Playing scales not only improves your ear, playing technique, fretboard orientation, finger stretching, but also allows you to acquire phrasing skills that are very useful when playing and composing solo parts. The peculiarity of the guitar scale device allows you to perform the same scale from a given note according to different schemes. For example, a major scale per octave can be played with four schemes, each with its own advantages.
At the heart of any scale is a fret - one of the most important concepts V music system. Fret is a series of sounds located relative to each other at certain intervals. The most common seven-step frets are major and minor.
In the case of using the piano, the major scale is obtained when playing the white keys from the note to (C), and the minor scale when playing the white keys from the note la (A). Looking at the intervals between adjacent keys, it is easy to recall the interval composition of the natural major mode:
b.2 + b.2 + m.2 + b.2 + b.2 + b.2 + m.2 or easier bbmbbbm
and natural minor scale:
b.2 + m.2 + b.2 + b.2 + m.2 + b.2 + b.2 or simpler bmbbmbb
The fretboard does not have landmarks like white and black keys, but it does have a second string that is great as a base for remembering how to build intervals, chords, and scales. To begin with, you need to visually mark it, and then mentally remember this markup (Fig. 1).
Rice. 1. Visual marking of notes on the second string.
The result is a visual system that resembles a system of black and white piano keys, but unlike the latter, groups of steps with the same interval structure from the notes C and G are clearly visible on the fretboard (highlighted by a dotted frame). This will allow you to change positions for playing scales not only from the first steps of the scale, but also from the fifth.
As you remember, the tones included in the triads are functional tones that have their own names. The sounds of the mode (and, accordingly, the scales) also have functionality and have their own names. Often guitarists think of scales as a series of tones that need to be memorized and then played accurately and as quickly as possible. If you want to understand what constructions in music are based on, how to build harmonic revolutions and squares, why one chord is played this one, and not that one, and much more, then from the very beginning, perceive scales as functional system sounds.
The main sound of a chord is prima, and fret (scales) - tonic. Tonic is not just the first sound of the scale, it is the first step of the fret and the support of the fret on which everything else is based. Here you can draw an analogy with the solar system: the tonic is the sun around which the planets revolve solar system- other sounds of the fret. The theory of modes is not covered in this lesson, but you can get acquainted with it in our theory course.
So, we can play a major scale from the note before on the second string in white tones, and in A minor - in white tones from la(on an electric guitar, playing above the 12th fret is not difficult). At this point, we need to stop and comprehend it: knowing the visual pattern of the arrangement of tones of the major scale, we can play the minor scale parallel to it (located a minor third lower) using the same template, adding to it two sounds from below, as shown in fig. 1. This is exactly what the playing of scales in boxes is based on, when not some specific construction of a scale in a specific position is remembered (as it has to be done when playing the piano), but in boxing - a template scheme for playing a scale within 5- 7 frets.
More often scales are played on several strings:
- without changing position:
- within one position (four adjacent tones)
- within one extended position (five adjacent tones)
- with position change:
- slight position shift within the box
- outside of boxing
Consider the positions for playing the scale natural major(Fig. 2). They are given taking into account the possibility of playing in one position.
Rice. 2. Schemes and fingerings for playing the major scale within an octave.
Comparison of these schemes allows us to find a lot of interesting things.
Option 1:
- Playing in one position
- Location of sounds relative to the first - more to the right
- Three strings used
Option 2a:
- Playing occurs with position correction when playing sounds 7 and 8. You can say that here there is a transition from position to extended position when playing sounds 7 and 8.
- Location of sounds relative to the first - on the left
- Used four strings
- On every string different combination location of neighboring tones.
- The upper octave sound is difficult to determine
Option 2b is an improved version of the previous option.
Option 3:
- Playing in one extended position
- Location of sounds relative to the first - on the right
- Three strings used
- Two strings have the same combination of adjacent tones.
