Major Guitar Scales
These patterns are built in C Major, yet are movable to any position [each form is always 12 for 1]. They also follow a linear cycle of forms ["scales always go in order"], each of which contains a fixed position CAGED chord cycle [CForm is for the I chord] & a Pentatonic Frame [some have 2].
Patterns are maps. Maps that can get us going. Yet, they are meant to be transcended. When we jam, we work with other vital dimensions of our musicianship, rather than playing patterns. For a simpler starter lesson, check out basic CAGED scales at the nut.
We promote learning these patterns in tandem with octave exploration. Check out Octave Explorer. The Octave Explorer learning module will help make sense of the patterns on this page. Look for the octaves in all of the patterns in this lesson.
Look for octave shapes. Both chords and scales wrap around or fill in octaves. Octave shapes are the basic skeleton of the guitar.
The information on the left of each grid [for right handers] - and on the right of each grid for left handers:
- Root = The tone which names a scale, chord, or key. A root is the tone we build things from and around. On the grids, it is which string the root is on: either 6, 5, or 4. Three patterns are built from the 6 and 5 strings. One pattern for the 4 string. 4-4 and 4-2 are within previous patterns.
- Finger = Which fretting hand finger starts the scale. The first number is for all higher fretted versions of the scale. The number in parenthesis is the finger that starts the scale at the nut for the scale form - the origin.
- SForm = Scale Form. It is the lowest possible fingering of the scale pattern - what we are calling the origin and heel.
- CForm = Chord Form. It is chord form for the I chord [starting point for the fixed position cycle of chord forms]. In some of the scale forms, more than one chord form is present (those guitar scales which shift positions - with these, the chord forms are fragmented). In a fixed position [scale form], the types of forms follow the CAGED cycle: when we play a fixed position alphabetical chord scale, ascending, the forms are reversed...DEGAC, with 2 repeats. While descending, the forms follow the CAGED cycle in order, with 2 repeats. Which forms repeat depends on which wing we use. Wings are the unisons on each edge of a scale form. We have options.
- PFrame = Pentatonic Frame. From the Major, if we 'take away' the 4 & 7 scale degrees, we have the Major Pentatonic. From the relative minor (the same scale as Major, just starting on the 6th scale degree), if we 'take away' the 2 & 6 scale degrees, we have the minor Pentatonic. The pentatonics can be viewed as 'hollowed out' Major & minor scales.
Dot Types
R stands for Root. The Root is the base tone (origin) for something (chord, scale, arpeggio) to be built. It is the tone that names the chord, scale, or arpeggio.
The 5/2: B-flat or A form?
We call it the B-flat scale form to differentiate it from 5/1. Both 5/2 and 5/1 wrap around the A form for the I chord.
We can label guitar scales & chord forms however suits us best. We call these by string/finger. So, in order on the map, the cycle for C, goes: 5/4, 5/2, 5/1, 6/4, 6/2,6/1, 4/1. No matter what key we are in, the cycle is always the same, just with a different starting point. We call starting points, heels, as in a loaf of bread.
| C-Bb-A-G-E-F-D Form | The Heel for... |
| C | C, Db |
| Bb | Bb, B |
| A | A |
| G | G, Ab |
| E | E |
| F | Bb, B |
| D | D, Eb |
Music is not pattern playing, yet learning these patterns gets us functional in all keys, by moving the grid around to different starting points.
This system is just one way to organize guitar scales in standard tuning. Also check out Octave Explorer, our newer scale system that helps make sense of the patterns on this page.
"The map is not the territory." Alford Korzybski
Tone Names for C Major
Knowing tone names isn't mandatory, yet can be helpful. As with patterns, tone names are points of reference. They supply a 'scaffolding' we can ignore (transcend) later, if we choose. While in a soloing groove, these tones may resonate as points of light or vibrant colors, rather than letter names. Our ear & voice are our guides with melodic playing.
In a non-reference playing mode, names may not even exist for us. Also, if we decide to rename all of the notes (such as: Frank, or orange, or pretty-bird), ewill need to find people who also call the tones by those names. Or, convince people that our naming system is superior (or inferior, if you are into that). Whatever we end up naming the tones, it becomes a medium to communicate with other musicianers.
As we build our understanding of standard tuning (or any tuning), we realize how tones interact with tones (i.e. how tones we use to solo, interact with the chords that are being sounded).
One of the best ways to memorize tone names is to say the note name as we play it. "Say it while we play it."
Also, memorize all of the A's within a scale pattern. And, all of the B's. The C's, etc.