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April 30, 2012 Leave a comment

Time to get serious..(again)

I’ve been doing some relearning to get my fingers back into shape and reacquaint myself with the myriad mappings of my strat’s fretboard.

I’ve been doing the following:
Relearning Major scale positions
Playing Major scale positions in various keys (whole patterns and from root to root)
Playing Major scale root to root along the entire neck in various keys
Some dabbling with Major chords over scale positions
Octave and note navigation (6th and 5th string notes; octave patterns)

In the near future:
Further exploration into Major scale/chords
Relative Major/Minor

I’ve downloaded Fretboard Theory, considering giving it a thorough read.

Not quite sure about all the attention to relative scales. Why the differentiation? Why not just interpret them as a single entity?
So far in my improvisation I’ve neglected all of it; I was never aware of which note I was on or where the tonic was located — I simply wanked through scale patterns over chords that were constructed by combining notes therein, guided solely by what sounded good. I’ve always subscribed to the ideal that doing this for long enough will eventually lead to revelations and a “feel” for improvising, and regarded hardcore theory as unnecessary intellectual masturbation.

Well, the memory of where I was with that approach leads me to believe that it is certainly feasible.
However romantic such an approach may be, I could still recall the chaos and confusion of deciding on what step to take next to break out of a plateau. My uneducated intuition would suggest that I just needed to repeat the same process with another scale. After a long hiatus, however, I have come to deeply suspect the soundness of this approach. In light of this, I’ve decided to start experimenting with a more structured routine grounded in hardcore music theory, with lots and lots of intellectual masturbation.

But first, the mechanics.

P.S. I’ve recently discovered the mellifluousness of XL Jazz strings.