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Scale Positions
Major Scale Positions on Guitar
Unboxing the major scale across
the entire fretboard
In the introductory major
scale lesson,
we learned the basic intervals of the major scale and some "boxed"
patterns on guitar. We found that by positioning these boxed patterns
at various positions on the fretboard, we could have a convenient base
to
build chords, or major scale solos around.
This lesson is about unboxing
the major scale! This is a good way to develop your knowledge of scales
- begin with the boxed patterns on the main root note strings - the low
E, A and D strings (the same bass root note strings we build barre/movable chord shapes
from), then expand the scale pattern, connecting the boxes.
Eventually, you'll see it as one big pattern, and you'll navigate the
scale more fluidly and intuitively as a result.
The easiest way
to do this is by building patterns around each degree of the scale in
question. In this case, the major scale, that's 7 degrees/tones, with 1
being its root
note. A degree is a scale tone relative to that root note
- 2nd, 3rd, 4th, 5th, 6th and 7th.
Take your time with this. No rush!
Major
scale positions - degrees of the major scale
So where do we start? The most practical first step is to make sure
you've learned both the core intervals of the major scale and the boxed
patterns from the first part. You'll see why this is
helpful by observing these same patterns within the patterns we're
about to learn (it's all about identifying the root note
strings/positions).
As mentioned before, the major scale's degrees are relative to its root
(1)
note. The position of the root note defines the key you're playing the
scale in. For this example, we're going to map out the major scale's
degrees based on a G root note. Therefore, we'll be playing the G major
scale.
First, let's lay out the intervals of the G major scale along the low E
string...
Now, we've already established that the root note
is the 1st
degree of the scale, and from this degree we can build a
boxed pattern...
Let's now move along that low E string interval line to the 2nd degree.
We can now build another boxed pattern from this note...
Then move to the 3rd degree. This, again, has its own boxed pattern...
Then the 4th degree's boxed pattern...
Then the 5th degree...
6th...
and finally the boxed pattern of the 7th degree of G major. I've also
labelled this at fret 2 because we know that the 7th degree/tone of the
major scale lies one semitone (fret) below the 1st degree. Therefore,
as the first degree was, in this example, at fret 3, the 7th will be
one semitone lower, at fret 2!
What we've done here is start a new boxed pattern at each degree of the
G major scale, creating one large G major scale pattern across the
fretboard...
So, your task here is to learn the boxed patterns for each degree of
the major scale, starting on the low E string. Don't just learn it in G
- these patterns are movable, and therefore that resulting large
pattern becomes movable as well. When the root (1) note gets
repositioned, the rest of the pattern moves accordingly and the major
scale adopts a new key center.
The great thing about this technique is you can apply it to any scale.
Simply lay out the scale's intervals across the low E string and map
out the scale tones from each degree.
Once you're confident with each of the "boxed degree" patterns, we can
delve a little deeper into the theory...
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There's
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Expanding
out of "boxed" think
Boxed scale patterns are useful for 3 main things:
1)
They help you see convenient chord shapes that can be built around the
scale you're playing (since chords essentially draw tones from a
scale). We looked at this in part
one, with the different boxed patterns based around the 3
bass root note strings - E A and D.
2)
They allow you to create scale runs in a tight area which is useful for
legato playing and sweep arpeggios (more on these in the lead section!).
3)
At first, they help you break down the large scale pattern into
"bitesize" chunks. You can move between the boxes and keep your
bearings (since you now know each scale degree's boxed pattern and
where it lies in relation to the next/last!)
However, when soloing, you'll eventually want to have the option to
play across larger fretboard areas seamlessly. This is about smooth,
fluid movements right across the fretboard and wide interval movements
across single strings. Sliding is one way to utilise these wider
movements, but also regular picking higher up the fretboard where the
fret spacings are narrower (e.g. you can span 8 frets between your
index and pinky finger rather than just 4 or 5).
What you need to work on now is knowing the interval relationships of the
scale. We touched on this in the first part, but now we know the scale
across a much larger area, these interval relationships exist in a
different context.
Let's look at some examples, still using that large G major scale
pattern:
Root - 3rd interval
Don't forget about how the open strings may be part of this. For
example, the G string played open will be the root note G,
so that counts as a root note position (also, therefore, at the 12th
and 24th frets).
Root - 3rd - 4th intervals
You'll know by now that the 3rd
lies one semitone (1 fret) below the 4th.
Obviously this interval is the same no matter where you are on the
fretboard...
Root - 5th - 7th intervals
Similar to the relationship between the 3rd
and 4th,
the root
is a semitone (1 fret) above the 7th.
Therefore, you'll know wherever the root appears, the 7th will be right
behind it...
So, you get the idea - explore different interval relationships across
the wide scale patterns and relate them to the boxed degree patterns
from earlier - this allows you to effectively "connect the boxes". For
example, you could play a wide run, ending up inside the 6th degree box
where you could then play around just in that boxed pattern for a few
bars. This gives your soloing a dynamic edge, because both styles of
playing - boxed and wide movements - produce different sounds, even
though you're still playing the same scale!
You can learn more about creating solos using the major scale in the major scale exercises lesson.
Thanks for your time and patience!
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