Kenny Carlile

Illustrated in C Major

The Shape 2 Major Scale is a moveable root-5 (meaning that the 5th string contains the root of the scale) major scale. This example is illustrated in C major and should be practiced in all available positions.

Scale Fingerings

Scale Tones

Arpeggio Fingerings

Arpeggio Tones

Illustrated in G Major

The Shape 1 Major Scale is a moveable root-6 (meaning that the 6th string contains the root of the scale) major scale. This example is illustrated in G major and should be practiced in all available positions.

Scale Fingerings

Scale Tones

Arpeggio Fingerings

Arpeggio Tones

I'm already adding Part 2 and, just as before, there will probably be more to come. If you missed the first part, you can find it here: Warm Up Exercises Part 1

Here are a few more patterns to practice for warming up.

Linear Patterns

Legato Ascending Pattern

I learned this pattern from some video I saw with Joe Satriani where he was talking about working on legato technique. This is good both for legato lines and for working on the extension between your index and middle fingers on your left had as you should play each triplet with fingerings 1-2-4. Pick only the first note and then hammer on the next two until you change strings, then pick again.

e|-------------------------|--------------------1h3h5-|
B|-------------------------|--------------1h3h5-------|
G|-------------------1h3h5-|-------1h3h5--------------|
D|-------------1h3h5-------|-1h3h5--------------------|
A|-------1h3h5-------------|--------------------------|
E|-1h3h5-------------------|--------------------------|

e|-2h4h6-------------------|--------------------------|-(etc.)-|
B|-------2h4h6-------------|--------------------------|--------|
G|-------------2h4h6-------|-2h4h6--------------------|--------|
D|-------------------2h4h6-|-------2h4h6--------------|--------|
A|-------------------------|-------------2h4h6--------|--------|
E|-------------------------|-------------------2h4h6--|--------|

After you complete this 4 bar pattern, move up to the next fret, which will actually be 2 frets above where you started, and repeat the pattern. Try to be as smooth and even as possible.

Perfect Fourth Stretch Pattern

As long as we are stretching out the left hand with that legato run, let's add another stretcher. This one is meant strictly for stretching between the fingers of your left hand and it also improves independent movement among the fingers. As with the other linear patterns, you start up the neck and work your way down. However, in this case, since the frets are closer together up the neck and further apart near the nut, it actually aids in the stretch.

Play the pattern below and then move down a fret until you've reached the nut, then go the B string, G string, D string, and even the A and low E strings, if you can, as it gets much more difficult on the lower (heavier) strings. Make sure that you leave your fingers down as you play the notes. That is, your fingers shouldn't leave the frets until after you've played the fourth note in the pattern, then release your grip and start over a fret down. This will ensure a proper stretch.

e|-12-14-16-17-|-(etc.)-|
B|-------------|--------|
G|-------------|--------|
D|-------------|--------|
A|-------------|--------|
E|-------------|--------|

Again, you should be fretting each bar with fingers 1-2-3-4, skipping a fret between the 1st and 2nd, 2nd and 3rd fingers. If you can't leave your fingers down all the way keep practicing and move your thumb behind the neck, pushing your wrist and elbow forward. Lift the neck upward as though you were playing an upright bass if you need the extra help.

Linear Leap Frog Pattern

This next pattern helps develop independent left hand finger movement as well as synchronization between both hands. Play the pattern, then slide down a fret and repeat until you get to the first fret, then start over on the B string, and so on with the G, D, A, and low E strings.

e|-15-13-14-12-|-12-14-13-15-|-(etc.)-|
B|-------------|-------------|--------|
G|-------------|-------------|--------|
D|-------------|-------------|--------|
A|-------------|-------------|--------|
E|-------------|-------------|--------|

Try playing the Linear Leap Frog with staccato articulation and stay as cleans as possible.

Complex Patterns

Reverse Cascade Pattern

This pattern is like the Cascade Pattern from Part 1, except it's flipped and backwards…and inverted and also it goes the other way. After you play the 6 bar pattern, slide down a fret and repeat until you get to the nut.

e|-15----------|-------------|-------------|
B|----14-------|-15----------|-------------|
G|-------13----|----14-------|-15----------|
D|----------12-|-------13----|----14-------|
A|-------------|----------12-|-------13----|
E|-------------|-------------|----------12-|

e|-------------|-------------|----------12-|-(etc.)-|
B|-------------|----------12-|-------13----|--------|
G|----------12-|-------13----|----14-------|--------|
D|-------13----|----14-------|-15----------|--------|
A|----14-------|-15----------|-------------|--------|
E|-15----------|-------------|-------------|--------|

Just as with the Cascade Pattern, the Reverse Cascade Pattern should be articulated in different ways, such as alternate and sweet picking.

