 'spelling' can make a huge difference and get things a little off track :wink:

So back on track. Yes, play them musically and know what makes up a scale e.g., what notes are in them, the intervals etc.

*Interesting that guitar players are the only instrumentalists I've ever known that discontinue their scale practice - ? I don't play 'em like (as much as) I did when I was a teenager but I still work out with them. Especially for left/right hand simultaneous accuracy. 3 and 4 note groups (5 note groupings), interval skips, etc. These help to make scales 'musical' as well as technically beneficial.

I could respond with a cheesy little wisecrack right now but I'm not going to....(wait for it).... take the bait.

Nyuk nyuk nyuk.
Sorry Sam.:mrgreen:

There's a lot to learn on scales - in my case even though l learned them I couldn't relate to them musically.

Definitely LEARN the major scale positions and get comfortable playing them up and down the neck. Play them in various (3rds, 4ths, 5ths, 6ths) Some of them won't be obvious as to how to use them but it's a necessary building block.

While you are dong that try and make sure you can identify the chord tones as you do it. For example: play a G major chord barre chord (3rd fret) and then play the G major scale at the 3rd fret - pay attention to the notes that are part of the G chord voicing.

Next play an A minor chord barre chord (5th fret) and then play your 3rd fret G major scale again but this time start with the 2nd degree of the scale (A note) at the 5th fret. Look for the Am chord tones that are part of the G major scale.

Now move on to the 3rd degree of the scale (B) and play a Bminor chord (2nd fret) - play the G major scale starting at the B note and look for the scale tones.

Keep doing this thru following chords: Key of G

G
Am
Bm
C
D
Em
F#m
G

I'm over simplifying but you'll get the hang of it.


BUT WAIT THERE'S MORE:

Here's a write-up I did for TGP regarding blues - I find it works as a building block for just about anything though.

You might try this as an alternative or compliment to the straight major scale approach.

As I mentioned - I don't really like to think in SCALES. I find it a lot easier to relate to basic chord tonality (major/minor) and ways to connect them. By the way - Larry Carlton talks about this same thing in one of his instructional videos.

Here's an approach to the subject that is fairly simple to put into practice as a STARTING point.


Blues - major/dominant

Example: key of G - G7 (I) C7 (IV) and D7 (V) chords

on the I (G7) chord - G major pentatonic, and/or the G minor pentatonic

on the IV - C major pentatonic and/or G minor pentatonic

on the V - D major pentatonic and/or G minor pentatonic


Practice simple phrases that begin and/or resolve on the key different chord tones for the I, IV and V chords. Work to combine both pentatonic scales (major pentatonic of the chord you are on in the progression, minor pentatonic of the key you are in).


A little over simplistic but I've had quite a few beginner to intermediate players identify with the approach - especially the rock guys who can shred a minor pentatonic but struggle how to play over major/dominant tonality.

Hope it helps somebody...

That's exactly the formula that was taught to me in my 4 or 5 guitar lessons.
I arrived to the teacher knowing just about every chord and several if not all voicings and the blues scale and major scale, major and minor pent's. But wanted to improve my vocabulary for lead playing in different styles. After that it was chords tones and arpeggios over all the chords shapes. That way you learn to relate chords, to melodic concepts. Consequently after much practice, I can figure out entire songs very fast by ear. By first locating the key and chords used you can find the melody so much easier and learn the entire songs rhythm and melody.

Also great for improvising because all you need to do is hear nor see a chord shpe and immediately you have all these melodic option whether it be major or minor or a combination. Before those lessons I was still, for the most part, playing in pentatonic in whatever signature key the song was in instead of over chord changes. Sometimes that just didn't sound right and really limits your playing vocabulary. It takes alot of practice, but after awhile you start to move in and out of chord changes in a flowing idea. I'm still working at perfecting that idea.

If you like country playing Brent Mason is a master at that. Once I got his Hot Licks video and watched it about 100 times, I started to understand how it all works even better. But I wouldn't have benefitted much from his video back before I understood playing through chord changes. Then one day it all started to click mentally, then it's practice, practice, practice then practice some more-lol!
There's no secret that will ever take the place of playing alot.

How so? If you start a scale from each of the seven notes you get 7 fingerlings.

Ha sorry Sam - it was kind of cute so I couldnt resist. But you're dead right about playing the scales musically - scales are a great leveller in that way - like when it comes to getting my chops back on track - or even working on the way the pick hits the string.

That's exactly the formula that was taught to me in my 4 or 5 guitar lessons.
I arrived to the teacher knowing just about every chord and several if not all voicings and the blues scale and major scale, major and minor pent's. But wanted to improve my vocabulary for lead playing in different styles. After that it was chords tones and arpeggios over all the chords shapes. That way you learn to relate chords, to melodic concepts. Consequently after much practice, I can figure out entire songs very fast by ear. By first locating the key and chords used you can find the melody so much easier and learn the entire songs rhythm and melody.

Also great for improvising because all you need to do is hear nor see a chord shpe and immediately you have all these melodic option whether it be major or minor or a combination. Before those lessons I was still, for the most part, playing in pentatonic in whatever signature key the song was in instead of over chord changes. Sometimes that just didn't sound right and really limits your playing vocabulary. It takes alot of practice, but after awhile you start to move in and out of chord changes in a flowing idea. I'm still working at perfecting that idea.

If you like country playing Brent Mason is a master at that. Once I got his Hot Licks video and watched it about 100 times, I started to understand how it all works even better. But I wouldn't have benefitted much from his video back before I understood playing through chord changes. Then one day it all started to click mentally, then it's practice, practice, practice then practice some more-lol!
There's no secret that will ever take the place of playing alot.

Definitely agree!!

It seems remarkably simple in hindsight but to your point about practicing there were innumerable hours spent trying to get to this idea to a usable place. Before that I would typically play scales (minor, major, pentatonic) over different songs and that along with memorized note for note solos was about the extent of it. I found myself quickly becoming bored with my own playing as a result. And endlessly practicing the same ideas to play it faster doesn't substitute for boring melodic ideas!

It wasn't until I started playing blues actively that it made sense. I think it's because the progressions are so simple that I had to focus on the chord tones more.

One other piece of advice for scale practice is to buy a looping pedal and digital recorder of some sort. You really have to be able to experiment over a fixed chord or simple chord progression to really find out how the scales fit together with the chords and how to turn them into phrases.

Lay down a single chord or SIMPLE progression - then practice your scale ideas over it till it starts to sound good. At that point turn on the recorder and give yourself a good 2-5 minutes of improv over the progression. That's long enough that'll you'll run out of the easy obvious ideas and may stumble across something interesting. Don't worry about mistakes...listen back and you will quickly figure out if you are getting the hang of it and where to put your practice time. Sometimes you will find something YOU played that tweaks your ear in a good way. Note it and then go back and figure out what you did....

That's all folks!

I had never really learned anything beyond the major scale. In the last year I've learned the minor scale as well as the pentatonic (or blues) scales - both major and minor. I got them all off of YT. YT is your friend! :mrgreen:

-Jagg

He was making a funny, Sam. Fingerlings are little fish; fingerings are ways of playing scales. He was trying to make you smiley.

Yea I was talking about small fish. That's how I play guitar. Don't judge!

Too funny! I completely missed the misspelling!
I'm literally cracking up over you're joke :) (Har Har)