- The upper octave sound is easy to determine
Option 1 is useful when playing the bass guitar. In an extended position, it will be very difficult (or impossible) to play the scale in wide frets. Option 3 is required to play good stretch fingers, but it is the easiest to remember. Option 2a is the most difficult of all: 4 strings are used, different variants arrangement of tones on the strings, change of position for playing sounds 7 and 8. When using options 2a and 2b, the scale using all the strings in the box will be shorter compared to options 1 and 3.
The major scale can be played left and right. Right-handed options have an advantage when playing the scale for several octaves.
When playing scales, it is extremely important to use the correct fingering from the very beginning. If the stretching of the fingers is weak, then you constantly want to pinch the string with a more comfortable finger and replace it with the one indicated on the fingering. Playing positions out of habit is difficult and left hand tries to rearrange the position of the fingers so that it is comfortable. This leads to errors and stutters in the game. Inefficient fingering and unwillingness to work on playing in position is a powerful brake on playing the guitar. Often a guitarist cannot play a phrase or riff quickly and accurately, not because his fingers do not move, but because he plays with the wrong fingers or has not mastered playing in position. As a result, months and years pass, and there is no qualitative improvement. Playing the guitar all your life is great, but not being able to play it all your life is too uninteresting and boring!
From fig. 2 shows that when playing on one string, the sounds are arranged in three main positional combinations:
- two sounds side by side
- two sounds next to the right
- sounds through fret
Sounds through the fret - big second (b.2), sounds nearby - small second (m.2)
Memorizing these positional combinations helps you quickly navigate the game and easier to memorize the game. When memorizing a part at the level of individual sounds, an excessive thought process occurs. You need to understand how the sounds are located relative to each other and give the command to your fingers to play this sound first, then another, etc. When working at the level of positional combinations, this process is optimized. Sometimes you can observe the following picture: the guitarist is shown playing scale by octave, but he can’t remember it and play it accurately. This happens not only because he did not play it, but also because of seeing the scale on the fingerboard as an incomprehensible sequence of sounds, and not positional combinations.
When using positional combinations, the scheme for playing a major scale can be formulated as follows:
play in position across the fret, two on the left, two on the right
For greater clarity, the algorithm can be formulated as follows:
first we clamp the second sound on the tonic string through the fret from it, then go to the previous string and play two sounds in a position next to it, and the third through the fret, then go to the previous string and play two sounds through the fret, and the third next to the second sound
Awareness of the second formulation will be an order of magnitude slower than the first. Improvisation will end until you understand what needs to be done. The shorter the formulation of the algorithm, the faster it can be put into action. Hence the structure of the natural major bbmbbbm, but not b.2+b.2+m.2 etc. or even longer major second plus major second plus minor second etc. It is logical to assume that, other things being equal, it is easier for programmers-optimizers to play the guitar than for users. Not always, because optimization often takes place in the wrong direction and instead of simple and understandable, it turns out complex and clumsy.
Remember, in Fig. 1. the frame marked areas with the same interval structure? They are also clearly visible when playing the scale in position (Fig. 3).
Rice. 3. Regions with the same interval structure.
It is easy to see that there are several patterns of interval fragments consisting of four sounds. The scale per octave consists of two such fragments.
Option 3 is interesting in that it allows you to visually see the difference between the interval structure of the beginning of the major and minor scale:
bb mbbbm - major
bm bbmbb - minor
If we play intervals b.2 + b.2 from the tonic, then we automatically go to major, if we play intervals b.2 + m.2, then we go to minor. In practice, the game often takes place in parallel keys- natural major and harmonic minor (the seventh degree is raised by a semitone). In this case, the scales will differ only in the structure of one block (Fig. 4).
Rice. 4. The difference between natural major and harmonic minor.
If we compare the construction of these scales according to the schemes of options 1 and 2, then we will not see such clarity. Visibility is an advantage of the scheme of option 3.
Option 2a (Fig. 3) looks like the most losing of all. Can you refuse it? Don't rush. It is useful to play in all variants.
Option 1. base game in a position suitable for practicing bass riffs.
Option 2. Work on ligaments with the little finger.
Options 2b. Work on the ligaments with the little finger and stretching the fingers.
