Part 1:
At first glance, this probably looks fairly confusing, with no obvious pattern:
But, there's only one simple pattern for all diatonic (do-re-mi) scales.
First keep these things in mind:
- The key is to think about playing *three* notes per string.
- The second key is to imagine that there is no "kink" in the guitar's tuning. In other words, assume the guitar is tuned to 5 half-steps up for every string (also known as "perfect 4ths tuning").
- Also, to show the entire pattern, lets assume we have a 7 string guitar.
Then, the general pattern for a diatonic scale would then look like this:
(high string)
| | X | | X | X |
| | X | | X | R |
| | X | X | | X |
low| | X | R | | X | high
frets| X | | X | | X | frets
| R | | X | | X |
| X | | X | | X |
(low string)
low
frets
(low string)
Where "R" is the root of the scale.
Then the pattern repeats (across the strings).
So, the pattern's movement just boils down to the rule: bottom, middle, top.
If you are moving the pattern from low string to high strings, notice how the block of three notes inches up the fretboard:
- Move the bottom note up a half-step.
- Move the middle note up a half-step.
- Move the top note up a half-step (and the pattern starts over).
So, the pattern's movement just boils down to the rule: bottom, middle, top.
And the pattern only has three shapes, based on the intervals:
(high string)
whole-step, half-step (repeat x 2)
half-step, whole-step (repeat x 2)
whole-step, whole-step (repeat x 3)
(low string)
That's it! All the diatonic scales, any position.
Wherever you are on the neck, any scale -- at any position -- will be some slice of that same one pattern. Moving up or down the neck, just rotates where the pattern starts.
For example, if you play the C scale on open guitar strings, the low E string starts the pattern in the middle:
* pattern repeats
| | X | | X | X |
| | X | | X | R |
| | X | X | | X | < start here
| | X | R | | X |
| X | | X | | X |
| R | | X | | X |
| X | | X | | X |
* pattern repeats
* pattern repeats
So if played on a guitar open strings (again, ignoring the "kink" in tuning):
F
C
G
D
A
E
Now, adding the "kink" in tuning for the high B and E strings, the pattern is always shifted up one half-step on the two high strings. So the pattern now looks like:
E
B
G
D
A
E
So how do you know where to start the pattern? Perhaps the simplest approach is to look at chord shapes for context clues on where the pattern is intersecting with the chord. Also note the root notes in the pattern.
As you move the scale up the neck, you simply rotate where you start in the pattern sequence. This block describes the entire fretboard, for the overlapping scale shapes, for example starting on "Pattern 1" and moving up the neck (ignoring the "kink" in tuning):
So each time you shift up a position, in the scale, you rotate the same pattern by two cycles. Moving the scale down the neck would similarly rotate the pattern in the opposite direction.
That last diagram explains all diatonic scales shapes for the entire fretboard. Or in other words, each pattern corresponds to a "mode" of the scale. For example, pattern 2 is the Dorian mode.
If that is hard to visualize, just notice the scale also contains this wide, whole-step pattern:
Everything else is joined to this big shape by half-steps. Then, everything else on the neck is just like fitting puzzle pieces together. The repeating pattern will only snap onto one spot of the previous pattern.
There is also another nested pattern here. If you look at the negative space of the diatonic scales, you will see the sharps/flats (like black keys on piano). The black keys on the piano form pentonic scales. The pentonic minor scale also follows a repeating pattern (ignoring the "kink" in tuning):
* pattern repeats
* pattern repeats
- start with a whole tone, and repeat this pattern on three strings.
- drop the bass note a half-step, and repeat on two strings.
- drop the top note a half-step, and the pattern repeats...
The diatonic pattern and pentonic pattern are inverses. One fits inside the negative space of the other pattern (like white and black keys on a piano). Similarly, moving to a different position of the scale just rotates the starting point of the pattern.
In general, to use these patterns it might be easier to "think" in "perfect 4ths tuning", and then project that pattern onto standard tuning. Just remember the kink in standard tuning shift the pattern on the top two strings.
Or to experiment... tune your guitar to 5-half-steps up for every string ("perfect 4ths tuning"). Otherwise, standard tuning obscures the simplicity of the patterns.
Part 2:
Also, seeing a block shape is helpful for learning the notes of the entire fretboard. For example notice that this scale pattern starts at the low E string, 1st fret:
This block pattern repeats across the fretboard. Memorizing the notes on the fretboard is not an easy task. But instead of individually memorizing every note on the fretboard, you can instead memorize blocks of notes. This "chunks" the information. As an analogy, it's easier to remember 5 words, than 72 letters. Then for example, you only have to remember where the C notes are on each string.
Though for me, it's not useful to try to memorize a large block of information using brute force. I find it more useful to actually *play* a pattern of notes, and directly associate playing with the note name.
Special thanks to http://kwmonster.blogspot.com/ for helping make this post more clear.
Though for me, it's not useful to try to memorize a large block of information using brute force. I find it more useful to actually *play* a pattern of notes, and directly associate playing with the note name.
Special thanks to http://kwmonster.blogspot.com/ for helping make this post more clear.
