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m
E w-w B w -(h) G h-w-(w) D h-w-(w) A w-w-(w) E w-w-(h)
E h-w B w -(w) G w-h-(w) D w-h-(w) A h-w-(w) E h-w-(w)
E w-h B h-w-(w) G w -(w) D w-w-(h) A w-h-(w) E w-h-(w)
E w-w B h -(w) G h-w-(w) D w-w-(w) A w-w-(h) E w-w-(h)
E w-w B w-w-(h) G w -(h) D h-w-(w) A h-w-(w) E w-w-(w)
E h-w B h-w-(w) G w -(w) D w-h-(w) A w-h-(w) E h-w-(w)
E w-h B w-h-(w) G w -(w) D w-w-(h) A w-w-(h) E w-h-(w)
|o|-|o|-|-| could be w-w or w-h; w-w would require w-w or w-h underneath but string '''This breaks down to the following rules.'''* Anytime a note lacks a P4 above it, we know the A4 above it is the leading tone.* Anytime we see 3 consecutive whole steps, we know the last of those notes is the leading tone.* Anytime a note has a P4 and d5 above it, we know that note is h-w; so must be w-hthe leading tone. |-|o|-|o|-| must be h* Anytime we have 2 different half-wsteps, we can find the root and other notes of the scale
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{{Top-Level Crumbs|1}}
{{Lesson Crumbs|2}}
{{Intermediate Lesson Crumbs|11}}
== Scale Maps ==
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|Scales for all Positions#Scale Maps|Scale Maps
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|Scales for all Positions#3 Notes Per String|3 nps
|Scales for all Positions#Ultimate Goals|Ultimate Goals
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The Major and Natural Minor Scales can easily be reduced to '''7 different finger patterns''', that correspond to the player's position on the fretboard. The 7 positions are based on the ''position of the tonic note''.
{|class="wikitable"
! !! Tonic Notes<br>Major = M<br>Minor = m !! All Notes<br>for Pos. !! Major <br>Tonic !! Minor <br>Tonic !! Fingering<br>for Pos. !! Whole/<br>Half<br>Patterns
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! #2
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! #3
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! #4
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! #5
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! #6
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! #7
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:::<small>''* usually unplayed double notes''</small>
== Key Layouts on Fretboard ==
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|Scales for all Positions#Ultimate Goals|Ultimate Goals
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=== C Major Layout on Fretboard ===
== Whole-Half Patterns ==
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|Scales for all Positions#Ultimate Goals|Ultimate Goals
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In the initial table, the last row contained the whole-half patterns for each string for each position. I listed this because there are a few interesting occurrences here that can help us develop some shortcuts to remember the patterns.
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Bb |-|o|x|-|o| B -C -DF |o|-|o|-|o| F -G -AC |x|-|o|-|o| C -D -E 0
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Eb |-|o|o|-|o|E-F-GBb |-|o|x|-|o|B-C-DF |o|-|o|-|o|F-G-A 0
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Ab |o|-|o|x|-|A-B-CEb |o|o|-|o|-|E-F-GBb |o|x|-|o|-|B-C-D 1
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Db |o|-|o|o|-|D-E-FAb |o|-|o|x|-|A-B-CEb |o|o|-|o|-|E-F-G 1
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Gb |o|-|o|-|o|G-A-BDb |o|-|o|o|-|D-E-FAb |o|-|o|x|-|A-B-C 1
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Cb |x|-|o|-|o|C-D-EGb |o|-|o|-|o|G-A-BDb |o|-|o|o|-|D-E-F 1
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Fb |o|-|o|-|o|F-G-ACb |x|-|o|-|o|C-D-EGb |o|-|o|-|o|G-A-B 1
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A |-|o|x|-|o|B-C-DFb |o|-|o|-|o|F-G-ACb |x|-|o|-|o|C-D-E 1
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Notice we end at the same exact shape we started with, and lo and behold the notes are exactly the same - although the strings are lower than the original 3 by one half step, we are playing 1 fret position higher now. From here, if we continue the scale, we will simply repeat the same set of patterns.
This is powerful stuff. Each w-h pattern occurs in at least pairs of adjacent strings. If we know the 3 notes in our key on a single string, we know the string either above or below will have the same pattern. '''Ascending, we know that the w-h patterns go in this order: 3 w-w, 2 h-w, 2 w-h, then repeat.''' When we change from w-w to h-w, we shift our index finger placement upwards 1 fret.
If we know the patterns for 2 adjacent strings, in all but 2 cases, we can derive all the patterns. For example, if we know this:
Notice that 2 strings gives us 6/7 notes in the scale. But we can derive the entire scale from even less. Consider some 4 note patterns:
|o|-|o|-|o| w-w |o|-|o|-|o| |-|-|-|o|-| must be either a w-h |o|-|o|o|-| |o|-|o|-|-| must be w or -h |o|-|o|x| |-|o|-|o|-| must be h-w |o|o|-|o| |o|o| must be part of h to be "under" a -w |o|o|-|o| or w; given note indicates -h |o|-|o|o| |o|o| must be part of h-w |o|x|-|o| or w-h |o|-|o|x| We can take this further, with 3 note patterns: |o|-|o| |o|-|o|x| |o|-|o|-|o| |-|o|-| implies |o|o|-|o| or |o|-|o|o|-| |o|o| |o|o|-|o| |o|-|o|o| |o|-| implies |o|x|-|o| or |o|-|o|x|
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== 3 Notes Per String ==
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|Scales for all Positions#Scale Maps|Scale Maps
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|Scales for all Positions#Ultimate Goals|Ultimate Goals
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{|class="wikitable"
! !! Tonic Notes<br>Major = M<br>Minor = m !! All Notes<br>for Pos. !! Fingering<br>for Pos. !! Whole/Half<br>Patterns
== Ultimate Goals ==
{{Crumbs|blue|5
|Scales for all Positions#Scale Maps|Scale Maps
|Scales for all Positions#Key Layouts on Fretboard|Key Layouts
|Scales for all Positions#Whole-Half Patterns|Whole-Half Patterns
|Scales for all Positions#3 Notes Per String|3 nps
|Scales for all Positions#Ultimate Goals|Ultimate Goals
}}
Play each pattern until it becomes like 2nd nature. Remember that the major scale is built off the w-w-h-w-w-w-h pattern, and the natural minor uses the same pattern but with a different starting note (w-h-w-w-h-w-w). As you play each pattern, you'll really start to feel the whole and half steps as well as hear where the tonic note is. You'll be able to tell if you confused something and threw in an extra note, or shifted a note a half-step in either direction. You'll get a feel for the "gravity" of the tonic note.