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Changes
m
The Major and Natural Minor {{Crumbs|blue|1|Scales can easily be reduced to 7 different shapes, that correspond to the player's position for all Positions#Scale Maps|Scale Maps|Scales for all Positions#Key Layouts on the fretboard. The 7 positions are based on the position of the tonic note.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}}
| Tonic Notes<br>Major = M<br>Minor = m! 1
|M|-|-|-|-| |-|-|m|-|-| |-|-|-|-|-| |-|-|M|-|-| |-|-|-|-|m| |M|-|-|-|-|
|M|-|Mo|-|-o| |o|-|-m|-|mo| |-|-o|o|-|-o| |m-|o|-M|-|Mo| |o|-|-o|-|-m| |M|-|Mo|-|-o|
|mx|-|o|-|M|-o| |-*|-|-o|-|-o| |M-|-o|-o|-|-o| |-|-o|mx|-|-o| |-o|-|-o|-|-o| |mx|-|o|-|M|-o|
|-o|-|mo|-|-o| |-*|-|-x|-|-o| |-|-o|Mo|-|-o| |-|-o|-o|-|mo| |Mo|-|-o|-|-x| |-o|-|mo|-|-o|
|-i|-|-m|-|mp| |M*|-|-m|-|-p| |-|i|m|-|-|Mp| |-|-i|-m|-|-p| |-i|-|Mm|-|-p| |-i|-|-m|-|mp|
|-|-M|-|-| |-|M-|-|-m| |-|-|m-|-| |-m|-|-|-M| |m-|-|-|M-| |-|-M|-|-|
|-o|-M|-|-|-o| |m-|-o|-|M|-m| |-o|-|-|-o|mo| |Mm|-|-o|-|-M| |-|-o|mo|-|-o| |-o|-|-M|-|-o|
|-
| All Notes<br>for Pos.
|M|-o|ox|-|o| |o|-|mo|-|o| |o|-|o|o|-|o| |-|o|Mx|-|o| |o|-|o|-|m| |M|-o|ox|-|o|
|o|Mo|-|o| |-|o|-|mx| |o|-|o|o| |mx|-|o|Mo| |o|o|-|o| |o|Mo|-|o|
|i|m|-|op|M|-| |o|om|-|o|-p| |Mi|-|or|-|op| |oi|-|m|-r|op| |oi|m|-|op|o|-| i|m|-|o|M|-p|
|om|-|-|mM|-|o| |o-|-|o-|o-|-| |M|-|o-|M-|-|o| |o-|-|om|-|m-| |M-|-|o-|-|o-| |om|-|-|mM|-|o|
|m|-|o|M|-||o|o|-|mo|-| |M|-|o|-|o| |o|-|m|-|o|o| |-|o|o|-|o| |-|o|M|-|o| |om|-|o|M|-|m|
|o|-|o|x|-|o| |o|Mo|-|o|-| |ox|-|mo|-|*| |o|-|o|-|o| |mo|-|o|Mo|-| |o|-|o|x|-|o|
|ox|-|o|o|-| |mo|o|-|o|M|-| |o|-|o|-|m*| |Mo|-|ox|-|o| |o|-|mo|o|-|o| |ox|-|o|o|-|
|-
| Major Tonic
|xi|-|or|p|-|o| i|*m|-|op|-|o| i|-|o|or|-|o*| |i|-|o|xr|-|op| |oi|-|or|p|-|o| |xi|-|or|p|-|o|
|o-|-|xm|-|o-| |-|o-|-|-|o-| |o-|-|oM|-|o-| |o-|-|-|o-|xm| |oM|-|o-|-|o-| |o-|-|xm|-|o-|
|o|-|om|x-|-o| |o|-|o|-|o|-| |x|-|o|M|-|*o| |o|-|o|-|om| |oM|-|o|-|o|-| |o|-|om|x-|-o|
|o|-|o|-|o| |*|-|o|o|-| |-|o|x|-|o| |o|-|o|-|o| |x|-|o|-|o| |o|-|o|-|o|
|o|-|ox|-|o| |x*|-|o|o|-|o| |-|o|o|-|o|*| o|-|o|o|-|ox| |o|-|o|x|-|o| |o|-|ox|-|o|
|oi|o-|m|-|op| |o*|-|m|xr|-|o| |o-|-i|om|-|p| |oi|-|om|-|op| |oi|-|om|x-|p| |oi|-|om|-|op|
