Chords for Guitar Scale Phrasing - The Basics
Tempo:
88.4 bpm
Chords used:
C
G
Cm
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Scale phrasing is about selecting tones from a scale and creating a movement between them.
Typically, a scale phrase has an expressive purpose, in a similar way we phrase speech,
to convey meaning.
This lesson will introduce you to the basics of using scales in a musical and meaningful way.
When you first learn scales, you'll most likely be playing them in a linear sequence,
from the 1st to 7th note, and vice versa.
This is fine for getting to know the scale's pattern on the fretboard and its general flavour.
However, you'll eventually want to highlight the scale's unique sound more effectively,
and that's where scale phrasing comes in.
As we need to take this step by step, we'll begin with scale phrasing over one chord at a time.
When you're ready, you can move on to phrasing over chord progressions more than one chord,
which is more challenging.
The first thing we need to do is establish what chord we're playing over.
In this example, it's a C major chord.
Therefore, I'm going to keep it simple and play the C major scale in the solo.
Secondly, we need to identify a starting and ending note for our phrase.
As we're playing over a major chord, the safest notes to start and end on are those of the
major triad, the root, 3rd and 5th.
Again, to keep it simple, I'll start the phrase on the root note and end on the 3rd.
The notes in between will be like the bridge between these two stable points.
Of course, as you progress, you'll start trying different starting and ending notes from the
scales you learn.
At first though, it's just easier to pick out those triad tones, because these tones
are shared across most scales you'll learn.
They are a quick reference point.
So, from our starting note, we have the option of creating a short phrase or a longer phrase.
The starting and ending notes will most often be held onto longer than the notes in between.
Here's an example of a simple 5 note phrase from the C major scale, using our chosen starting
and ending [C] notes.
So we started on the root, moved through some tones in the major scale and finished on the 3rd.
We could also repeat the root and 3rd within a phrase if we wanted.
Now to make a phrase sound more expressive, you should be moving up and down the scale,
skipping tones, trying out different sequences and combinations until you find one that you're happy with.
By using those safe starting and ending notes, it'll put your scale movements into context.
There's no hard and fast rule about how a phrase should sound, but just get into the
habit of jumping around the scale rather than using too many linear movements, e.g.
1-2-3-4-5-6, 5-4-3-2-1, etc.
You can use linear movements of course, but break them up with more skipped interval movements.
Variety is the key thing here.
Another good way to give more structure to your scale [G] phrases is to use arpeggios.
This is a whole lesson in itself and covered in depth on fretjam.com, but in the example
of C major, we could use a major 7th arpeggio from the scale using the sequence 1-3-5 [C]-7-1.
Try blending these arpeggio movements into larger scale phrases using the arpeggio as
the scaffolding of your phrase.
Use runs.
Again, this is covered in a separate lesson on fretjam.com, but this is simply where we
move in staggered sequences up and down the scale, remembering to land on our safe ending note.
We can also use pentatonics as part of our fuller 7 note scale phrases.
If we're playing a major scale, simply use the major pentatonic tones within the pattern.
1-2-3-5-6.
Of course, there are many physical techniques that help punctuate a phrase.
Bends, hammer-ons, pull-offs, double stops, etc.
But we're learning the basics here and you'll naturally start to incorporate these lead
techniques as you become more confident with the scales you're playing.
Let's just try a different scale.
This time we're using Dorian, which is a minor scale.
The theory and dynamics behind building phrases in this scale is exactly the same as we looked
at with the major scale, but there are different tones, giving this scale its own unique flavour.
Remember I said before that the safest notes on which to begin and end a phrase are the triad tones.
Well, in a minor context, these tones are the root, minor third and fifth.
The minor third is what makes the scale minor.
Ending a phrase on the minor third will reinforce the minor context of the phrase that leads to it.
[Cm]
However, ending a phrase on the sixth will really bring out that Dorian flavour.
This tone can be held safely over the minor chord, even though it has that tense quality.
[C] If we were using the arpeggio technique, we'd pick out the minor triad tones and use them
as the scaffolding for a larger Dorian phrase.
[Eb]
These are just the basics, but there should be nothing stopping you from using scales
you learn to experiment with phrasing.
The more you play around with different sequences from a scale, the more your ear is trained
to pick out expressive movements.
By fully exploring the scale using techniques such as string skipping, runs, arpeggios around
those safe starting and ending notes, you avoid falling into the trap of simply plodding along aimlessly.
Your phrases need that destination to put them into context.
You can learn all about the phrasing techniques covered in this lesson on fretjam.com.
Anyway, there's a lot to think about and I hope you'll join me in the next part when
you're ready so we can look at more advanced phrasing [N] techniques.
Cheers!