Options 3. Finger stretching, transition from major to minor and vice versa.
Options 2a and 2b, unlike 1 and 3, allow you to work on playing different triads and seventh chords, and options 1, 2b and 3 on playing scales in the full barre position, which will also come in handy for the future.
Let's see what happens when playing the scale by two octaves (Fig. 5).
Rice. 5. Positions for playing a major scale for two octaves.
Variants of octave schemes are combined. You can change the scheme from the tonic (Fig. 6) or from the fifth (Fig. 7).
Rice. 6. Change of position on the tonic.
Rice. 7. Change of position on fifth.
To get a complete chord template from which to get the rest, we chose a chord that builds on all strings. For determining complete scheme to play the scale, it is not enough to build it from the sixth string. You need to “scroll” it vertically to see the situation with the position of the tonic on different strings. This technique helps, in particular, easily build all positions of the pentatonic scale, if some of them are forgotten visually or at the level of the fingers, and it is difficult to select it by ear.
It is logical to choose the most understandable option 3.
Rice. 8. Boxes for natural major scale.
And why do we need this color music? These are boxes. Boxing can mean different schemes and it is desirable to clarify what is meant when it comes to them. In this case, boxing means the following: imagine that boxing is a box 6 frets wide, in which there are all possible tones of the scale, comfortable to play. That is, the box shows not a scale starting from the tonic and ending at the octave repetition of the tonic, but Lots of easy to play sounds scales, among which, of course, there is a tonic. Depending on which string the tonic is on, one or another version of boxing is played.
The tonic is highlighted in red. The same interval combinations on the same string are also highlighted in color:
- blue - neighboring tones through the fret
- pink - neighboring tones on the left
- gray - neighboring tones on the right
Briefly speaking, across the fret, left and right. These combinations, as can be seen from the figure, form blocks. Now you can play the scale from the tonic on the fly, remembering the block alternation scheme:
Gamma Up - 2 across the fret, 2 left, 1 on right, 1 across the fret.
Gamma Down - 2 across the fret, 2 on right, 2 left
Why complicate things so much? Four schemes for playing the major scale, any boxes, blocks, positions? I learned the scale in one position, and that's enough!
All this is not given to complicate, but as an example of how landmarks are created when playing the guitar. Each guitarist himself develops guidelines and schemes that help him when playing. You can focus on the position of the tonic, look at intervals, use positions and boxes, look at patterns in constructions, etc. Someone will prefer to just memorize the five positions of the minor pentatonic scale, and someone will want to figure out how they are obtained in order to build them on the fly. Many guitarists don't use sheet music, but they play specific parts instead of just going up and down the pentatonic scale. But in order to issue such parties, it is necessary to develop a base on the basis of which these parties will be built and own style games. Without reference points, playing the guitar is like finding your way home, looking only at your feet. It is more practical and much more interesting to raise your head and see, rather than rubbing the strings with your fingers, depicting an attempt to remember what you did not try to learn.
Boxes, which are shown in Fig. 8 seem too difficult to play due to the extended position, which requires good finger extension to play. Let's take option 1 and see if it can be used to make boxes that are easier to play.
Rice. 9. Boxes based on the scheme of option 1.
From the fifth and fourth strings, you have to play in an extended position, and in terms of clarity and simplicity of the block-following algorithm, these boxes are noticeably inferior to those shown in Fig. 8.
Let's try to change the second and third boxes in Fig. 8 and see the result.
Rice. 10. Optimization of boxes.
Box #2 in this picture is significantly different from box #1. If you continue it, you will get boxes as in Fig. 7. with the exception of the position of the tonic. On fig. 9 she is on the left in a position through one, and on this figure. in the center position of the neighbors on the left.
Box 3b looks promising, but the 5th string produces something extremely complex.
Conclusion. Convenient and understandable boxes for playing scales can be obtained not from all possible schemes for playing the same scale.
For a better understanding of the boxes, consider the minor pentatonic scale (Fig. 10).
Rice. 11. Minor pentatonic.