|o-|-|o-|o-|-m| |oM|-|o-|x-|-| |o-|m|-|o|-|*M| |x-|-|o-|-|o-| |o-|-|oM|-|o-| |o-|-|o-|o-|-m|
|-
| Minor Tonic
|o|-|o|-|om| |*M|-|xo|-|o| |-|om|-|o|-|o| |-|o|o|-|o| |o|-|o|M|-|xo| |o|-|o|-|om|
|o|-|o|-|o| |x|-|o|-|xo| |-|o|-|o|o*| |x-|-o|o|-|o| |-|o|ox|-|o| |o|-|o|-|o|
|xo|-|o|o-|-x| |o|-|o|-|o||-| |ox|-|o|-|*| |-|o|-|xo|-|o| |o|-|o|o|-|o| |xo|-|o|o-|-x|
|oi|-|xm|-|op| |*i|-|om|o-|-p| |-|oi|o-|-r|o*| |o-|-i|om|-|xp| |o-|-i|om|-|op| |oi|-|xm|-|op|
|o-|-|o-|-|x| |o|-|oM|-|o-| |-|x|-|om|*-| |-|o-|o-|-|o| m|-|o|o|-|oM| |o-|-|o-|-|x|
|o|o|-|o| |o|oM|-|o| |o|-|xm|-| |o|-|o|o| |xm|-|o|oM| |o|o|-|o|
|o|o|-|o||o|-| |x|-|o|o|-| |o|-|o|-|*| |o|-|o|-|o| |o|-|o|x|-|o| |o|-|o|o|-|
|-
| Fingering<br>for Pos.
|io|-|mo|-|po| |*|-o|mo|-|po| |o|-|i|mx|-|p| o|-|io|m|-|po| |ix|-|mo|-|po| |i|-o|mo|-|po|
|i|m|-|p| |-i|m|-|p| |i|-|r|p-| |i|-|r|p| |i|m-|-r|p| |i|m|-|p|
|i-|-|r-|p-|-| |im|m-|-|pM|-| |i-|-|r-|-|*m| |iM|-|r-|-|p-| |i-|-|rm|p-|-| |i-|-|r-|p-|-|
|io|-|mo|o|-|p| |*m|-|mo|rM|-| |o|-|i|mo|-|pm| |iM|-|mo|-|po| |io|-|m|-|po| |io|-|mo|o|-|p|
|io|-|mo|o|-|p| |io|-|mo|x|-|p| o|-|io|-|r|*| |x|-|i|mo|-|po| |o|-|i|mo|-|po| |io|-|mo|o|-|p|
|io|m-|o|o|-|p| x|-|io|mo|-|p| |io|-|ro|-|*| |io|-|ro|p-|o| |io|-|rx|-|po| |io|-|o|mo|-|p|
|i|-|r|p|-| |i|-|r|p|-| |i|-|r|-|*| |i|-|m|-|p| |i|-|m|-|p| |i|-|r|p|-|
|-
| Whole/Half<br>Patterns
|
# w-w
# w
# h-w
# h-w
# w-w
# w-w
# h-w# w# w-h# w-h# h-w# h-(w)|# w -h# h-(w)# w# w-w# w-(h)# w-h|# w-w# (h)# h-w# w-w# w-w# w-w|# w-w# w-w# w# h-(w# h-w# w-w|# h-w# h-w# w# w-h# w-h# h-w|# w-h# w-h# w# w-w# w-w# w-h)
|1|-|2|3|-| |5|6|-|7|-| |3|-|4|-|5| |7|-|1|-|2| |4|-|5|6|-| |1|-|2|3|-|
|3|-|4|-|5| |7|-|1|2|-| |-|5|6|-|7| |2|-|3|-|4| |6|-|7|-|1| |3|-|4|-|5|
Here are the potential locations of the tonic notes for the major or minor scales, with which pattern to use when the tonic note is located in that placement. Notice for the major tonics, the location of the tonic in terms of the lowest note of the sequence determines which pattern to use. For example, when the lowest note ''is'' the tonic note, you use pattern 1. When the lowest-pitched tonic note doesn't occur until the 4th string, you use pattern 7.