Typically, a scale phrase has an expressive purpose, in a similar way we phrase speech,
to convey meaning.
This lesson will introduce you to the basics of using scales in a musical and meaningful way.
When you first learn scales, you'll most likely be playing them in a linear sequence,
from the 1st to 7th note, and vice versa.
This is fine for getting to know the scale's pattern on the fretboard and its general flavour.
However, you'll eventually want to highlight the scale's unique sound more effectively,
and that's where scale phrasing comes in.
As we need to take this step by step, we'll begin with scale phrasing over one chord at a time.
When you're ready, you can move on to phrasing over chord progressions more than one chord,
which is more challenging.
The first thing we need to do is establish what chord we're playing over.
In this example, it's a C major chord.
Therefore, I'm going to keep it simple and play the C major scale in the solo.
Secondly, we need to identify a starting and ending note for our phrase.
As we're playing over a major chord, the safest notes to start and end on are those of the
major triad, the root, 3rd and 5th.
Again, to keep it simple, I'll start the phrase on the root note and end on the 3rd.
The notes in between will be like the bridge between these two stable points.
Of course, as you progress, you'll start trying different starting and ending notes from the
scales you learn.
At first though, it's just easier to pick out those triad tones, because these tones
are shared across most scales you'll learn.
They are a quick reference point.
So, from our starting note, we have the option of creating a short phrase or a longer phrase.
The starting and ending notes will most often be held onto longer than the notes in between.
Here's an example of a simple 5 note phrase from the C major scale, using our chosen starting
and ending [C] notes.
So we started on the root, moved through some tones in the major scale and finished on the 3rd.
We could also repeat the root and 3rd within a phrase if we wanted.
Now to make a phrase sound more expressive, you should be moving up and down the scale,
skipping tones, trying out different sequences and combinations until you find one that you're happy with.
By using those safe starting and ending notes, it'll put your scale movements into context.
There's no hard and fast rule about how a phrase should sound, but just get into the
habit of jumping around the scale rather than using too many linear movements, e.g.
1-2-3-4-5-6, 5-4-3-2-1, etc.
You can use linear movements of course, but break them up with more skipped interval movements.
Variety is the key thing here.
Another good way to give more structure to your scale [G] phrases is to use arpeggios.
This is a whole lesson in itself and covered in depth on fretjam.com, but in the example
of C major, we could use a major 7th arpeggio from the scale using the sequence 1-3-5 [C]-7-1.
Try blending these arpeggio movements into larger scale phrases using the arpeggio as
the scaffolding of your phrase.
Use runs.
Again, this is covered in a separate lesson on fretjam.com, but this is simply where we
move in staggered sequences up and down the scale, remembering to land on our safe ending note.
We can also use pentatonics as part of our fuller 7 note scale phrases.
If we're playing a major scale, simply use the major pentatonic tones within the pattern.
1-2-3-5-6.
Of course, there are many physical techniques that help punctuate a phrase.
Bends, hammer-ons, pull-offs, double stops, etc.
But we're learning the basics here and you'll naturally start to incorporate these lead
techniques as you become more confident with the scales you're playing.
Let's just try a different scale.
This time we're using Dorian, which is a minor scale.
The theory and dynamics behind building phrases in this scale is exactly the same as we looked
at with the major scale, but there are different tones, giving this scale its own unique flavour.
Remember I said before that the safest notes on which to begin and end a phrase are the triad tones.
Well, in a minor context, these tones are the root, minor third and fifth.
The minor third is what makes the scale minor.
Ending a phrase on the minor third will reinforce the minor context of the phrase that leads to it.
[Cm]
However, ending a phrase on the sixth will really bring out that Dorian flavour.
This tone can be held safely over the minor chord, even though it has that tense quality.
[C] If we were using the arpeggio technique, we'd pick out the minor triad tones and use them
as the scaffolding for a larger Dorian phrase.
[Eb]
These are just the basics, but there should be nothing stopping you from using scales
you learn to experiment with phrasing.
The more you play around with different sequences from a scale, the more your ear is trained
to pick out expressive movements.
By fully exploring the scale using techniques such as string skipping, runs, arpeggios around
those safe starting and ending notes, you avoid falling into the trap of simply plodding along aimlessly.
Your phrases need that destination to put them into context.
You can learn all about the phrasing techniques covered in this lesson on fretjam.com.
Anyway, there's a lot to think about and I hope you'll join me in the next part when
you're ready so we can look at more advanced phrasing [N] techniques.
Cheers!
Key:
C
G
Cm
Eb
C
G
Cm
Eb
Scale phrasing is about selecting tones from a scale and creating a movement between them.
Typically, a scale phrase has an expressive purpose, in a similar way we phrase speech,
to convey meaning.
