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Learning Scales Differently

J

Jubey Monster

Nov 10, 2008
50
0
Australia
#1
Hey Ant,

I know scales are a topic that gets hashed and re-hashed on forums like these but I haven't really managed to find a constructive answer as yet so I thought I'd swing this your way.

I've learn't my scales like just about every other bassist, 2 octaves, various positions and permutations e.t.c, yet I feel that regardless of how many different ways I can find to traverse a scale up and down the fretboard, I never really have the "knack" for it. By "knack" I mean the ability to access any note, at in any position on the fly.

It seems to me that, while initially the scale patterns can be useful, they later become restricting, and I'm struggling to find a method of practice that allows me to practice scales in such a way that I can recognise and tap into them over the entire neck as a whole; as opposed to following "pathways" up and down the fretboard which can sometimes hinder economy of motion.

Cheers
 
#2
Hey Jubey Monster,

All I have to go on is what you say when you say that you've leaned a lot of scales, a lot of different ways.

But there's nothing a can write in a post that's gone' give you new approach. You need a curriculum. I can't give you that in a posting but I can give it to you in lessons.

But, like learning any language, vocabulary is made of many things. To me, it sound alike the problem is the other things,...not the scales.

You should read the threads on my forum about 'Creativity' and 'How do you get your solos to stop sounding like scales?'.

peace,
anthony

"Smells Like Funk"
 
#3
You hit the nail on the head with the need for a curriculum. One of the biggest things I struggle with as a jazz student at uni is effectively managing practice time with so much to cover between, acoustic electric, technique, listening, aural e.t.c
 
#4
Well if I understand what you are saying, you are practicing the scales in all the different iterations, but by doing so, you are still practicing within a pattern. My recommendation is get a looper or a jazz play along CD or something with just root chords playing that you can practice MUSIC using the scales instead of the patterns.

For ex: start with a ii, v, i in the Key of E playing the F Dorian, B mixolydian, and E Ionian. Then you could practice harmonizing and play the 5th of all those: C# Aeolian, F# Dorian, and B Mixolydian. Next you could try mixing the two: F# Dorian/C# Aelolian, B Mixolydian/F# Dorian, and E Ionian/A Lydian. Then you can carry on from there first walking, then arpeggiate with the i, v, iii of each progression's scale degree, make up your own patterns, etc. Say each degree as you play them, too. That way you are thinking about the scale and not just memorizing the pattern (for even more practice, play it slow and say the note names, too).

I would say spend a week on each key, with a different common chord progression each day. In 12 weeks you should have a better understanding of how the scales work in a musical situation. Then you can say if I have a Cmaj7 I can mix C Ionian, E Phrygian, G Mixolydian, and B Locrian. After a while the patterns start to disappear and you just see the fingerboard again.
 
#5
The crazy thing, after reading that, I realized it really is just 12 weeks, and your working knowledge increase would be immense. This is pretty much what Todd Johnson's walking method is. Only his is more simple and would devote a book to each step. And the best thing, you can still practice 2-10 doing this. It is like a systematic fast track approach to improvement. Then you can have a couple of private lessons with Anthony working on advanced chord theories and such. Then all that is left is lots of hours using this in multiple varied musical situations to improve your knowledge access speed. In a few years, who knows, you may have your own forum with someone asking you this very same question. (I read this and realize I really need to take my own advice sometimes)
 
#9
Basically each scale degree has a corresponding chord. So you would just use the 1st, 5th, and 3rd note of each degree's scale and they are also the 1st, 5th, and 3rd of the corresponding chord. Like that C7 is made of C(1,i), E(3,iii), G(5,v) and B(7,vii). I just wrote it as i, v, iii, but I can see how you could get confused. It is really a good example of the Labrynth that is music. It really is almost a Fibonacci sequence with everything weaving into itself. This is why the chromatic scale really does work over anything and why Victor stressed it in his Lesson video.
 
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