The scale map #'s are ordered as As you ascend positions, this necessarily moves the number of notes tonic note lower than the root by 1 note + 1. Another way to look at it is if This means the patterns actually occur in reverse order as you start playing the pattern ascending from ascend the lowest notefretboard, how many notes do as you play before reaching the tonic. For the key of C Major can see in open position, there are 5 lower notes, so the pattern is #6diagram above.
As you ascend positions, this necessarily moves the tonic note lower by 1 note. This means the patterns actually occur in reverse as you ascend the fretboard, as you can see in the diagram above.=== G Major Layout on Fretboard ===
== G Major Layout on Fretboard == Scale 3-------- 7-------- 4-------- 1-------- 5-------- Map 1-------- 5-------- 2------ 6------ # 2------ 6------ 3-------- 7--------
All we've done is moved the patterns leftward by 5 frets...or raised them by 7 frets. Going from C to G is a P4 downward and P5 upward, which correspond to -5 and +7 frets.
== E Minor Layout on Fretboard ==
Scale 3-------- 7-------- 4-------- 1-------- 5--------
Map 1-------- 5-------- 2------ 6------
# 2------ 6------ 3-------- 7--------
! C, F, Bb !! F, Bb, E !! Bb, Eb, Ab !! Eb, Ab, Db
|-
! Ab, Db, Gb !! Db, Gb, Cb !! Gb, Cb, Fb !! Cb, Fb, A
|o|-|o|-|-| could be w-w or w-h; w-w would require w-w or w-h underneath but string is h-w; so must be w-h |-|o|-|o|-| must be h-w{{top}}
| Tonic Notes<br>Major = M<br>Minor = m! #1
|-|-|-|-|-|-| |-|-|m|-|-|M| |-|-|-|-|-| |-|-|M|-|-| |-|-|-|-|m| |M|-|-|-|-|
|-|M-|-o|-|-o|-o| |-|-|-|m|-|-o|M| |-|-o|o|-|-o| |m-|o|-M|-|Mo| |o|-|-o|-|-m| |M|-|Mo|-|-o|
|-|-|i|-|M|-r|-p| |-|-|-i|-|-r|mp| |M-|-i|-m|-|-p| |-|-i|m|-|-p| |-i|-|-m|-|-p| |mi|-|m|-|M|-p|
|-|M|-|m-|-|-|M| |-|-|-|-m|-|-| |-|-|M|-|-| |-m|-|-|-|mM| |M|-|-|-|-| |-|-|mM|-|-|
|-|-M|-|-|mo|-|-o| |-|-o|-|-m|-|-|-o| |-|mo|-|-o|Mo| |-m|-|-o|-|-M| |-o|-|Mo|-|-o| |-o|-|-M|-|mo|
|-|-i|-|-m|-|mp| |-|Mi|-|-m|-|-p| |-i|-|m|-r|-p| |-i|-|-r|-p| |i|m|-|-|Mp| |-i|-m|-|-p|
|-|-|-|-M|-|-| |m-|-|-|M-|-|-m| |M|-|-|-|-|m| |M-|-|-m|-|-| |-|-|m-|-|-| |-m|-|-|-M|-|
|-
| All Notes<br>for Pos.
