I find that scale sequences are one of the best ways to add or release tension in a solo. Sometimes a solo just calls out to end on a low note. In that case, descending scale patterns are a great way to get there. Other times, you want to lead up to a searing high note. An ascending scale sequence can do the job nicely there.

Hopefully these exercises will get you interested in scale patterns. These are just a few common examples. If you search hard enough, you will find tons of other out there. Or you can come up with your own!

Once again we will use the G Major scale as the basis for the guitar lesson. To form triads, we start at a given note in the scale, skop a note, play a note, skip a note and then play a note. Consider the table below:

Notice that there is one oddball above - the diminished triad. This is the triad that comes about when we start from the 7th note of the Major Scale. The seventh note corresponds to the Locrian mode (see my lesson on scales and modes) and is known for its sinister sound...

Above is the tab for this guitar lesson. Essentially, all we are doing in this exercise is starting from each note of the scale and playing the corresponding triad. You will note that the tab indicates alternate picking. A lot of players would use consecutive downstrokes/upstrokes where possible (i.e. changing strings), but I find that alternate picking lends itself to a more consistent sound and furthermore playing these sorts of patterns using alternate picking does absolute wonders for your picking chops and coordination. If you have gone through my previous lessons where I play arpeggios with alternate picking, then this lesson will feel natural to you.

Later,

Brian