The tonic is marked in red. The minor pentatonic scale from one fret can be played left and right. In the figure, they are conventionally designated as left-handed and right-handed.
Sometimes the question arises, how to remember all the positions of the pentatonic scale on the fretboard? This is easy to do if you know its structure. To do this, “scroll” the pentatonic scale vertically and see what happens.
Rice. 12. Pentatonic positions.
In total it turned out 10 different positions(the position from the first string coincides with the sixth and is not taken into account). After comparison, we see that the left-hand and right-hand positions are in octave dependence, and in total there are 5 different positions of the minor pentatonic scale. You can also highlight the relative location of the pentatonic sounds on the string - through a fret or through two frets. They form blocks that can be used to easily memorize positions: when playing right-handed boxes up, after the root string, play 3 through the fret, and down - 3 through the fret after one through two frets.
As an additional guide, you can visually hold the octave diagonals (Fig. 13).
In practice, things are somewhat more complicated, and phrases based on scales are not necessarily played from the tonic and end on it. If the solo part is based on playing chords, then additional reference points are chord sounds- sounds that are included in the sounding in this moment chord time. Which chord to play first and which after? We will learn about this in the next lesson, where we will consider harmonic revolutions - connected sequences of chords. Good luck!
Gamma is the sequence of notes that make up the key of the piece. In this case, this is the scale that forms the tonality of C major, or A minor, since they are parallel to each other. Notes in this case go one after another in a certain sequence.
This material is necessary for every guitarist, since it is on the basis of scales and their fingerings that solo parts are built, and it is also based . Thanks to this knowledge, you will be able to build interesting harmonies and chord sequences, and, if necessary, you will clearly understand which rules to break so that the song sounds unusual and interesting.
First of all, because it is the foundation of the foundations. Having learned the fingerings and all the positions of the base scale with whole notes, you will understand how it is generally built in, and by analogy, you can already find other boxes on your own. In addition, you will take the first steps in improvisation, and begin to master the art of inventing guitar solo parts.
Brief instructions for playing scales correctly
- Deal with it ,and always play only under it. Take an average pace for yourself, and gradually increase it.
- In addition, try to do additional exercises also under the metronome - for example, play syncopations, or triplets, duols, quartoles, and so on.
- Try to memorize the fingerings so you don't have to look at the neck while playing.
- Having learned how to build a scale, try to build it anywhere on the fretboard without looking at other fingerings.
Scale in C major theoretical part
Like any major scale, it is built according to the principle - tone-tone-semitone-tone-tone-tone-semitone. In this case, the sequence of notes is very simple - C D E F G A B C. That is, you just need to play all the full notes on the guitar - and you get a scale.
Stable steps are the notes of the scale, which, when played simultaneously, give the so-called tonic triad - that is, a chord. It is always the first, third and fifth step - this rule applies to any key, only the notes change. In the case of C major, these are the notes Do, Mi and Sol.
In addition, there are also unstable steps, which, if necessary, can be removed - which happens, for example, in the major and minor pentatonic scales. In addition, by themselves they sound tense, and they must be resolved - that is, change the note to a stable step. IN such notes are always in the second, fourth, sixth, and seventh places.
Gamma C-major for beginners 5-positions
As mentioned above, C major is represented by a sequence of notes Do Re Mi Fa Sol La Si, respectively, in different boxes, its fingering will primarily be based on this. Below, in addition to the explanation, will also be presentedtabs in C majorto make it even easier for you to practice playing this scale.
How to play the C major scale
Buy yourself a mechanical one, or use ,and only play with it. This is very important, because you will immediately accustom yourself to a smooth and clear game. In addition, it is very desirable to learn all the positions so that you do not get lost when improvising and continue to play on any guitar fret. Try to use all your fingers when playing - it will be much more convenient to play your parts and not get lost during fast solos.
1 item
The first position is based on the seventh fret. Notes are played sequentially, the numbers indicate the fingers with which you need to pinch the frets. The same scheme can be transposed to other keys.