|-|-|o|M|-|o|o| |-|o|-|mo|-|om||M| |-|o|o|-|o| |o|-|o|Mm|-|o| |o|-|o|o|-|m| |Mm|-|o|M|-|o|
|-|M|-|oi|m|-|op| |-|oi|-|m|-|op| |oi|-|om|o-|p| |i|-|m|-|op||Mi| -|or|op|-|o| i|-|or|Mp|-|o|
|-|-|om|M-|-|oM| |-|o-|-|o-|-|m-| |M-|-|oM|-|o-| |o-|-|m-|-|om| |oM|-|o-|o-|-| |m-|-|om|M-|-|
|-|-|m|-|o|M| |-|-|o|o|-|o| |-|o|M|-|o| |o|-|o|-|m| |M|-|o|-|o| |o|-|m|-|o|
|-|-|oi|-|mr|-|op| |-|-|oi|m|-|op|o|-| |-i|m|-|op|M| i|-|o|om|-|op| |i|-|o|Mm|-|op| |oi|-|om|-|mp|
|-|o-|-|o-|m|-|m-| |-|M-|-|-|o-|-|o-| |o|-|m|-|o-|M| |o-|-|o-|-|o-| |m-|-|oM|-|M-| |o-|-|o-|-|om|
|-|-|o|o-|m|-|o| |-|-|o|M|-|o| |o|-|o|-|m| -|o|M||-|o|o|-|o| |-|o|-|mM|-|o| |o|-|o|o-|-m|
|-
| Fingering<br>for Pos.
|-|-|i|-|rm|-|p| |-|-|i|-|r|p|-| |-|i|m-|-r|p| |-|i|m|-|p| |-|i|-|m|-|p| |i|-|m|-|p|
|-|i-|-|m-|-|pm| |-|iM|-|m-|-|p-| |i-|-|rm|-|p-| |i-|-|r-|p-| |im|m-|-|pM| |i-|m-|-|p-|
|-|o|-|i|mo|-|pm| |-|iM|-|mo|-|po| |io|-|m|-|po| |io|-|m|-o|po| |im|-|ro|pM|-| o|io|-|r|p|-o|
|-|m|-|ip|-|r|p| |-|m|-|i|mp|-|p| |i|-|i|m|-|p| |i|-|m|-r|p| |i|-|m|-r|p| |i|-|m|-|p|
|-|-|i-|-|m-|-|p| m|-|-|iM|-|r|p|-| |-|i-|-|r-|pm| |M|-|i-|m-|-|p| |-|i-|m|-|p-| |i-|-|m-|-|p-|
|-|m-|-o|po|-|po| |-|m-|-o|pM|-|po| |io|-|mo|-|pm| |iM|-|ro|-|po| |io|-|rm|p-|o| |io|m-|o|o|-|p|
|-|-|i|m|-|p| |-|-|i|m|-|p| |i|-|m|-|p| |i|-|m|-|p| |i|-|m|-|p| |i|-|r|p|-|
|-
| Whole/Half<br>Patterns
# w-h# w-h# h-w# h-w# w-w# w-w|# w-w# w-w# w-h# w-h# h-w# h-w|# h-w# w-w# w-w# w-w# w-h# w-h|# w-h# E h-w# B h-w# w-(w)# G w-w# w-(w)|# D w-w# w-(h)# w-h# h-w# h-w# w-w|# w-w# A w-w# w-w# w-(h)# E w-h# h-w|# h-(w# h-w# w-w# w-w# w-w# w-h)
no edit summary
{{Top-Level Crumbs|1}}{{Lesson Crumbs|2}}{{Intermediate Lesson Crumbs|11}} So we've looked at a few different scales in open and 5th position. Now let's put on our big boy shoes and learn how to play in any position. This is going to get dense quickly. Bear with it - once the concepts are understood, the entire fretboard opens up, as well as our ability to play in whatever key we want.
