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You Are Playing Your Scales Wrong (The Map Technique)

Jun 11, 2021
guitar hero map

technique

, it is one that I use with my students and that will help you understand how to really practice

your

scales

and get much more out of it. How to express them. We'll be a lot better off, so let's get into it's a really simple

technique

and more than anything it's a philosophy, it's an understanding, it's not just about picking up the guitar and just moaning or trying to walk away, a lot of people do that and don't they want to? Stay away from that kind of philosophy, but understanding that kind of philosophy will really help you understand why one musician can sound great and another has a hard time sounding great, so now?
you are playing your scales wrong the map technique
The number one reason I tell you is that you are practicing

your

scales

wrong

and I don't know if everyone does it, but most people that's how they practice their scales. I know this because I did it for thousands and thousands of hours, but something like this and so on now is so bad to do, no, it's not a bad thing to do at all, okay, so let me say that first, but what we're trying to do to do is try to improve in music. We're trying to get better at the solos, at the phrasing, at the composition, at the riffs, at the shredding, whatever you want to call it.
you are playing your scales wrong the map technique

More Interesting Facts About,

you are playing your scales wrong the map technique...

That's okay and just practicing our scales like this won't get us there because we don't play. This way we play like this, so why would we practice scales any differently than the way we actually play on stage or play solo? I know, this is what we must do, we must understand the same philosophy. Now I will come to the map technique in a moment, when we teach a child to speak, when a child is learning to speak. They learn phrases when they are five years old, they need like five thousand words Wow, they never went to school, how did that happen?
you are playing your scales wrong the map technique
What happens through osmosis when their parents talk or who is raising them? You know, raising them, so they learn these. listening techniques, we learn phrases and we give a child a dictionary when they are one year old and we tell them there you have all the words you need to know, it won't be much help, they need to learn phrases and what those phrases mean, that's fine and we Let's go to do the same thing, so why call this the map technique? Because what happens a lot of times is if we're

playing

, let's say we're

playing

an improvised track here, that's fine, so if I'm playing, let me play a little bit. of a jam track here for you and I'm doing this, let's say, like an A blues, then I'll use the A blues scale, but that's how a lot of people approach their scale when playing and tell me if you think if I take the same approach to play scales and I use this in my actual playing if it's going to sound cool, so I'm going to practice my scales something like this right now, if I take the same technique and apply something like this a little bit, you still don't really get the idea of ​​what which we're trying to get right because it's just repetition of notes, it's very predictable, it's like we're reading straight from a book, okay, imagine us going out on a date that we're reading. this dating book, well that wouldn't be very good, this is what you tell the girl, no, they want, they want the heart right and we have to get there by practicing this the right way, so I call it the map . technique because if you have a map like this, in this case here we have one shape of the blue scale, we have many others, but we are using this shape, even just that shape, it's basically like we have a map and We're like we can go to anywhere and we have this map of, say, a state and we get in the car and we just start driving around like they did back in the day in the cartoons, they go all over the map or whatever and that's really not what we're looking, if we're a little more methodical, we'll take a piece of that map and say, okay, let's go to southwest Florida, what's down there, Miami, the keys. great, let's look at the keys, let's start in Key West, we'll move forward and there's a little plan instead of just taking the map and wandering around.
you are playing your scales wrong the map technique
Bad idea, the same goes for music, so we need to think more like a map and let's say, let's drill down into a small section of that map. Be very good at it now. We could do this very easily in blues. We could do it very easily with diatonic, you know, seven-note scale, that kind of thing. It would look like this, so I took this scale earlier. Now we said what I'm going to do is just take a small section. In fact, I'm going to take, I'll go up one note further back. I'm just going to use those four notes because the closer we get to that map and we can really take the time to explore a particular place, let's say you go to the Alamo, take your time and explore the Alamo and figure everything else out. everything about it will become beautiful, you will appreciate life more, okay, the same with this we want to appreciate the scale, we want to understand it, otherwise you just sit here, you get lost, you go crazy on a scale, it's not going to work for you. give what you need. you're looking for, so check this out.
I'm going to take four notes. We're going to make it sound a lot better than using all those notes before. What about that? So we just took a small section and tweaked it so that this is what I call hyperfocusing on a particular part of the neck using the mapping technique in my courses. I teach this as what's called minimalist blues, so what we're doing is taking a portion of a scale and we're learning it. we're getting to know him because you could do this all day. You have too many variables if you take the whole scale, too many variables to really understand what you are trying to achieve.
So, what I'm telling you. You have to condense it now, how can we do this with diatonic scales? Scales that, in addition to saying pentatonic or blues, well, what we can do is do the same. We can learn that part of the mast because there will be certain. Notes that will be represented by the chords and certain notes that will simply be represented by the key they are in will have a different role than the other notes for some of you scratching your heads saying what the hell is each note talking about? it has a certain role, it has a certain strength, so to speak, in the scheme of a key and knowing that at least knowing it from a field point of view, like when you're playing, is the most important part.
In fact, that's all you really need. You could go into some theory about it, but actually, if you have that feeling, you'll be funny. One way to do this is to practice phrases, so I don't just take one part. of a scale and say, well, for this I do, let's say, I can say I'll probably just use the blues skill, maybe add, maybe throw that note in there, but other than that, I'll just use the blues scale for this, okay, and I'm going to listen to the courts, the other part I could say with diatonic scales like Doremi Facility Doe or one two three four five six seven one is, I could practice it like one two three two three four three four five I could practice it I call sequences those kinds of things where we skip notes one, three or four, different ways you can do this, you can do it going up, you do it going down, it doesn't matter now, why is it so important? ?
Well, because it's more realistic that way. you will end up playing a solo on stage it will be phrases it will be ideas it will be motifs a motif is a musical idea so if we said that's called a palette and we have this repeated note that is a motif instead of just playing a scale all the time, it will become very boring now, what are you going to extrapolate from this? Eric, you went on too long, well I went on long because I really want you to understand this because it is absolutely crucial to what you are playing and I want you to be a better player, okay then sue me why and I will help you, so this is what I want you to know.
Whatever you do when you solo on any improvised track, whatever, it doesn't matter, in fact, I'm telling you. What I'm going to have is an improvised track after this, let's see, I made one in the key of minor. I'll put the key of B minor on the next one here and the excitement will be gone, so you can adjust this using, say, the pentatonic scale or the B minor pentatonic scale board or the B minor blues scale, you can use any of those. I'm going to sound really good, that's the track I'll play. after you do this, but what I want you to do is take a small section of this scale, don't take the whole scale, I'm telling you not to do it, I know it's very tempting to do it, but those are all the problems I don't We want to do, that we take a small section of the scale, really focus on it and learn what notes to get out of it now, later when you practice your scales, there are no problems with practice. the scale from octave to octave like I did well, there is nothing

wrong

with doing that, but we don't want to get used to doing it all the time because if we do it becomes very sterile and then when we go to play, we are just playing scales and that love don't come out like we're practicing lines makes sense I think so okay there will be an impromptu track after this so don't go anywhere my friends thank you so much for watching this please leave your to the comments below like all that good stuff so subscribe if you're not already subscribed and of course I'm on Facebook, Twitter, Instagram and all those places I like when people look here and they're like the little things that float over there.
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