2 position
We go down three frets - now the tonic is on the tenth. Please note that the scheme has not changed much, and in addition, it uses notes from the previous position. This is very important, because by understanding this principle, it becomes easier to build scales.
3 position
Now we move on to the first fret. Everything repels him. This is the most simple circuit in all tonality.
4 position
Moved to the third fret. Note again that in this diagram, the first notes on each fret are the last notes from the previous box.
5 position
It starts at the fourth fret and ends at the seventh - so you go full circle and back to first position.
Gamma C-sharp major / Gamma D-flat major - 5 positions
In fact, to master these positions, it is enough to simply move all the boxes listed above one fret down the neck.
1 item
The first position starts at the eighth fret. Boxing is exactly the same as in the C-major scale, everything just shifts to half a tone.
2 position
The second box starts from the ninth fret, and completely repeats the pattern of the second position from the C-major scale.
3 position
Third position starts at the first fret, and looks a little different than the C major box. The reason is that all open frets change to the first one pressed.
4 position
5 position
The last position in which we return to the eighth fret. In this case, everything starts from the sixth.
Exercises for playing the C major scale
Below are some exercises for practicing the C-major scale. Along with a detailed description, there are also tabs and audio tracks, where you can analyze them in more detail. In addition, all these exercises can be transferred to other keys without any problems.
First exercise
It engages frets seven through ten on all strings except first and second. You need to start with the middle finger, because it is with such a fingering that it will be easier for you to work and play. Everything is played in sixteenth notes, so adjust the tempo carefully.
Second exercise
It uses the frets seven through ten in the same way. From the very beginning, you can hold several notes at once, since they are located on the same string. Everything is played exactly the same way in sixteenth notes.
Third exercise
Similar to the previous exercise, the only difference is that all strings are involved, and the scale is ascending, not descending. In addition, in some places you will need to use the legato technique in order for the transition between notes to be smooth.
Fourth exercise
A more difficult exercise that invites you to use the strings not in a row, but through one. This will allow your finger to move better, as well as train your little finger more actively.
First of all, it is worth repeating once again that you should practice playing scales exclusively under a metronome. Accustom yourself to it from the very start of classes, and in the future it will be much easier for you to work on music.
In addition, try to practice regularly and work out all the scales and keys on your own. Learn theory as it will be useful to you in composer activity. The exercises presented above are not the only ones, and you can find a lot more - for practicing legato, scales, as well as speed and playing technique.
Gamma- this is a sequence of sounds within an octave, coming from the main tone at certain intervals. Now an explanation.
Octave- this is a part of the sound range, consisting of 7 main and 5 altered notes.
Basic tone- this is the main note of the scale, from which the scale is built and with which it ends.
Intervals- meaning intervals in a tone or semitone. On the guitar neck, the 1st fret is a semitone.
Raising a note by half a step is moving 1 fret towards the body of the guitar.
Lowering a note by half a tone is moving 1 fret towards the headstock.
What are scales for? Scales were invented to develop the technique of playing on musical instrument. Whatever instrument you learn to play, you will have to play scales - without this, learning will be less effective. Gammas have the following features:
- Develop stretching of the fingers of the left hand
- Develop a sense of the neck in the left hand
- Develop in the right hand the independence of the actions of the fingers
- Develop hearing
- Develop a sense of rhythm
Features of playing scales
Any scale must be played for a reason, but following a number of rules:
- in the right hand, it is necessary to play the alternation of fingers: index-middle, best of all by playing with support, when the finger hits the string and rests on the next string going higher;
- you need to play loud and clear;
- between adjacent sounds you need to strive to make the same intervals;
- the fingers of the left hand should press the string as close to the frets as possible, as this develops a stretch;
- finger right hand must extract the sound simultaneously with putting the finger of the left hand on the fret, and in no case after a pause after putting the finger on the fret;
- you need to try to give the game of the scale a dynamic coloring, as if it were a simple piece of music;
How to play the scale
Gamma can be played in different ways. You can play slowly, thinking through every action of the left and right hands, you can play it at speed. You can play the scale with triplets. As you have already read, you need to alternate blows with the index and middle fingers of your right hand all the time. Every third blow can be distinguished, that is, it will be like this: TAM-there-there-TAM-there-there ... This very well develops the independence of the actions of the fingers of the right hand, because every third blow falls on different fingers. But at the same time, it is important to monitor the speed of the game - it should not change.