This lesson will introduce you to the basics of using scales in a musical and meaningful way.
_ When you first learn scales, you'll most likely be playing them in a linear sequence,
from the 1st to 7th note, and vice versa.
This is fine for getting to know the scale's pattern on the fretboard and its general flavour.
However, you'll eventually want to highlight the scale's unique sound more effectively,
and that's where scale phrasing comes in. _
As we need to take this step by step, we'll begin with scale phrasing over one chord at a time.
When you're ready, you can move on to phrasing over chord progressions more than one chord,
which is more challenging.
The first thing we need to do is establish what chord we're playing over.
In this example, it's a C major chord.
Therefore, I'm going to keep it simple and play the C major scale in the solo. _
_ _ _ Secondly, we need to identify a starting and ending note for our phrase.
As we're playing over a major chord, the safest notes to start and end on are those of the
major triad, the root, 3rd and 5th.
Again, to keep it simple, I'll start the phrase on the root note and end on the 3rd.
The notes in between will be like the bridge between these two stable points.
Of course, as you progress, you'll start trying different starting and ending notes from the
scales you learn.
At first though, it's just easier to pick out those triad tones, because these tones
are shared across most scales you'll learn.
They are a quick reference point.
_ So, from our starting note, we have the option of creating a short phrase or a longer phrase.
The starting and ending notes will most often be held onto longer than the notes in between.
_ Here's an example of a simple 5 note phrase from the C major scale, using our chosen starting
and ending [C] notes.
_ _ _ _ _ _ So we started on the root, moved through some tones in the major scale and finished on the 3rd.
We could also repeat the root and 3rd within a phrase if we wanted. _ _
_ _ _ Now to make a phrase sound more expressive, you should be moving up and down the scale,
skipping tones, trying out different sequences and combinations until you find one that you're happy with.
By using those safe starting and ending notes, it'll put your scale movements into context.
There's no hard and fast rule about how a phrase should sound, but just get into the
habit of jumping around the scale rather than using too many linear movements, e.g.
1-2-3-4-5-6, 5-4-3-2-1, etc.
_ You can use linear movements of course, but break them up with more skipped interval movements.
Variety is the key thing here.
Another good way to give more structure to your scale [G] phrases is to use arpeggios.
This is a whole lesson in itself and covered in depth on fretjam.com, but in the example
of C major, we could use a major 7th arpeggio from the scale using the sequence 1-3-5 [C]-7-1.
_ _ _ _ _ Try blending these arpeggio movements into larger scale phrases using the arpeggio as
the scaffolding of your phrase.
_ Use runs.
Again, this is covered in a separate lesson on fretjam.com, but this is simply where we
move in staggered sequences up and down the scale, remembering to land on our safe ending note. _ _
_ _ _ _ We can also use pentatonics as part of our fuller 7 note scale phrases.
If we're playing a major scale, simply use the major pentatonic tones within the pattern.
1-2-3-5-6.
Of course, there are many physical techniques that help punctuate a phrase.
Bends, hammer-ons, pull-offs, double stops, etc.
But we're learning the basics here and you'll naturally start to incorporate these lead
techniques as you become more confident with the scales you're playing. _
Let's just try a different scale.
This time we're using Dorian, which is a minor scale.
The theory and dynamics behind building phrases in this scale is exactly the same as we looked
at with the major scale, but there are different tones, giving this scale its own unique flavour.
_ Remember I said before that the safest notes on which to begin and end a phrase are the triad tones.
Well, in a minor context, these tones are the root, minor third and fifth.
The minor third is what makes the scale minor.
Ending a phrase on the minor third will reinforce the minor context of the phrase that leads to it.
_ [Cm] _ _ _
However, ending a phrase on the sixth will really bring out that Dorian flavour.
This tone can be held safely over the minor chord, even though it has that tense quality.
[C] _ _ _ _ _ If we were using the arpeggio technique, we'd pick out the minor triad tones and use them
as the scaffolding for a larger Dorian phrase.
_ _ [Eb] _ _
_ These are just the basics, but there should be nothing stopping you from using scales
you learn to experiment with phrasing.
The more you play around with different sequences from a scale, the more your ear is trained
to pick out expressive movements.
By fully exploring the scale using techniques such as string skipping, runs, arpeggios around
those safe starting and ending notes, you avoid falling into the trap of simply plodding along aimlessly.
Your phrases need that destination to put them into context.
_ _ You can learn all about the phrasing techniques covered in this lesson on fretjam.com.
Anyway, there's a lot to think about and I hope you'll join me in the next part when
you're ready so we can look at more advanced phrasing [N] techniques.
Cheers!
