HOW TO PRACTICE SCALES

devine · #1 09-16-2010, 12:33 PM

Hi guys, again, sorry for the delay i've been super busy with gigs. This is the new tutorial i've just posted up on my lessons website. Word of warning... Learn the major scale in the three different positions before you start to tackle the continuous scale exercise otherwise it will tie your brain in knots. Again, the concept is easy to understand but just a little hard to put into practice at first. Take your time and you will get it... and it will make a difference!

Here it is...http://scottsbasslessons.com/video-t...actice-scales/

Any questions, post them up on here so everyone can read them.

Take it easy,

Scott.

http://www.scottbasslessons.com

http://www.scottdevinemusic.com

mambo4 · #2 09-16-2010, 01:57 PM

Good stuff...not quote a thorough as PacMan's Method, but useful nonetheless.

dalconthenovice · #3 09-16-2010, 06:56 PM

i like pacman's method the best, but yours is still a much better than typical practice for scales

devine · #4 09-17-2010, 12:52 AM

Neither method is better, in fact PacMan's method is helping you learn the scale from each degree therefore you get a good foundation of the modes in a less direct way and you learn the major scale really well. If your using PacMans method try using it with the three different fingering positions i mention within my tutorial, you will start to be able to 'see' the scale over the entire neck... which ultimately is what these exercises are about.

When you can do PacMans exercises with my three different major scale fingering positions then move on to the continuous scale exercises. Eg; pick a position on the neck, pick a few unrelated major chords, lets say Gbmajor, Fmajor, Ebmajor. Now start with the lowest note (within the whichever position you have chosen) in the Gb major scale, play four notes ascending, then move to the next nearest note in the F major scale and play four notes ascending... and so on through the chords. Obviously when you can't ascend any more start to descend.

That should take you a while

This practice method is great when soloing with key centers and can be used on tunes such as 'All the things you are' and 'Giant Steps'.

So... try not to compare the two methods (PacMans and mine) as they can be used in conjunction with one another. If you are comparing them your kinda missing the point.

easy,

Scott.

http://www.scottsbasslessons.com

http://www.scottdevinemusic.com

fountain boy · #5 09-17-2010, 11:30 AM

For those of us that are visual learners, Scott's tutorials will always be the preferred method, as it doesn't leave any room for any misinterpretation of facts.

Thanks again for going out've your way to assist us along!

fearceol · #6 09-17-2010, 11:36 AM

Quote:

Originally Posted by fountain boy

Thanks again for going out've your way to assist us along!

+1.

Lakland55 · #7 09-17-2010, 11:50 AM

Very informative, but I find it hard at times to keep from wondering why his left hand is black...glove or was there an incident with his hand?

monroe55 · #8 09-17-2010, 03:28 PM

Thanks for putting this stuff up Scott. I'll have to re-check out Pac Mans method everyones mentioning. I was already familiar with his approach and couldn't get anything new from it. (Not that his explanation isn't great, I just kind of knew that stuff already).
Over the years I have practiced scales, arpeggios, modes, pents every which way possible, I thought. Scott's methods of this "continuous" approach to running scales and arpeggios really opened up a lot for me. Practicing these scales, modes, arpeggios starting from all three finger positions is a must in order to capture the benefit of this exercise. Continuos arpeggio exercise forces you to know/learn where every available note in the chord is instantly on the fretboard, and helps you avoid always starting on the root note. I thought I knew a lot till this exercise came along and opened up new possibilities on my bass. Scott, you are truly Devine.

fearceol · #9 09-17-2010, 03:32 PM

Quote:

Originally Posted by Lakland55

Very informative, but I find it hard at times to keep from wondering why his left hand is black...glove or was there an incident with his hand?

See post #5 here :

http://www.talkbass.com/forum/showth...t=#post9399625

DblG · #10 09-17-2010, 03:50 PM

Quote:

Originally Posted by monroe55

.

EDIT: PM'd & smoothed over. Should have done just that in the first place instead of here.
Sorry!

baddarryl · #11 09-17-2010, 10:07 PM

Thank you for a new angle of thought.

monroe55 · #12 09-18-2010, 04:58 AM

Quote:

Originally Posted by DblG

Dude, you know I asked the same thing about the glove in another thread, and appreciate that you pointed me to the thread where he explained it, but you really don't need to roll your eyes or raise the eyebrow (as you did when I asked the same thing) to people who inquire about it. It is curious, and makes people wonder what it's all about. Really, I never would have thought searching "Richard Bona Lick" to reveal the reasons behind his wearing of a black glove. Sorry if it wasn't your intention to come across as a d-nozzle, but that's the way I interpreted it whenever you answered for Mr. Devine about the black glove he wears in the videos he posted in his threads.

Sorry to the OP for going off topic, I let it go when he did it to me. But not everybody reads every thread on this forum and knows why you wear the glove. And the person I quoted shouldn't look down their nose at the people who don't know and give wise-ass answers.