What are scales and how to build them
Each scale has its own name. It is called by the name of the note from which it is built. For example, there is a G-major scale or, for example, C minor. If the scale begins with the note SOL, then it must end with the note SOL and nothing else.
Major scales are built according to the following principle: the initial note is taken, let it be the note SALT, and then from it, according to the law of building a major scale, a scale is built. The law of construction is a certain sequence of gaps between the notes of the scale.
Minor scales are built on the same principle as major scales, only the construction law for them will look different.
All scales for guitar with fingering by Andres Segovia
Why play guitar scales
The greatest guitarist of the 20th century, Andres Segovia, unlike many guitarists, did not write a school of guitar playing and published only short guide"My Book for Beginners" The guitarist, who raised the guitar to the peak of its popularity, apparently believed that all the works on mastering the performing arts on this instrument had already been published and therefore only supplemented them with the publication of major and minor scales for the guitar. Not surprisingly, Segovia paid particular attention to scales. For a world-class guitarist like Andres Segovia, this is the foundation on which all his technical perfection of guitar playing is based. Segovia noted that scales are the best way to achieve technical freedom and variety of sound. He pointed out that scales allow us to solve technical problems for maximum a short time and at the same time correct the position of the hands and develop the independence and plasticity of the fingers. When performing scales, he persistently advised his students to pay attention to the quality of the extracted sound, achieving a dense and even sound. Segovia said that an hour of work on the scales gives a greater advantage than many hours of playing exercises. So it remains to summarize the above:
1. Playing scales will give you a complete picture of the location of the notes on the fretboard and help you remember them.
2. When playing scales, you will develop the synchronism of the right and left hands.
3. Scales will help develop accuracy when changing positions of the left hand and will give a correct idea of fingering.
4. Develop independence, strength and dexterity of the fingers of both hands.
5. Makes you think about the economy of finger movements and the correct positioning of the hands to achieve fluency.
6. Help in development musical ear and a sense of rhythm, as well as the fastest possible achievement of technical freedom in performance.
Fingering and positions
For those who have no idea about musical notation tabs of two scales are presented here, but despite the fact that there are tabs, the fingering of the fingers of the left hand will still have to be looked at in notes, since only the frets on which the strings are pressed are presented in the tabs. Now let's find out what is applique. Fingering is the most convenient choice fingers when playing the guitar. Proper fingering is the best choice in which transitions from position to position are made easily and smoothly, allowing the hand and fingers to move naturally without any unnecessary (interfering) movements. Position is the position of the hand on the neck of the guitar. It is customary to count the position number according to the position on the fretboard index finger. Probably the most striking and understandable example is the barre technique on the guitar. If we take the Fm chord barre on the first fret, then this is considered the first position, the Gm chord on the third fret is considered the third position.
How to play guitar scales
The ability to play scales correctly greatly increases the pace of mastering technical side tool. You should not think that you can increase technical perfection by playing these slides of notes at the maximum pace. The formula "I play fast - I'm super" does not fit here. I specifically gave complete freedom to my students in playing scales, after which I asked them to play in certain meters, that is, exactly as these passages would occur in music. Some of them, when performed in a certain time signature, even began to forget the sequence of notes. This suggests that scales should be played on 2/4, 3/4, 4/4, as well as triplets. When performing scales in different sizes, you will have to make certain accents on strong beats measure, which gives evenness to the performed passages. To achieve evenness, many guitarists play scales like this: an eighth with a dot sixteenth and then vice versa a sixteenth eighth with a dot, after which they play evenly.
More detailed description For playing scales, see the section for a more detailed description of finger movements using the C major scale as an example.
In this article, we will talk more about scales. You will find out what they are for and why they are given such great importance.