== PreReqs ==
== Scale Maps ==
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"! !! 1 Tonic Notes<br>Major = M<br>Minor = m !! 2 All Notes<br>for Pos. !! 3 Major<br>Tonic !! 4 Minor<br>Tonic !! 5 Fingering<br>for Pos. !! 6 !! 7Whole/<br>Half<br>Patterns
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w-w
w -(h)
h-w-(w)
h-w-(w)
w-w-(w)
w-w-(h)
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! 2
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h-w
w -(w)
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h-w-(w)
w -(w)
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h -(w)
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h-w-(w)
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:::<small>''* usually unplayed double notes''</small>:::<small>''(w/h) whole/half step that occurs ascending to the next string''</small>
=== In Plain English ===
So that's a lot of information. Let's break it down. There are 7 notes in the common major/minor scales. Any one of those notes can be the lowest note available for whatever position you are playing in - that gives us 7 different patterns of notes if we restrict ourselves to a 5-fret "box". ''In any of these 7 patterns, the tonic note will occur in 1 of 7 places:''
# 6th string, 1st note
So first we look at all the possible positions with the major and minor tonic note locations only. Then we look at all the notes for that position. The next two rows are basically the same thing but with only the major or minor tonics marked, to be more clear. The next row is the fingering to use for the pattern. Finally, we have the whole-half step pattern formed on each string by the notes.
=== Tonic Note Shapes === Here are the potential locations of the tonic notes for the major or minor scales, with which pattern to use when the tonic note is located in that placement. Notice for the major tonics, the location of the tonic in terms of the lowest note of the sequence determines which pattern to use. For example, when the lowest note ''is'' the tonic note, you use pattern #1. When the lowest-pitched tonic note doesn't occur until the 4th string, you use pattern #7.
{|
! Major !! Minor
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For open position C Major, the tonic is located at position 6 in the above pattern. So you'd use pattern 6. For 5th position C Major, the tonic is located at position 3; and we use pattern 3. For G Major, open position is pattern 3 and 5th position is pattern #7.
For minor scales, you can use the same logic, but add 2. So when the lowest note ''is'' the tonic note, you use pattern #3 (1 + 2). When the tonic note is the 7th note in the pattern, you use pattern #2 (7 + 2 [-7]).
For A Minor, open position is pattern 6 and 5th position is pattern #3. For E Minor, open position is pattern 3 and 5th position is pattern #7.
You'll notice C Major and A Minor (as well a G Major and E Minor) use the same patterns for the same positions, which only makes sense as they are relative major/minor's and contain the exact same set of notes.
The tonic note patterns above are 2 of the actual scale patterns, but you shouldn't think of them like that. They are simply constructed by mapping all the root notes from the prior pattern. So what if our tonic note occurs in one of the unmarked fret locations above? For example, what if the tonic note was located on 6th string, 4th fret (relative to the shape, not absolute to the fretboard), between the "4" and "5" above? That simply means you are basically in no man's land, between two possible positions that will make sense. If you try to use pattern #5, there are two notes below the tonic, each separated by whole steps. This means the 6th string has a w-w pattern, requiring 5 frets to cover all 3 notes. If you position your tonic as the 4th fret in your pattern box instead of the 5th fret, you cannot reach the note 2 notes below the tonic without shifting position 1 fret. Similarly, if you used pattern 4, you'd notice you can't play the note above the tonic on the 6th string without getting outside the pattern box.
{{top}} == Key Layouts on Fretboard =={{Crumbs|blue|2|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}} === C Major Layout on Fretboard === Scale 6------ 3-------- 7-------- 4-------- 1-------- Map 4-------- 1-------- 5-------- 2------ # 5-------- 2------ 6------ 3--------
|o|o|-|o|-|o|-|o|x|-|o|-|o|o|-|o|-|o|-|o|x|-|o|-|o|
|o|x|-|o|-|o|o|-|o|-|o|-|o|x|-|o|-|o|o|-|o|-|o|-|o|
Fret # 0 3 5 7 9 12 15 17 19 21 24
The scale map #'s are ordered as the number of the root note when ascending. Scale 6------ 3-------- 7-------- 4-------- 1-------- Map 4-------- 1-------- 5-------- 2------So if you start playing the pattern ascending from the lowest note for the position, how many notes do you play to get to the tonic? For the key of C Major in open position, there tonic occurs on the 6th note (E F G A B '''C'''), so the pattern is # 5-------- 2------ 6------ 3--------.
