Here we go, this is where the scale work really begins. I'm going to take you through the first three shapes of the 3-note-per-string system in E minor, and I'll be pointing out the moments of symmetry that make these shapes much easier to memorise and faster to execute. I'll also be introducing two techniques that are going to run right through the whole course: economy picking for smooth string crossing, and fretting-hand muting to keep everything clean. By the end of the lesson we'll be drilling all three shapes over a jam track and starting to connect them with horizontal runs.

What You'll Learn

•       The first three 3-note-per-string shapes in E minor

•       How to spot and use symmetry within the shapes to build speed

•       Economy picking, what it is and why I prefer it over alternate picking for these runs

•       Fretting-hand muting to eliminate unwanted string noise

•       How to play horizontal runs connecting shapes 1 to 3

In Detail

The first three 3-note-per-string shapes in E minor

Shape 1 starts at the 3rd fret of the low E, that's a G note, the relative major, and a great place to start in the middle of the neck. Shape 2 begins at the 5th fret and shape 3 at the 7th. I'll walk through each position slowly before running through them at speed.

How to spot and use symmetry within the shapes to build speed

Shape 1 in particular is very symmetrical, the same fingering pattern repeats across string pairs, which means your fretting hand is almost mirroring itself. I highlight these moments in each shape because recognising them is one of the biggest shortcuts to building real speed without having to think about every note individually 

Economy picking, what it is and why I prefer it over alternate picking for these runs

Economy picking means your pick always travels in the direction you're moving to the next string. Moving to a higher string, you use a downstroke; returning uses an upstroke. I find this creates a much smoother, more efficient motion than strict alternate picking when crossing strings in scale runs, and I use it throughout the entire course.

Fretting-hand muting to eliminate unwanted string noise

As you reach the end of a shape or cross strings, open strings can ring out and muddy your sound, especially with gain on. I show you how to use your fretting hand to lightly damp the strings you've left behind, keeping everything tight and clean. It's not always perfect, but having your fingers hovering over those strings makes a big difference.

How to play horizontal runs connecting shapes 1 to 3

Rather than just drilling each shape up and down, which isn't very musical, I show you how to run across the neck horizontally through shapes 1, 2, and 3 in sequence and back again. This is much closer to how you'll actually use these scales in your solos, and it's a great way to start making the shapes feel natural.