Major Scales Guitar Lesson

mattbrown replied on February 6th, 2012

Hi! I think that the answer you'll get to this question will depend on who you ask. Essentially, there are three different ways to classify and play what are called the "diatonic scales." These scales are the major scale, harmonic minor, and melodic minor, as well as all of their corresponding modes. So, for instance, the major scale belongs to this group, and you can group its fretboard patterns into five patterns based on what is referred to as the "CAGED" system, three note per string patterns (there are 7 of them - one based on each mode of the major scale), and the 12 patterns that allow you to play in all 12 keys within a single fretboard position. The C major pattern you mentioned that starts off with 8-10-12 on the low string is an example of a 3 note per string pattern. These patterns seem to be much more advantageous if you are ascending or descending in more of a horizontal fashion. Also, since there are three notes on almost all of the strings in the pattern, it's easier to accommodate legato techniques such as hammer-ons, pull-offs, slides, etc. when playing a melody or solo. However, you have the added difficulty of the finger stretch, which becomes more difficult as you move the pattern into keys that are located lower on the fretboard. For the most part, the five CAGED patterns don't have these stretches. So, they are more advantageous from a vertical perspective. As a result, they are really handy for playing melodies that lie nicely in one fretboard position. They're also great for vertical-based techniques such as arpeggios and/or sweep picking. Finally, there are the 12 patterns that allow you to play all 12 keys in a single fretboard position. I.e, you could play in all 12 keys just using the open strings and the first four frets. There is some overlap with this group of patterns and some of the CAGED / 3-per-string patterns. So, in my practice time, I work on all of these patterns. When I'm actually performing or practicing music though, I just use whatever pattern happens to be most practical and advantageous at the moment. Check out Chris Liepe's rock lessons for detailed info on the 3-per-string stuff. Go to Nick Kellie's Phase 2 set for the CAGED stuff (he has a few sets that you'll have to scan through. More info on the 12 patterns for a single position is sort of scattered throughout my phase 2 reading music and rhythm set. Great question! Hope I didn't overwhelm you with too much!

mattbrown replied on January 2nd, 2012

Hey Mick! Hopefully my response to your other question cleared up the confusion. I briefly play through the pattern you mentioned at the beginning of the second scene...I don't break it down though...check out the previous lesson for a more thorough explanation of that pattern. I think I break it down in that lesson.

mattbrown replied on January 2nd, 2012

Hey Mick! Sorry about the confusion...The scale I play at 00:18 in Scene 2 corresponds to the fourth pattern in the tabs. The third pattern listed in supplemental content contains the B note that can either be played on the 4th string at the 9th fret or on the 4th fret of the 3rd string. Where you play this note is purely a matter of preference. These days, I like to play it on the third string. I can rip through the pattern way faster that way, especially if I'm using hammer-ons and pull-offs.

mattbrown replied on January 25th, 2011

You're exactly right. I always start a scale on the lowest root note within a pattern regardless of whether or not the root note is the overall lowest note in the pattern. Then, I ascend to the highest available note in the pattern, which is usually a note other than the note. Next, I ascend to the lowest available note in the pattern. Finally, I climb back up to the root note. Playing a scale in this way firmly establishes the tonality (major) that you're playing out of.

midlife replied on January 27th, 2011

Matt, thanks for the reply. Just when I think I am getting it, I am confused by your discussion at the end of scene 3. You talk about following the Circle of Fifths to practice all keys. You then demonstrate by playing different keys without switching position. Can you explain how you are doing this? Are you just starting on a different root note and playing bascially the same pattern? I'm guessing there is more to it than that, because of the introducion of sharps and flats in different keys?