You are right and I apologize. It was a desperate attempt at humor. Sorry Lackland55. My comment was a waste of space on a good thread.

fearceol · #13 09-19-2010, 03:24 AM

Had a go at these last night. They are a great way to get you thinking differently about the neck. The trouble I am having is, when going from the last note of one scale to the nearest one of the next, trying to figure out where it is. Same problem with the arpeggios exercises. I know this will come with practice, and not thinking of scales in terms of root to root.

Thanks again for posting these.

devine · #14 09-21-2010, 01:28 AM

Yeah... moving to the correct note of the next scale or arpeggio is the tough one! These exercises are hard, but persevere and you will get it. The continuous scale exercises were something i practiced for around six months before i felt like i was making any progress. Now, both the scale and arpeggio exercises are something that i do every time i practice.
One of THE most important things when learning bass is your chordal/harmonic knowledge and most importantly how to apply it to the bass... and how to visualize the harmony over the entire bass neck. Keep on with these exercises every day and you'll get it!

Easy

Scott.

http://www.scottsbasslessons.com

http://www.scottdevinemusic.com

fearceol · #15 09-21-2010, 04:24 AM

Quote:

Originally Posted by devine

These exercises are hard, but persevere and you will get it. The continuous scale exercises were something i practiced for around six months before i felt like i was making any progress.

That's good to know Scott. It will make me be patient with myself. The thing that surprises me about these exercises is, when changing from the last note of one scale to the first of the next, is how different the major scale seems to sound when not starting or finishing on the root. I know that in time my ear will get familiar with this.

Rick Robins · #16 09-21-2010, 05:03 AM

Quote:

Originally Posted by devine

This is the new tutorial I've just posted up on my lessons website. Word of warning... Learn the major scale in the three different positions before you start to tackle the continuous scale exercise otherwise it will tie your brain in knots. Again, the concept is easy to understand but just a little hard to put into practice at first. ]

Scott nice exercise. It reminds me of Mel Bay's Rhythm Guitar Chord system. His system is also built so chord progressions can be played with minimum movement.

One note of criticism of your system with suggestions later. Why have the student working from C on the 3rd fret of the A string then moving one pattern (the 3rd) to the 8th fret of the E string
vs.
all three pattern forms being applied at the 8th fret of the E string first?
OR
Start all three pattern forms being applied at the 8th fret of the E string then move to the 3rd fret of the A string and repeat. The student would be forced to note your 3rd form requires additional movement starting from the 3rd fret C of the A string creating a 4th form or finger pattern. If they then work your method from G, 3rd fret of the E string they would then note they are able complete your 3rd form or use the new 4th form. At this point all four forms would be known to them while incorporating open strings in the process.

From this point (4 string bass guitar, descending) I think it would be best to suggest the student continue the exorcise with the roots being B 2nd fret A to F# 2nd fret E to A# to F to Open A to Open E. Then the student would be forced to note the exclusion of certain forms until left with only one form.

devine · #17 09-21-2010, 07:33 AM

I see your point Rick but I started the exercise on the C of the A string then added the extra positions as a way to show students that by learning the three different positions for one major scale, you can cover a larger proportion of the neck. I like to start the exercises lower down the neck because for many players this is the territory they're most familiar with. These exercises are tough and i like to ease players into them without them freaking out... so I start with a C major scale in the position pretty much everyone first learned it.

As with any exercises I like to leave a lot of it up to the students own self discovery. As in, I demonstrated the positions in the key of C, then it's up to them to go and do it in the other 11 keys. I feel that doing this helps the students own musical development... and he might come up with a different exercise that covers the same material but in a slightly different way that makes more sense to him, and ultimately speeds up his own process of learning.

Easy man,

scott.

http://www.scottsbasslessons.com

http://www.scottdevinemusic.com

Rick Robins · #18 09-21-2010, 08:46 AM

Quote:

Originally Posted by devine

I see your point Rick

I'm glad about that. I hoped it would be that way & not another. I find it enjoyable when experienced players throw a bit of addition perspective regarding a subject around at each other.

Quote:

Originally Posted by devine

As with any exercises I like to leave a lot of it up to the students own self discovery.

This is what I assumed but I also thought maybe by commenting I would help with that next discovery, while bouncing one of my methods off of you.

I intend to read up on Pac Man's thread some & hope to continue additional conversation here on TB regarding your subject line if you don't mind.
Rick

devine · #19 09-24-2010, 03:06 AM

No worries at all Rick!

Easy,

Scott.

http://www.scottsbasslessons.com

http://www.scottdevinemusic.com

Rick Robins · #20 09-24-2010, 03:17 PM

Cool ..Here is one I would like to share with you guys.
It helps a student to learn the modes & finger patterns but also helps them to hear & see how the intervals change when all are played in succession against one Tonic note.
Diatonic first.
(Go to Pic A)
Now If you know & can play the above in a diatonic order try this next method. It's not musical at all just an exercise to analyze differences
(Go to Pic B)
Do it slowly at first & use your ears to hear the changes & your eyes to see the changes.