Learning To Connect Two Guitar Scale Forms – Part 2

The last post (Learning To Connect Two Guitar Scale Forms – Part 1), formed the basis for connecting two forms by learning two forms. The process of learning to connect these two scale forms is very logical. To begin, a thorough understanding of the preceding information about the forms themselves is
imperative. The ability to play through and see clearly each form on the guitar is the first step in making the connections possible.

Let’s Connect Those Scale Forms

The process begins by connecting the 6/4 form to the 6/2 form on string 6. The 6/2 scale form is then played ascending and descending and, upon the return, passes back to the 6/4 scale on string 6. The next step is to begin the 6/4 scale form again and continue in the scale on string 5 and then shift to the 6/2 scale form. The 6/2 scale form is then played ascending and descending and returns to 6/4 scale form on string 5. This continues as each shift is assimilated on every string.

As the learning of the shifts improves, it is a good idea to say the notes as when learning the scale forms without shifting. This will further embed the names of the notes on the guitar and the key that you are playing. It should be obvious that this will only enhance the understanding of improvisation as chord changes are presented to solo over.

Connecting 6/4 and 6/2 Guitar Scale Forms On String 6

 

The connection on string 6 uses left hand finger 4 to change position. It is important to not let the finger slide on the string making a noise. This technique is useful for a specific effect. However, the goal in these scales is to create an unperceived shift to the next scale form on the guitar. Left hand finger choice can be changed, but the goal of any finger choice should be to create a smooth legato transition from one form to another. In the above, and each of the following, the shifting point is indicated by a bracket above the notes and left hand fingering in the scale.

Connecting 6/4 and 6/2 Guitar Scale Forms On String 5

 

Changing on string 5 uses the same logic as changing on string 6. Notice that the bracket is over the change on string 5 instead of 6 in the above example. This process continues through each of the strings. Practice should continue until assimilated. Then, practice with rhythmic variation should begin. The downloadable version of this lesson includes a series of rhythmic variations following the scale shifts. All the scale shifts are included as well. When the key of A major is sufficiently assimilated, then the work on each of the twelve keys should begin. The patterns will not change, but the positioning of the root of the scale and the notes themselves will change. Learning to say the notes when changing to learn a new key cannot be overstated.

Conclusion

Learning to connect scale forms is vital to a clear understanding of the guitar. It helps in improvisation, harmonization, and general theory. It may take time, but the final results will leave deepen the understanding of how move freely throughout the instrument without any hesitation.


I encourage you to help support this education work by purchasing a downloadable pdf of this entire lesson (Part 1 & 2). It includes:

  • All the information in Part 1 & 2 plus,
  • The string changes on all strings,
  • 9 different applicable rhythm variations

Just click the button below to visit the shop. Thank you for your support and keep learning!

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