Root 6 Major 7 Arpeggio

Running scales and patterns is a good way to warm up, but they are often very linear and your fingers don't skip around much. One way to beat the linear rut and still sound musical is to practice arpeggios. This is was the first arpeggio I learned and I still use it to this day. This time you are going to start on the 3rd fret in the key of G and move up a fret after each pattern until you clear the 12th fret.

e|---------------2-|-3-2-------------|-------|-(etc.)-|
B|-------------3---|-----3-----------|-------|--------|
G|-----------4-----|-------4---------|-------|--------|
D|-------4-5-------|---------5-4-----|-------|--------|
A|---2-5-----------|-------------5-2-|-------|--------|
E|-3---------------|-----------------|-3-2-3-|--------|

Make sure you use alternate picking regardless of which strings you are skipping to. Even though you may be skipping to the next string down, if the next pick is up, you should pick up. Try it slowly and exaggerate your right hand picking to help stay with a consistent pattern if you are having trouble maintaining the alternate picking technique.

That should keep you busy with more patterns for warming up. Look for more tips and techniques to come, maybe even "Warm Up Exercises Part 3"!

I'm calling this post "Warm Up Exercises Part 1" because I suspect that I will come up with other warm up exercises later, so this will be the first installment. I'd like to share these because, while these are not difficult, challenging, or groundbreaking, had I known how to use them years ago, I would be a much better guitarist today.

Stretching

Just like any athlete, you shouldn't attempt an exercise without first loosening up your muscles and joints. This may seem silly, but there are many guitarists who swear by this, including John Petrucci, and I've found that it really does make a difference. Here are a few stretches that you can use to loosen up BOTH HANDS:

• Forearm: bend your hand at the wrist as far forward as it will go until you feel a stretch in your forearm; similarly, do this the opposite way bending your hand backwards until you feel a stretch across the inside of your wrist and forearm.
• Wrist: make a fist and rotate your fist, bending at the wrist, clockwise and then counterclockwise.
• Fingers: use your opposite hand to spread your fingers far apart until you feel a stretch; do this between each set of fingers on each hand and do it in all directions (v-finger/Spock stretch, YellowPages walking fingers position and reverse).

Linear Patterns

After stretching, I like to begin with some linear patterns that stay focused on one string and adjacent frets.

1-2-3-4

The 1-2-3-4 pattern is really simple. You start on the 12th fret, play ascending chromatic notes until you land on your fourth finger, then you slide down a fret and do it again. Repeat this until you get to the 1st fret, then come back up the neck with the same pattern except sliding up one fret after each series of 4 notes.

e|-12-13-14-15-|-11-12-13-14-|-(etc.)-|
B|-------------|-------------|--------|
G|-------------|-------------|--------|
D|-------------|-------------|--------|
A|-------------|-------------|--------|
E|-------------|-------------|--------|

4-3-2-1

The 4-3-2-1 pattern is just the reverse of the 1-2-3-4 pattern. You start on the 15th fret, which positions your first finger on the 12th fret, and play descending chromatic notes until you land on your first finger, then you slide down a fret and do it again. Repeat this until you get to the 1st fret, then come back up the neck with the same pattern except sliding up one fret after each series of 4 notes.

e|-15-14-13-12-|-14-13-12-11-|-(etc.)-|
B|-------------|-------------|--------|
G|-------------|-------------|--------|
D|-------------|-------------|--------|
A|-------------|-------------|--------|
E|-------------|-------------|--------|

With both the 1-2-3-4 and the 4-3-2-1 exercises, make sure you articulate (pick) each note in order to work on your right/left hand synchronization. Use this exercise to work on even timing with down and up strokes with the pick.

Complex Patterns

These patterns cross strings with more complex patters that are good for warming up, but you should do these after the Linear Patterns.

Cascade Pattern

The Cascade Pattern is similar to the 1-2-3-4 pattern except that you go to next adjacent string on each note. The pattern cascades from the 1st string to the 6th string and then from the 6th string back to the 1st string. After you complete the patter across the strings and back, move down a fret and repeat, just like with the other exercises.

e|-12----------|-------------|-------------|
B|----13-------|-12----------|-------------|
G|-------14----|----13-------|-12----------|
D|----------15-|-------14----|----13-------|
A|-------------|----------15-|-------14----|
E|-------------|-------------|----------15-|

e|-------------|-------------|----------15-|-(etc.)-|
B|-------------|----------15-|-------14----|--------|
G|----------15-|-------14----|----13-------|--------|
D|-------14----|----13-------|-12----------|--------|
A|----13-------|-12----------|-------------|--------|
E|-12----------|-------------|-------------|--------|

Try this exercise two different ways: try it with alternating up and down strokes and also try it with a sweep-picking technique where you rake the pick across the strings in the direction that you are fretting (i.e. the first 3 bars will be swept with an up stroke, the last 3 bars will be swept with a down stroke).