Typically, a scale phrase has an expressive purpose, in a similar way we phrase speech,
to convey meaning.
This lesson will introduce you to the basics of using scales in a musical and meaningful way.
_ When you first learn scales, you'll most likely be playing them in a linear sequence,
from the 1st to 7th note, and vice versa.
This is fine for getting to know the scale's pattern on the fretboard and its general flavour.
However, you'll eventually want to highlight the scale's unique sound more effectively,
and that's where scale phrasing comes in. _
As we need to take this step by step, we'll begin with scale phrasing over one chord at a time.
When you're ready, you can move on to phrasing over chord progressions more than one chord,
which is more challenging.
The first thing we need to do is establish what chord we're playing over.
In this example, it's a C major chord.
Therefore, I'm going to keep it simple and play the C major scale in the solo. _
_ _ _ Secondly, we need to identify a starting and ending note for our phrase.
As we're playing over a major chord, the safest notes to start and end on are those of the
major triad, the root, 3rd and 5th.
Again, to keep it simple, I'll start the phrase on the root note and end on the 3rd.
The notes in between will be like the bridge between these two stable points.
Of course, as you progress, you'll start trying different starting and ending notes from the
scales you learn.
At first though, it's just easier to pick out those triad tones, because these tones
are shared across most scales you'll learn.
They are a quick reference point.
_ So, from our starting note, we have the option of creating a short phrase or a longer phrase.
The starting and ending notes will most often be held onto longer than the notes in between.
_ Here's an example of a simple 5 note phrase from the C major scale, using our chosen starting
and ending [C] notes.
_ _ _ _ _ _ So we started on the root, moved through some tones in the major scale and finished on the 3rd.
We could also repeat the root and 3rd within a phrase if we wanted. _ _
_ _ _ Now to make a phrase sound more expressive, you should be moving up and down the scale,
skipping tones, trying out different sequences and combinations until you find one that you're happy with.
By using those safe starting and ending notes, it'll put your scale movements into context.
There's no hard and fast rule about how a phrase should sound, but just get into the
habit of jumping around the scale rather than using too many linear movements, e.g.
1-2-3-4-5-6, 5-4-3-2-1, etc.
_ You can use linear movements of course, but break them up with more skipped interval movements.
Variety is the key thing here.
Another good way to give more structure to your scale [G] phrases is to use arpeggios.
This is a whole lesson in itself and covered in depth on fretjam.com, but in the example
of C major, we could use a major 7th arpeggio from the scale using the sequence 1-3-5 [C]-7-1.
_ _ _ _ _ Try blending these arpeggio movements into larger scale phrases using the arpeggio as
the scaffolding of your phrase.
_ Use runs.
Again, this is covered in a separate lesson on fretjam.com, but this is simply where we
move in staggered sequences up and down the scale, remembering to land on our safe ending note. _ _
_ _ _ _ We can also use pentatonics as part of our fuller 7 note scale phrases.
If we're playing a major scale, simply use the major pentatonic tones within the pattern.
1-2-3-5-6.
Of course, there are many physical techniques that help punctuate a phrase.
Bends, hammer-ons, pull-offs, double stops, etc.
But we're learning the basics here and you'll naturally start to incorporate these lead
techniques as you become more confident with the scales you're playing. _
Let's just try a different scale.
This time we're using Dorian, which is a minor scale.
The theory and dynamics behind building phrases in this scale is exactly the same as we looked
at with the major scale, but there are different tones, giving this scale its own unique flavour.
_ Remember I said before that the safest notes on which to begin and end a phrase are the triad tones.
Well, in a minor context, these tones are the root, minor third and fifth.
The minor third is what makes the scale minor.
Ending a phrase on the minor third will reinforce the minor context of the phrase that leads to it.
_ [Cm] _ _ _
However, ending a phrase on the sixth will really bring out that Dorian flavour.
This tone can be held safely over the minor chord, even though it has that tense quality.
[C] _ _ _ _ _ If we were using the arpeggio technique, we'd pick out the minor triad tones and use them
as the scaffolding for a larger Dorian phrase.
_ _ [Eb] _ _
_ These are just the basics, but there should be nothing stopping you from using scales
you learn to experiment with phrasing.
The more you play around with different sequences from a scale, the more your ear is trained
to pick out expressive movements.
By fully exploring the scale using techniques such as string skipping, runs, arpeggios around
those safe starting and ending notes, you avoid falling into the trap of simply plodding along aimlessly.
Your phrases need that destination to put them into context.
_ _ You can learn all about the phrasing techniques covered in this lesson on fretjam.com.
Anyway, there's a lot to think about and I hope you'll join me in the next part when
you're ready so we can look at more advanced phrasing [N] techniques.
Cheers!