Stuck in scale boxes? Try this

SixStringSage · December 2023

Learning scales can be a bittersweet experience.

On one hand, you’re learning new things and improving.

On the other hand, you might feel that you can play through shapes but not use them musically.

Scales have a different learning curve to chords, which we can simply join together and make a chord progression.

And because we learn the scales in a shape, playing from bottom string to top string, that’s the muscle memory that we build. That’s the dilemma with relying on shapes: they provide a convenient way to learn something, but we need to dig deeper if we want to learn why and how they work.

So, if you’re feeling that you’re only running through scale shapes and aren’t sure how to play with more intention and fluency, here are some suggestions.

Break the pattern

If you find yourself going up and down a scale, low E string to high E string, then it’s time to break the pattern. Try these ideas:

Start at a different note.

Play some notes more than once (i.e. play a note twice, or three times).

Start to play the scale and randomly stop, then descend back to the starting note.

Start at the end of the scale.

Limit yourself to two strings.

Limit yourself to three strings.

Use bends to hit your target notes.

Learn the other shapes

Let’s say you’ve learned the minor pentatonic scale, but only the first shape. You could play this all day and get very proficient with it, but you’ll still find yourself limited to that one shape if you’re not sure of what’s going on inside it.

Nor will you be able to play fluently across the neck—you’ll be anchored to one place.

So to progress from here, you should learn the next shape. I don’t recommend learning all five at once, instead learn them one at a time and learn them extremely well.

Limit yourself as you expand

The temptation is to learn scales as fast as we can—learn a shape, memorise it, move onto the next, and repeat.

But there is a difference between playing a scale through repetition, and learning how to apply it musically.

Similar to “Break the pattern” above, this is about restricting yourself but in a larger area.

Instead of racing through the five shapes, learn one and focus on it. If you’ve learned shapes 1 and 2, limit yourself here for the time being. Identify each root note. Play one octave, but combining the shapes—this will mean you combine them horizontally, which will help to break you out of the routine of playing vertically and unlock new creative ideas.

Play to a backing track, using only the newest shape you’ve learned.

Once you’re proficient here, learn the next shape and limit yourself again.

Here’s how it may look:

You already know shape 1, so you learn 2 and play both

Once proficient, you learn 3 and practice it on its own

You then combine it with 2, playing horizontally and getting familiar

Then combine 1, 2 and 3

Eventually, learn shape 4 and repeat the process

Before you know it, you’ll be fluent in all 5 shapes and ripping along the fretboard.

Which brings us to our next suggestion:

Learn in different keys

You may know how to play all 5 shapes, but can you effortlessly play shape 2 when it starts in the open position? (This is how you play D minor pentatonic—shape 1 would begin at fret 10 of the E string, so if you start from fret 1 you’re in shape 2.)

Following the advice in the previous section, once you’ve learned at least 2 shapes, choose a key and play both shapes.

Each time you hit the root note, play it twice (this is so you’re playing intentionally and actively learn where the root notes are on each string. This will eventually allow you to play in any position on the fretboard).

For example, if you were to play in the key of G you’d play shape 1 at the third fret, root note on the low E string, and shape 2 with a root note on fret 5 of the A string. Between these two shapes, you’ll have root notes on the two E strings, as well as the A and B strings. Then, you may decide to play in the key of B—you’ll notice the root notes are always in the same place relative to the scale shape, but you’re gaining proficiency in playing in different keys around the fretboard.

Challenge yourself by also choosing a string, e.g. “play E minor pentatonic starting from the B string” (this would be shape 2).

Learn intervals

I’ve already suggested to learn the position of the root notes as you practice your scales. This will give you the freedom to play from any string and any place on the neck.

But it’s also worth learning the other intervals. This opens up everything, from proficient improvising to fast application of triads.

Learn solos

If learning scales is like learning the alphabet and practicing how to write, learning solos is like reading a book.

You’ll learn new techniques and melodies, but also understand how other players play over chord changes, utilise legato, move between shapes along the fretboard, and much more.

In short, it will help you to think more musically.

Emphasise the chord tones

You’ll probably notice how the pros do this as you learn solos, particularly if you also pay attention to what the rhythm guitar is doing behind the solo. The goal here is to notice they aren’t merely playing scale shapes, but intentionally hitting specific notes to create a particular flavour—such as the minor 3 for some sadness, the disharmony of the tri-tone, or the unmistakable sound of the 7.

Once you know how to find and use these flavours from your scale, you’ll feel proficient and confident in your lead guitar playing.

This first appeared on my free Substack