Introduction
What is gamma? This is a limited sequence of notes, chosen from 12 possible ones, that create the desired coloration for the sound. In other words, gamma for a musician is the same as for a paint artist. The artist chooses the colors he needs to paint a picture, and the musician chooses notes from the scale to create a melody. The best way to describe a single scale is to give a list of intervals between notes. We use the term "Tone" or "Semitone", which allows us to write the formula using capital letters, T (Tone - tone) and S (Semitone - semitone).
Some guitarists use the letters W and H to denote intervals - capital letters from the words "Half" (Half) and "Whole" (Whole). There is also a way to specify the number of semitones (1 or 2). In any case, these three ways are identical and all give us major scale intervals:
- T T S T T T S
- W W H W W W
- 2 2 1 2 2 2 1
(tone - tone - semitone - tone - tone - tone - semitone)
Let's see how it works. Let's choose a scale - Sol-sharp major (G # major). On initial stage we know two things. First, our base note (or tonic) is the Sol sharp (G#). Second, we will use the major scale formula.
So we start with our G-sharp note, and add the first step of the formula, which is the T-tone. So, starting with G-sharp and moving up a tone (or two semitones), we arrive at A-sharp (A#).
G# + T = A# (G-sharp + Tone = A-sharp).
A# + T = C (A-sharp + Tone = C).
In the next step, we start with C and check the formula - now we need to add a semitone that will bring us to C sharp (C#):
C + S = C# (C + Semitone = C sharp).
If we continue in the same spirit, we will get the following:
C# + T = D# (C-sharp + Tone = D-sharp),
D# + T = F (D-sharp + Tone = F; remember that there is no such note as E-sharp),
F + T = G (Fa + Tone = Sol),
G + S = G# (G + Semitone = G-sharp).
Thus, we have constructed our G-sharp major scale, consistent with our major scale formula:
G# A# C C# D# F G (G-sharp, A-sharp, Do, C-sharp, D-sharp, F, Sol).
Most scales contain 7 notes, but this is not an exact rule. As an exception, the minor pentatonic scale contains only five notes (its formula is 3 2 2 3 2 - I use numbers here instead of T and S, because it omits the pair of tone and semitone, which together make 3 half notes and which together can be easily written as 3 instead of something like “T + 1/2″, but these notations mean the same thing). Some scales have more notes, for example the chromatic scale contains all 12 notes.
It is important to note that many guitarists use scale notation for the scale formula. For example, for the major scale it looks like this: 1-2-3-4-5-6-7, and for the Lydian mode it looks like this: 1-2-3-4#-5-6-7. The difference is only in the increased fourth stage. This is used to make it easier to work with the construction of modes, for example, if you know the fingering of the major scale, then you can easily build a Lydian mode by just raising the fourth degree of the major scale by a semitone.
Scales and fingerings
A scale is a group of notes with a certain interval between them - the way I described it above. These intervals determine which fingerings we should use to reproduce the desired scale.
Major scale fingering:
If you know the fingering of one major scale, you know how to play each major scale on the guitar with it. standard tuning. To play the C Major scale, start fingering it with C on the sixth string. To play the D Major scale (D Major), start your fingering with D. And so on.
The same applies to any other scales, if you know the fingering, then immediately start with any tonic that you need, and you will play the scale.
Fingerings were created to use scales in standard tuning. Scales are part musical theory because scales are just an idea until they're played, and the way we guitarists turn the theoretical scale into action is by applying fingerings that allow us to hit the notes we want.
Again, the fingering I gave you was designed specifically for standard tuning. If you lower the tuning and play the C major scale on this fingering, then it will not contain those notes that are included in the C major scale (Do - Re - Mi - Fa - Sol - La - Si).
The scale has not changed - the C major scale still contains the notes Do, Re, Mi, Fa, Sol, La, Si. However, once the guitar is tuned differently, you need to use new fingerings to play the correct scale notes - Do, Re, Mi, Fa, Sol, La, Si.
