why bother? Part 2

One of the questions I posed was this: What are the components of melody? There's a simple answer to this, at least mechanically. Note that I'm not asking what the components of a GOOD melody might be.

1 - Notes
2 - Rhythm
3 - Articulation

Thinking about this isn't so much of an answer to "Why bother playing scales?" It's more an answer to "Why do I feel like playing scales doesn't help my improvisation?"

How is it an answer? Simple. Think about how you practice scales. If you're like most people, you play up and down in constant eighth notes or sixteenths, maybe practice some intervals or simple patterns, and that's really about it. Forget the fact that you're just practicing notes sequentially; you're just practicing notes, period!

Rhythm is simple to define. It's the spatial (chronological) relationship of different notes. So try playing your scales with some different rhythms!

Articulation is more complex. Basically stated, it's how a note is played. It could include things like dynamics, timbre, how it's attacked (harmonics, ligado, etc) what you do with it afterwards (bending, sliding...). So try playing around with some different articulations when you practice your scales.

Bottom line - You will play what you practice, so try to keep your practicing Interesting!

Brant Grieshaber - guitarist
Guitar Teacher

scales - why bother?

This post is inspired by a new student of mine. He's facing a dilemma that many people face in practicing. The bottom line is that he's not sure why he's practicing scales. What's the REAL benefit? To summarize an email from him, every teacher he's studied with has scale practice as part of the curriculum for learning to improvise, but he doesn't feel like he's getting better at it.


I can be a bit of a wise-ass teacher. I like to ask questions instead of giving answers whenever I can get away with it. I find that people learn more when they find their own answers. I'm mostly here to guide them in that search and point out some new places to look. Here's what I asked him:


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How often do you find yourself playing over non-diatonic changes, including things like secondary dominants?

How many different ways have you practiced a given scale? (C major in V position for example.)

How comfortable are you with key changes?

How often do key changes come up in the tunes you play?

What would say the components of a melodic idea really are?

What makes a solo a good one and what makes a solo suck?

What do you think theory is useful for?

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What are your answers to these questions? Feel free to comment away. I'll provide my own thoughts and my reflections on any comments in future posts.

Brant Grieshaber - guitarist
Guitar Teacher