|o|-|o|x|-|o|-|o|o|-|o|-|o|-|o|x|-|o|-|o|o|-|o|-|o|
|o|o|-|o|-|o|-|o|x|-|o|-|o|o|-|o|-|o|-|o|x|-|o|-|o|
|o|-|o|x|-|o|-|o|o|-|o|-|o|-|o|x|-|o|-|o|o|-|o|-|o|
Fret # 0 3 5 7 9 12 15 17 19 21 24
All we've done is moved the patterns leftward by 5 frets...or raised them by 7 frets. Going from C to G is a P4 downward and P5 upward, which correspond to -5 and +7 frets. === E Minor Layout on Fretboard ===
Scale 3-------- 7-------- 4-------- 1-------- 5--------
Map 1-------- 5-------- 2------ 6------
# 2------ 6------ 3-------- 7--------
|x|-|o|o|-|o|-|o|o|-|o|-|x|-|o|o|-|o|-|o|o|-|o|-|o|
|o|o|-|o|-|x|-|o|o|-|o|-|o|o|-|o|-|x|-|o|o|-|o|-|o|
|x|-|o|o|-|o|-|o|o|-|o|-|x|-|o|o|-|o|-|o|o|-|o|-|o|
Fret # 0 3 5 7 9 12 15 17 19 21 24
The only change here from G Major to E Minor is to reposition the roots. All the notes are the same. Notice with the minor roots, our method of determining which pattern is a bit different. Before we looked at the location of the tonic note in reference to the lowest notes for the position. We can do the same thing here, but we have to add 2 to get the major root. For example, in open position, the low E is the lowest or first note of the pattern. Add 2 to get the #3 pattern, which corresponds to the major root, G, as the 3rd lowest note in the pattern. {{top}}
== Whole-Half Patterns ==
{{Crumbs|blue|3
|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
}}
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.
* <tt>|o|-|o|-|o|</tt> or ''whole-whole'' or ''w-w''
We also said that each sequence occurs twice in the major and minor scales, and the w-w pattern occurs an additional time (so 3x total). Let's look at a C major scale using a hypothetical 10 strings -string guitar tuned all completely to Perfect perfect 4ths:
A---------------------------------------------------------2-3-5-h-w Fb--------------------------------------------------1-3-5-------w-w-(w) Cb--------------------------------------------1-3-5-------------w-w-(h) Gb--------------------------------------1-3-5-------------------w-w-(h) Db--------------------------------1-3-4-------------------------w-h-(w) Ab--------------------------1-3-4-------------------------------w-h-(w) Eb--------------------1-2-4-------------------------------------h-w-(w) Bb--------------1-2-4-------------------------------------------h-w-(w) F---------0-2-4-------------------------------------------------w-w-(w) C---0-2-4-------------------------------------------------------w-w-(h)
C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D
{|
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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
</pre>
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<pre>
Ab |o|-|o|x|-|A-B-CEb |o|o|-|o|-|E-F-GBb |o|x|-|o|-|B-C-D 1
</pre>
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<pre>
Db |o|-|o|o|-|D-E-FAb |o|-|o|x|-|A-B-CEb |o|o|-|o|-|E-F-G 1
</pre>
|-
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<pre>
Gb |o|-|o|-|o|G-A-BDb |o|-|o|o|-|D-E-FAb |o|-|o|x|-|A-B-C 1
</pre>
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<pre>
Cb |x|-|o|-|o|C-D-EGb |o|-|o|-|o|G-A-BDb |o|-|o|o|-|D-E-F 1
</pre>
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<pre>
Fb |o|-|o|-|o|F-G-ACb |x|-|o|-|o|C-D-EGb |o|-|o|-|o|G-A-B 1
</pre>
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<pre>
A |-|o|x|-|o|B-C-DFb |o|-|o|-|o|F-G-ACb |x|-|o|-|o|C-D-E 1
</pre>
|}
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:
|o|x|-|o|-|
The * note moves up, but the ! note gets lopped off - there is no higher string to move to. '''The resulting shape is Pattern #2!'''