mattbrown replied on January 27th, 2011

Hi! Well, here's what is going on...If you look at a diagram of the circle of fifths, the first key listed at the top is C major (at 12 o'clock). In the video, at 06:05 (scene 3) I'm playing a C major scale using the third pattern that is listed under the supplemental content tab. Next, I play a G major scale in the same position (7th position). For this scale, I'm using the pattern on the second page of the supplemental content. In order to play this pattern in the key of G instead of C, you have to shift it down to 7th position. For D major, I'm using the second pattern on page one. When this pattern is played in the key of D rather than the key of C, it is played in seventh position. Hopefully this clears up some confusion! Basically, you always want to pay very careful attention to where your root notes are located within scale patterns. Then, all you have to do is start on the right note and play through the pattern.

midlife replied on January 27th, 2011

AWESOME! Both you and JAMPLAY! The quality of the instruction and the instructors continues to blow me away. I have struggled off and on for 30+ years trying to play the guitar. I was convinced I just lacked musical talent. Although talent helps, what it really takes is hard work and practice. My wife complains that I play my guitar too much (her favorite is the triplets in Metallica's One). I tell her it is a cheaper (and safer) midlife crisis than a Harley!

mattbrown replied on January 18th, 2010

I assume you're talking about the first pattern I demonstrate at the beginning of Scene 2. That's the one without the shift. I think learning multiple scale patterns is really important when it comes to understanding the nature of the guitar and how notes are laid out on the fretboard. Sure, you can play the exact same group of notes with the two patterns that I play at the beginning of scene 2. However, these notes have a slightly different tone. Compare the tone of a C note played at the 5th fret of the 3rd string to the same note played at the 10th fret of the 4th string. The option on the fourth string isn't quite as bright and treble-y sounding. These minute differences in tone really do affect the overall sound of what you play.

mattbrown replied on September 11th, 2009

In the tabs, the location of the root note of the scale is written in parenthesis. All of these patterns can be transposed to a new key, assuming that you don't run out of room on the fretboard. When transposing a pattern, simply shift the pattern up or down the fretboard so that it begins on the appropriate root note. Of course, you must have the note locations on the fretboard memorized to find the appropriate root note. I hope this answered your question. Please let me know if you still need help. Thanks! Matt

mattbrown replied on March 29th, 2009

I recommend that you finger this pattern the way that I demonstrate it. Although it may seem awkward at first, this fingering will enable you to play the scale faster in the long run. Also, it's easier to get hammer-ons and pull-offs going with this fingering.

crashball replied on March 17th, 2009

it is important to remember where the root of the scale is. If you are looking at the lowest note in the pattern, then yes it would be A minor. Important to rememebr that a "pattern" isn't a scale. The patters are useful when playing scales, as the pattern doesn't change, but if you drop the pattern down 2 fret (1 whole note) you would be playing a Dmajor scale. I've been jumping around a bit between instructors/lessons as i am trying to get a nhendle on the thoery of it all. I like this particualar approach so i can see the different major patterns over the whole board not just 1 or 2 positions. That way if i spot some tab, or a riff it'll click when i see it and i can say "hey, that is a G major" or whatever.

megan replied on March 12th, 2009

I have seen treatment of C major like the way Matt does it in other guitar places. I guess he's trying to show the notes of the C major wherever they appear on the fretboard, around the tonic (C). In his patterns, what I think of as, a proper C major scale, starts on the E string at the 8th fret (C). Matt's first pattern starts on F. His second on A. The third on B, and then the fourth on C. For me starting in F without hearing a Bflat just sounds wrong. Same thing with A. Not hearing F#C# and G# causes me a problem, etc. So maybe that's what's got you confused. A minor may be the relative minor to C major, (same key signature) but to play it so that it sounds right, you'd probably want to raise the 7th (G#), to create what's called a harmonic minor. But there's several ways to play minor scales so that they sound right. What you've got there is a natural minor, yup. Sorry, piano lessons since I was three ... gibberish ... How I learnt to find the relative minor of a major scale (same key signature) is to count three (steps) semi-tones down from the tonic. (C major scale starting in C and down three steps is A minor, D major scale starting in D and down three steps is B minor etc.)

mattbrown replied on May 12th, 2008

They're at the bottom.

kevinace replied on March 23rd, 2008

Click the "Supplemental Content" tab. There is quite a bit of info (both audio and visuals) on scales there.