Learning To Connect Two Guitar Scale Forms – Part 2

In the last post (Learning To Connect Two Guitar Scale Forms – Part 1), we 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 Guitar Scale Forms

The process begins by connecting the 6/4 form to the 6/2 form on string 6. Play the 6/2 scale form ascending and descending and, upon the return, pass back to the 6/4 scale on string 6. The next step is to begin the 6/4 scale form again continue in the scale on string 5 and then shift to the 6/2 scale form. Then play the 6/2 scale form ascending and descending returning to 6/4 scale form on string 5. This continues as each shift assimilates 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. Obviously, this enhances the understanding of improvising the chord changes.

Connecting 6/4 and 6/2 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 but 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, a bracket indicates the shifting point above the notes and left-hand fingering in the scale.

Connecting 6/4 and 6/2 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 can be continued through each of the strings. They should be practiced until assimilated. Then, practice with rhythmic variation should begin. After assimilating the key of A major, 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

Connecting 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 deepen the understanding of how to move freely throughout the instrument without hesitation.

Check out some of our other articles on scales:

• 3 Things I Am Learning From Beginner Guitar Scales in Open Position
• The Basics of Music Theory – Part 1 (The Chromatic Scale)
• Learning To Connect Two Guitar Scale Forms – Part 1
• Segovia Scales And Their Hinderances

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Chadwick Becks

I have two degrees in guitar performance and was privileged to study under Aaron Shearer, Tom Kikta, David Skantar, Ken Karsh, Tim Bedner, and currently Christopher Berg. Outside my editorial work on this blog, I teach full-time across many genres including classical, jazz, blues, rock, funk, and metal.