Where this logic fails is when we only know 2 strings but both strings use w-w patterns. Since there are 3 adjacent strings of w-w patterns, we cannnot determine which of the 2 possible sets of adjacent strings we are on relative to the pattern. We need just one more note to know where we are.
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| '''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 the leading tone.* Anytime we have 2 different half-steps, we can find the root and other notes of the scale
== 3 Notes Per String ==
{{Crumbs|blue|4|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}} {|class="wikitable"! !! 1 !! 2 !! 3 !! 4 Tonic Notes<br>Major = M<br>Minor = m !! 5 All Notes<br>for Pos. !! 6 Fingering<br>for Pos. !! 7Whole/Half<br>Patterns
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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E w-h
B w-h-(w)
G h-w-(w)
D h-w-(w)
A w-w-(w)
E w-w-(h)
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! #2
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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E w-w
B w-w-(w)
G w-h-(w)
D w-h-(w)
A h-w-(w)
E h-w-(w)
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! #3
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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E h-w
B w-w-(w)
G w-w-(h)
D w-w-(h)
A w-h-(w)
E w-h-(w)
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! #4
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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E w-h
B h-w-(w)
G h-w-(w)
D w-w-(w)
A w-w-(h)
E w-w-(h)
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! #5
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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E w-w
B w-h-(w)
G w-h-(w)
D h-w-(w)
A h-w-(w)
E w-w-(w)
|-
! #6
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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E w-w
B w-w-(h)
G w-w-(h)
D w-h-(w)
A w-h-(w)
E h-w-(w)
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! #7
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<pre>
</pre>
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<pre>
</pre>
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<pre>
</pre>
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|}
* The picking pattern is consistent ascending or descending through all the strings. One string is (d u d), the next is (u d u), and this repeats for the next 4 strings.
* The left-hand knows each string has ''w-w'', ''w-h'', or ''h-w'' patterns, not any of the 2 note ''w'' or ''h'' patterns which can be more confusing.
{{top}}
== 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.
=== So We're Memorizing Shapes? ===
Yes, but you always have to remember the shapes are a means to an ends. To play actual melodies, we may jump around inside any particular pattern. Also, there is no guarantee a song will stay 100% inside a particular key. It may borrow notes outside the scale, altering how we play in the pattern. I prefer to look of these patterns as a "filter". We are simply blocking out the notes that are "outside" of the major or minor key we're playing in.
=== Supreme Ultimate Goal ===
Complete ability to play the guitar in any key in any position required or desired at a moment's notice. Ability to play melodies, improvise, play chords, arpeggios, licks, scales, and intervals in any position or on any set of strings in any available octave.
{{top}}
== Homework ==
* Learn the 7 different scale patterns for fixed position.
* Learn the 7 different scale patterns for 3 notes per string.
* Play each scale pattern for the key of C Major.
* Play each scale pattern for the key of A Minor.
* Play each scale pattern for the key of G Major.
* Play each scale pattern for the key of E Minor.
* Play each scale pattern for the key of F Major. We have not studied this key - you will have to use the knowledge in this lesson to determine which scale patterns to use in which positions.
* Play each scale pattern for the key of D Minor. We have not studied this key - you will have to use the knowledge in this lesson to determine which scale patterns to use in which positions.
* Play each scale pattern for the key of E Major. This key is far away from the keys of F, C, and G on the circle of fifths. Be sure to say the name of each note you play while doing this - it will really help you learn the fretboard.
* Become familiar with the whole-half patterns for each string, and how they progress in order for any position. Reach that A-Ha! moment when given a few notes anywhere on the guitar allows you to quickly figure out the rest of the notes or the scale pattern for the position and which key you are playing in.
== Q & A ==
== Related Lessons ==
* [[5th Position]]* [[Music Theory Basics]]* [[1st String]]* [[Solo'ing]] {{top}}{{Intermediate Lesson Crumbs|Prev11}} [[Category: 5th PositionGuitar]][[Category:Lessons]][[Category:Intermediate Lessons]]* [[CAGED|NextCategory: CAGEDScales]]