The technique in this lesson can obviously be transferred to all other scales - the key here is hammering the first finger of the left hand. This sort of exercsise can be played using left hand legato, or alternate picking, but the tapping technique gives it a sound hard to obtain with the other methods.
In the style of Joe Satriani and former Winger / Dokken / Whitesnake / Alice Cooper  guitar monster Reb Beach*, I am firstly playing a slow melody in C Lydian, follwed by a descending lick using legato, tapping and sliding. In the second half of the exercise I am playing a 3 note per string major scale shape across the neck, with a semi-quaver pattern at 150 BPM. It may seem a little strange playing a 3 note per string scale as semi-quavers, but when you get the hang of it, it does wonders for your note spacing, as 3 NPS scales can sound "Tripplety" if you're not careful. I'm a great believer in repeating scale patterns on the guitar as you will see over the next few lessons, and with this exercise I am using only 2 major scale shapes for the entire lick. Musically, I use predominantly the Lydian mode here, found by playing the major scale from the fourth degree, in this case over a major 7 chord. Equipment wise, I used my Framus Diablo Custom, with volume setting at aroung 1/2, through a Line 6 Flextone amp and Boss DD3. I also used a hairband as a string mute to negate unwanted string noise.

Section 8 of this lesson contains some extension and consolidation ideas that you may want to try!
I hope you find the lesson useful, it will help with tapping lesson 3 where we will be tapping arpeggios.
Good luck with it!

(*Interestingly, Reb Beach once commented that he "Couldn't get the hang of hammering with the first finger on the left hand...", so he developed a hybrid technique of picking the next string with the tapping finger. The fluid tapping sound, particularly like the licks in section 8 here, remains his trademark.

C Lydian

D Lydian

D Major