Why Practice Scales?

he purpose of this article is to help the guitar player gain relaxation and fluidity in all aspects of playing. Practicing scales is essential for the development of muscular coordination and strength in both hands. Results will not be easily achieved unless a disciplined routine of practice is implemented.

A main advantage of this routine is the development of both hands in a balanced manner. All fingers work equally as coordination is achieved in both hands. This routine is designed to help the player gradually acquire coordination, strength, and speed. Unlike many other approaches to practicing scales this entertaining routine demands much concentration and awareness.

Hands On The Job

The scale pattern used for this routine is a two-octave major scale beginning on the 6th string and ending on the 1st. Set the metronome to 80 beats per minute. At sixteenth-note resolution play an ascending D-major scale in the 9th position, 4 strokes per note (per pitch, in other words). Use i-m for the right hand fingering. Without interruption play a descending scale, now only 2 strokes per note. Then, play an ascending and descending scale, 1 stroke per note. Starting with 4 strokes and decreasing the number of strokes per note gradually achieve coordination between both hands.

Now play an interval sequence of thirds, ascending and descending, without interrupting the right hand fingering pattern (see the score below). When using i-m for the right hand fingering the descending section of the scale becomes a complex of cross-strings. Training on the execution of cross-strings is important in the development of scales. Not always can a scale passage be fingered in such a way as to avoid all occurrences of cross-strings.

Click score for printable version

Now repeat the above steps over, but change the right hand fingering pattern. If the starting fingering was i-m, then, continue with m-i, m-a, a-m, i-a, and a-i. When repeating the exercise with all possible combinations of right hand fingers, the muscles get equally exercised and the right hand becomes balanced.

Once you have finished playing all of the above two-finger combinations, implement the following three-finger combination: a-m-i. Because a-m-i is an odd-number fingering, when superimposed to an even-number of notes such as 4 or 2, the fingerings always change. It is important to keep the rhythmic groups with the correct accentuation. One common mistake is to make the rhythm sound like triplets. Practicing the following finger sequences independently can aid this problem: a-m-i-a, m-i-a-m, and i-a-m-i.

The intervallic section of thirds should also be played using this three-finger combination. Practice it very slowly, without the metronome at first. Be very careful to apply utmost concentration, for it is important not to memorize mistakes or bad habits at this point. Repeat every exercise 3 times when applying the three-finger combination because every repetition will begin with a different finger, each cross-string will have a different placement.

At a speed of 80 beats per minute, the routine described above should not take more than 3 or 4 minutes if executed properly. Once you have finished raise your metronome by one notch, move down one position on the neck (or by half a tone, for example from D major to D flat major) and start over. Repeat this procedure for an average of 45 minutes to an hour every day. Experiment with variety in the dynamic range and always try to experience relaxation.

After-Thoughts

Always remember that it is as important to develop technique as to develop other aspects of musicality. Balance is the key to every aspect of life. Technique helps us ease physical tasks and opens room for concentration on musicality. Every guitarist's solid technique should only be there to support musical ideas and not the other way around, where music is based merely on the player's technical ability.

I would like to thank Randall Avers for his most generous and valuable advice in the development of this article.

Gonzalo A. Molano
April 25th of 2002