Rotate Inner/Outer Pattern (John Petrucci Exercise From Rock Discipline)

I learned this exercise pattern from the John Petrucci video Rock Discipline. I like to use this exercise to maintain and build independent movement among my fingers for quick changes between chords. The pattern focuses solely on the left hand, so you can just strum the chord shapes straight. The important part is to try to only move the necessary fingers to get to the next shape and move them in time (all at once so they hit the chord on time). This one doesn't sound quite so pretty.

e|-15-15-12-12-|-(etc.)-|
B|-14-13-13-14-|--------|
G|-13-14-14-13-|--------|
D|-12-12-15-15-|--------|
A|-------------|--------|
E|-------------|--------|

As I said, focus only on moving the fingers necessary to get to the next shape; leave the others down. From the first shape to the second, you only need to move your 2nd and 3rd fingers. From the second shape to the third, you only need to move your 1st and 4th fingers. From the third to the fourth shape, you only need to move your 2nd and 3rd fingers again. Now slide down a fret, reset your fingers and repeat this all the way down the neck.

After you've reached the first fret, now repeat this same pattern on the A, D, G, and B strings. That is, do the exact same thing, just do it on the middle 4 strings.

e|-------------|-(etc.)-|
B|-15-15-12-12-|--------|
G|-14-13-13-14-|--------|
D|-13-14-14-13-|--------|
A|-12-12-15-15-|--------|
E|-------------|--------|

Now do it one more time on the E, A, D, and G strings (upper 4 strings).

e|-------------|-(etc.)-|
B|-------------|--------|
G|-15-15-12-12-|--------|
D|-14-13-13-14-|--------|
A|-13-14-14-13-|--------|
E|-12-12-15-15-|--------|

Chromatic Scale

There's no replacing the good ol' chromatic scale. You can cover all the notes in a pattern that you typically wouldn't play. I like to start in A (because that's as low as you can go with this pattern without hitting the nut) and run the scale up and down and then move up a fret and repeat until I'm somewhere above the 12th fret. Try this with a variety of picking techniques to keep it from getting monotonous and to exercise the right hand as well.

e|---------------------------------|---------1-2-3-4-5-|
B|---------------------------------|-2-3-4-5-----------|
G|-------------------------2-3-4-5-|-------------------|
D|-----------------3-4-5-6---------|-------------------|
A|---------4-5-6-7-----------------|-------------------|
E|-5-6-7-8-------------------------|-------------------|

e|-5-4-3-2-1-----------------------|-------------------|-(etc.)-|
B|-----------5-4-3-2---------------|-------------------|--------|
G|-------------------5-4-3-2-------|-------------------|--------|
D|---------------------------6-5-4-|-3-----------------|--------|
A|---------------------------------|---7-6-5-4---------|--------|
E|---------------------------------|-----------8-7-6-5-|--------|

There, now you should be warmed up and ready to begin playing or practicing. I think you'll be surprised to see how much more smoothly you can run scales after warming up properly.

One of the things that overwhelmed me when I first tried soloing over changes in jazz was how fast the chord changes often pass. How could I change scales that quickly and express anything? An instructor I worked with years ago taught me a way to simplify a series of changes by looking at what key the chords are implying. Here's how you do it.

First, let's look at the A section (the head) of Line For Lyons by Gerry Mulligan:

|    G6    G7(b9)    |    Cm7    F7    |    Bm7    E7    |    Am7    D7   |

|    GΔ7    E7       |    Am7    D7    |    G6     E7    |    Am7    D7   |

If you aren't familiar with jazz notation, Δ means "major".

We can reduce some of these chords down to their base forms:

|    G               |    Cm     F     |    Bm     E     |    Am     D    |

|    G      E        |    Am     D     |    G      E     |    Am     D    |

Knowing that ii-V is the most common chordal movement in jazz, that's one of the first things we can look for and identify what keys those ii-V movements occur in and then use that key as the scale:

| - - - - G - - - - -| - - - Bb - - - -| - - - A - - - - | - - - G - - - -|

                          ii     V          ii     V          ii     V

|    G               |    Cm     F     |    Bm     E     |    Am     D    |



| - - - - - - - - - - - - - - - - - - G - - - - - - - - - - - - - - - - - |

     I      VI            ii     V          I      VI         ii     V

|    G      E        |    Am     D     |    G      E     |    Am     D    |

Normally, in the key of GΔ, the vi chord is minor, but there are a various number of ways to include a major VI, such as modulation via common tones (other than the 3rd) or it could be the VI of the G minor scale. At any rate, don't lose any sleep over this anomaly, just throw in G# passing tone when you hit this chord and focus on E and B.

We've reduced 8 bars of 2-beat changes to 8 bars of GΔ with 2 measures of descending major scales (the Bb and A section). Now you only have to worry about those two bars and then just play over GΔ for the rest.

There are, of course, many other ways to reduce this. This is just one way. If you can think of another way to reduce this sample, I'd love to hear your suggestions. Use your ear and throw in more chord-specific tones in your soloing as you improve.