Click on the picture to see the magnets. |
Guitar Scale Magnets – Major Scale Strips Summary: Great “cheat sheet” for learning where the various major scale modes start on the fretboard. Very convenient, and very easy to install! Pros: Magnetic base strip attaches easily to the side of your fretboard. The strips provide a superb way to visualize the starting point of the major scale boxes. Cons: Just a nit, but only available for 25.5″ scale guitars. Not a really big deal as that’s pretty much a standard. Of course, I have different scale lengths, but they fit my Tele perfectly! Features:
Price: ~$19.99 plus $5.00 S&H Tone Bone Score: 5.0 ~ I’m a very visual learner, and having visual cues helps me learn much more effectively. |
I’m not much of a guitar theoretician, not because of not wanting to be, but simply because with my busy lifestyle, having the time for academic pursuits is limited. So for my learning, I rely on tools and videos that will help me learn concepts quickly as opposed to traditional step-by-step methods that dissect the concepts into chunks. It may not be the best method of learning, but it’s all I have. But besides that, I’m also a very visual learner, and definitely a learn-by-doing type of guy. So if I can get my hands on something that will give me visual cues, my learning experience is much more valuable to me.
Enter Guitar Scale Magnets. One of the things I’ve been wanting to learn for awhile is modal theory. It has always interested me, but I’ve never seemed to have the time to really sit down to learn it – nor did I have the funds to take lessons (I spend it all on gear). So when I found out about Guitar Scale Magnets, I was immediately intrigued, and asked Jason Ellestad, the inventor of the guitar scale magnets to send me a set of major scale magnets to review.
In a word, these things are awesome! Made of the same magnetic material as those flexible “fridge” magnets – but not at thick – the magnets provide a very convenient way to learn the major scale modes by giving you visual cues of the starting points. Of course, you still have to learn the patterns, but you get the patterns on a couple of 8.5 X 11 sheets that you can tape to your wall for reference. Not bad for $19.99.
To attach magnets to the side of your fretboard, Jason provides step-by-step instructions. But you don’t even need the instructions. The base strip, of course, has no markings on it, so it’s easy figure out that it’s the base. It also has a weak adhesive that’s tacky enough to stick to your fretboard, and stay in place as you play, but not strong enough that it’ll peel your varnish. Once you have it in place, it’s just a simple matter of finding the key you want to practice, and laying it on top of the base strip. Each key is color-coded to show you the starting points for each mode. Click on the picture above to see an enlarged version of what they look like.
I won’t belabor how useful I’ve found these to be. I’m just going to recommend that you try them out. Jason has three types of strips available: Major Scale, Pentatonic Scale, and Learn the Fretboard/Tab strips. So if you need some visual cues for learning your scales, Magnetic Scale Strips are a great tool! For you teachers out there, I think these would be invaluable to give to your students to help them learn and practice in conjunction with your curricula.
For more information, go to the Guitar Scale Magnets site!
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I would be very wary of something like this as there is a great difference between learning patterns / shapes actually learning scales + modes / being able to play in them. Its not what shape you are playing in, but which specific notes you need to emphasise in that shape to get the sound of the particular scale / mode out.
I found the only good way to learn these shapes is to do it in may different keys, and use things like arpeggios and other interesting intervals. This way may be harder at first, but you build up a more dynamic + intimate knowledge of these patterns.
Jon, I totally see your point but you have to learn to walk before you can run… No tool is going to capture it all, and something like this helps me understand where the different modes start. And for the newly initiated to modal theory, this is an invaluable tool. I would think you’d have to know the shapes before you do what you’re suggesting.
The point I was originally trying to make is from my experience, learning charts are a sure fire way to disconnect yourself from the actual scales + sounds.
I originally took an approach using tools like this and failed (my knowledge was too superficial), after some education, I had to shift my perspective and ultimately relearn all of this from scratch (in depth), which is so hard when you have been learning it one way and are set in your tracks, I still have many bad habits from this and have wasted time + energy.
Which is why I just suggest to be wary (i.e. do not take this chart, or X chart and learn it) + mention what I believe are better + free techniques for creating a map of the fretboard in your head (which is the ultimate goal).
You know what I find totally interesting about this tool and the accompanying parts? Where the modes overlap, and extending that knowledge to connecting them together.
But let me be real clear this time: 🙂 This, just like any other visual or aural aid, is just a tool, among the other tools you should have in your woodshedding tool box.
Like I mentioned, I totally understand where you’re coming from Jon, and I thank you for sharing your personal experience. Those types of insights are invaluable! While this may not be a useful tool for you, it may be useful for others. I agree that learning the pattern for the pattern’s sake is folly. You have to have some context, and play the pattern within the context of a song. That way you don’t have the disconnect.
I remember seeing a video of Joe Satriani giving a lesson a few years ago. He was talking about soloing over an Am and using a G Dorian. That was all well and good, but my immediate question was, “What the f$%k is G Dorian?” Then when I saw the scale, it was easy. So from that standpoint, if I know where G Dorian is, it’s easy to play what he was suggesting.
If you play G dorian using that strip (would be the 2nd shape) you are also playing F ionian, A phrygian, Bb lydian, C mixolydian, D aeolian and E locrian. You can quite happily play G dorian from using the first F ionian shape or the E locrian shape, any of them.
These modes do not just overlap — they all contain the same notes. So that shape / starting position does not mean you will be playing in G dorian, it entirely depends on what perspective the you take and less so the context of its use (G dorian over A minor is easily going to sound A phrygian if you are not very very careful).
You probably wont be convinced by this and its starting to get off the point, so I’ll shut up now :P.
I think your feed is great btw. I just have my gripes with things like this because I believe they mislead. Have resisted the urge to comment on the degree strips 😉
Jon, like I said, I totally hear you, but I’ll say it again: These are simply a tool. You might not find them useful, but others – myself included – do find them useful.
I am convinced you know your stuff, and that the theory you’re talking about is correct. But if someone says to me, “Just play G Dorian,” as a beginner to modal theory, I many not know that that is the same as C mixolydian, or F ionian, or A Phrygian. I have a chart somewhere that shows the equivalents, but that is not something that will be readily apparent to me.
From a teacher’s standpoint, they could line up the strips, then show that all those scales start in the same place. There are a bunch of ways these could be applied. The challenge is to explore and discover those ways. After all, learning the modes is only the start of the journey.
I agree with Dawg on this one and I think Jon misses the point about the product. I know when I was learning scales, I surely was not focused on the notes I was playing. Emphasize to a kid starting out on scales about arpeggios and intervals and they will most likely lose interest in the instrument all together—that stuff comes later. Like Dawg says, “you must learn to crawl before you can walk”. I understand what the inventor’s purpose was behind the products. I shared a lot of his “growing pains” when I started to learn scales.
Thanks for posting this product Dawg!
After checking out Guitar Scale Magnet’s website, I like this product and wish I had them when I started out learning scales. I remember I bought a pentatonic scale book when I was starting out and I was sorely disappointed as I kept turning the pages and realized all the book was doing was moving these box patterns at a different location on the fretboard–what a waste. I too am a visual learner and although this product is not to be meant as a “catch all” for everything about scales, I think it is a very useful tool as part of a player’s development. In my 2 cents opinion, the technical stuff will follow later but you have to start with some elementary basics otherwise you will get bored quickly.
Keep up the gear reviews Goofydawg……….