7 Major Scale Patterns Guitar

[Jessica Wilson]

Inthe introductory Major Scale lesson, we learned the basic intervals that build the scale and some basic patterns on the guitar fretboard. These patterns are fine for getting to know the scale, but eventually you'll want to free up your soloing and play the Major Scale across the entire fretboard.

The easiest way to do this is by building patterns on each degree of the scale in question. In this case, the Major Scale, that's seven degrees, with 1 being its root or 1st degree, right up to the 7th degree.

So where do we start? The most practical first step is to make sure you've learned both the core interval sequence of the Major Scale and the box patterns from the first part. You'll soon see why this is helpful by connecting these same patterns within the large pattern we're about to learn (it's all about identifying the root strings/positions).

Now, we've already established that the root note is the 1st degree of the scale, and from this degree we can build its first position pattern (one of the patterns we learned in the first part)...

Try challenging yourself to "land" on different tones within the pattern. For example, you could move from root to root throughout the connected sequence. This is great for building your spatial awareness of related notes.

When the root note changes, the entire pattern moves with it. The important thing is you can gauge the position of these root notes from the individual position patterns you learned. So spend time learning each position pattern by heart before you attempt to link them together.

Also, as well as linking the Major Scale positions together into one large pattern like above, try creating your own larger patterns by linking two or more positions together (for example, three-notes-per-string). This will allow you to use runs and other scale techniques in more economical spaces on the fretboard, especially at higher frets. More help with that in the next part.

1) They help you see convenient chord shapes that can be built around the scale you're playing (since chords essentially use the same intervals). We looked at this in part one, pulling related chord shapes out of the scale patterns.

3) At first, they help you break down the large scale pattern into "bite sized" chunks. You can move between the boxes and keep your bearings (since you now know each scale degree's box 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. This is about smooth, fluid movements right across the fretboard and wider interval movements across each string. Sliding is one way to utilise these wider movements, but also regular picking higher up the fretboard where the fret spaces are narrower (e.g. you may be able to span 8 frets between your index and pinky finger rather than just 4 or 5).

To help connect these boxes in your mind, we need to work on the interval relationships of the scale in various positions on the fretboard. We touched on this in the major scale lesson, but now we know the scale across a much larger area, these interval relationships can now be visualised across the entire fretboard.

So, you get the idea - explore different degree/interval relationships across the wide scale patterns and relate them to the positions from earlier - this allows you to effectively "connect the boxes".

For example, you could play a wide run, ending up inside the 6th position box where you could then play around just in that box 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!

I am already pretty good in using the minor and major pentatonic scales to solo. I also learned CAGED for minor/major chords on the fret-board. The issue is, I am struggling to make meaningful music when chord-chasing because of the limited possibilities the pentatonic patterns offer. I love the way this guy sounds but it seems like he's using a lot more notes than are in the pentatonic patterns to achieve that "flamenco" style.

Knowing pents is a great start, so you know 5 out of the 7 notes needed to finish off your major and minor scale patterens. Find those extra couple of notes - they're the 2nd and 6th notes in minor, and 4th and 7th in major. Actually the same pair of notes if you consider relatives - as in Am/C maj.

They are the 'iffy' notes that are often left out of solos, as they can clash quite badly (well?) if care isn't taken as to where they sit in a solo line. But, without them, you're missing an important part of your armoury.

Then consider modes, blues scales, etc. Even, for fun, try to make up your own scales. You probably won't find one that hasn't already been named, but it'll hone your concepts of how notes can (or won't) fit with each other in given circumstances.

I think that this is opinion based, however my opinion is that any musician who does not know their major scales should learn them. Further any musician who knows their major scales but not the minor scales should learn them as well. The pentatonics are also important.

The next level after that is perhaps to learn, and learn to use the modes, and Melodic and harmonic minor scales. Then there is the whole tone scale and the ..... There will always be another scale to learn or another way to look at the scales you know so get to work and learn them and it can only make you better which is another way of saying "take you to the next level".

The major scale is the centerpiece of music theory and probably the most commonly used scale in music. In order to understand chord building, progressions, and other scales, you need to first understand the major scale. In this lesson we will take a look at what makes up the major scale and learn the major scale patterns and positions on the guitar fretboard.

Guitar scales, specifically the major scale, provide the foundation for understanding music theory. Without knowledge of the major scale, your understanding of chords, progressions, interval qualities will be limited.

A scale in music is a group of notes ordered sequentially by pitch. Unlike chords where the notes are played together, the notes of a scale are played individually. They can be played ascending (increasing in pitch) or descending (decreasing in pitch).

A whole step on the guitar is equal to two frets while a half step is equal to one fret. You may also see them referred to as semitones. A whole step equals two semitones while a half step equals one semitone.

While the notes for a given major scale may change, the interval qualities remain the same. This is an important concept because this allows for movable shapes and patterns across the fretboard. In other words, the pattern for the G major scale will also be the pattern for C major, D major etc. The only thing that changes is the root note on which the pattern is based.

You can think of the guitar fretboard as one big connected grid. Within this grid, you find patterns of notes. It stands to reason that if the notes on the fretboard follow a given pattern, so too do the scales that are derived from these notes. This is important to understand because once you learn to recognize the patterns that make up a given scale, it gives you the freedom to play across the entire fretboard.

In position 2 of the major scale, the root notes are found on strings 4 and 2, which means this position only contains two root notes. As with position 1, practice the scale starting on the root note and play ascending and descending.

Notice how this position connects with position 1 via the notes on frets 4 and 5. While the actual frets will change from one major scale to another, the association is the same. Position 1 will always connect with position 2 via the same note intervals.

By including the p4 on the 6th string, the fourth position of the major scale spans a lot of frets (5). You can choose to omit this note if you want, but I prefer to include it as part of this position. Note the suggested fingerings on the position shifts.

As with position one, the fifth position of the major scale includes three root notes due to two of them falling on the 6th and 1st strings. This position also includes a position shift, so pay close attention to the suggested fingerings for how to player over it.

With the root note on the 5th string, you get the following common patterns for the major scale. Note that these are almost identical in shape as the patterns from the 6th string root. The exception is when the scale moves to the 2nd string, which is tuned a 1/2 step lower.

To summarize, a music scale is a group of notes arranged sequentially by pitch and played individually. The major scale is a diatonic scale consisting of 7 notes and and octave note. You build it by following a formula of half/whole step intervals (W-W-H-W-W-W-H).

Since so many other musical concepts and theory are derived from it, the major scale is the most important scale for a guitarist to know. Learning it sets the foundation for applying music theory to the guitar, so take your time to thoroughly understand the content in this lesson.

If you're not able to play all over the fretboard, you're missing the foundation required to see the fretboard clearly. Build your foundation and put it all together with Guitar Essentials: Foundational Fretboard Navigation.

E shape major scale day in day out around 10mins a day in key of G and I managed to get to 120bpm in 16th notes 4 times ascending and descending, but that was super fast and not always super accurate.

I would stay clear of even trying to learn solos because, in my mind I could not play fast. I did this routine daily for months some years back and kept crashing out playing 8ths at 120 BPM. I could never get beyond that point and convinced myself I would never be able to play fast. I used to joke on here that I made Clapton look like a shredder.

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