|
Melody exercises
The exercises that we will see in this section are set up more for melodic execution than the technical exercises we have seen up to now. We are assuming that the techniques for the normal fingerings of the scales can be transported to any type of scale. For this reason, I recommend that you adapt the exercises proposed in the major scale section, particularly relating to the exercises on the type. This is because the major scales are the most important from a technical and harmonic aspect, and you should know those techniques perfectly before studying the minor harmonic scales, as well as all the others.
Ex. 1
|
In the first exercise we see the simple use of the scale, where you can eventually observe how the sequence of notes is "arranged" following a melodic motive rather than a fine sequence. Alternate picking is used for this exercise.
|

|
Ex. 2
|
In this second exercise, the main difficulty is in the correct use of the fingering, which should be meticulously followed as indicated. Pay attention to the double change of position on the first string.
|

|
Ex. 3
|
This time we use a classical lick in Malmsteen style. To a fixed pedal note, the E at the 12th fret on the 1st string, play beginning with the last sixteenth in the first movement, alternated with a sequence of scale notes on other strings. Notice how the picking of the pedal note uses the upstroke, in order to facilitate the phrasing.
|

|
Ex. 4
|
In a riff we can obviously use a scale. Here is a simple example that identifies this way of treating the minor harmonic scale. In the second bar, the previous riff is picked up, enriching the content using the open bass notes of E to make a more incisive execution. It's recommended that you play using the palm muting technique.
|
|

|
Ex. 5
|
Another useful exercise to improve the extension of the fingerings. It is not particularly difficult, and is to be played using alternate picking.
|

|
Ex. 6
|
Nothing difficult also in this case. Use the four fret fingering approach, but with the last note (the G# at the 9th fret on the 2nd string) that opens the hand.
|

|
|