Thus, a scale is a combination of notes, feature which is to reproduce a certain character of the sound when playing. All the fingerings that you will learn in future articles are just convenient way play scales, this is a kind of template for building a scale from the note you need.
In the given fingering there are three notes per string. There can be four notes on a string (although this is difficult to play), two (used in the pentatonic scale), you can even play the entire scale on one string. All this variety of combinations gives us new fingerings.
Gamma and key
You learned that the key determines the tonic (the first step of the scale). Gamma and key are very closely related, but scale is not key. The name of the key depends on the scale - this is a bit misleading.
Key- the tonal center of the melody. Key indicates the chords and notes to which the melody gravitates. You can write a song where the melody starts on the C major scale and then briefly switches to the A flat major scale for just one or two bars, and then back to C again.
The fact that we have returned to C helps us to see this note as the tonal center or heart of the melody, the basis to which we invariably return. The base is the “key”, and in most cases, we start the melody with a scale that matches the key. In some cases, we will not deviate from the scale that corresponds to the key without changing the key of the music.
The change of tone is called modulation. In this case, we are changing the tonal center of the melody, and we will use a new scale (or set of scales) to which it will gravitate. The melody will be built in such a way that the new key will become its center, and the old key and the scales associated with it will remain only history until we make reverse modulation.
Thus key is the anchor for the melody, scale is the tool for creating the melody, and fingering is the tool for translating the scales onto the guitar fretboard.
The meaning of scales in music
IN musical terms, a scale is a palette of notes from which you can select the notes you need to build chords, solo melodies, accompaniments and everything else, in the hope of getting a good sound.
Look at it this way: before you become a poet, you need to master the Russian language. Scales are the language of music, and there are many ways to combine them with each other to create interesting compositions.
Not knowing scales is like trying to write a poem without using words. I admit that in some cases this will work, and the result will be wonderful, but the possibilities will expand significantly if you begin to adhere to the generally accepted means of expression, which are scales.
There are many types of scales. Think of them as an extension of your vocabulary and getting new original ways expressing your ideas.
Boxes
Let's get back to the appliqués for a moment. When studying fingerings, as a rule, the fretboard sequence is divided into "boxes". Boxing is just a group of notes on a scale that is easy to play without too much movement on the fretboard. Boxes are constructed by moving up from the bottom E string, and playing one scale note after another, starting at whatever note it is.
There is an important point regarding boxes/fingerings. It's that they stay the same no matter what key you play your scale in. If you are playing the C major scale using a specific box or fingering and you want to play the A major scale, all you have to do is move the fingering up the fretboard 2 frets. Why is that?
Let's figure it out. Do and A are separated by 2 semitones. If you move the box up the fretboard, none of the note intervals will change. So you play exactly the same formula, just using a different tonic. This means that you have to learn each fingering once, and you can use it for each of the 12 notes!
Tonic
A source of confusion for some people is the fact that for many fingerings, the note listed as the lowest is not the root note. If you have thought about it, then it is correct. Let's start with the G major scale. Our first box should start on the low E string, 3rd fret - which is the Sol. We add notes starting from this scale to build the scale:
G A B C D E F# G A B C D E F# G
(Sol, La, Si, Do, Re, Mi, F-sharp, Sol, La, Si, Do, Re, Mi, F-sharp, Sol).
To build the next box, we would have to move up one tone from G to the 5th fret, which is A. Now, from there we start building our range:
A B C D E F# G A B C D E F# G A
(La, Si, Do, Re, Mi, F-sharp, Sol, La, Si, Do, Re, Mi, F-sharp, Sol, La).
It takes 7 notes to get to our Sol tonic!
It's not difficult - you just have to understand which note is the tonic and where it is. However, it will more often happen that above or below the tonic there are no suitable notes that are part of the scale and suitable for playing (thus the game will start with the tonic).
The tonic is very important because it determines the scale you play (along with type, major, minor, etc.). Although there is no rule that says that you should always start the scale with the tonic. Think of a scale as a palette of notes from which you have to choose the right ones to play.
What scales should be taught?
Any scale you want! Scales are an important part of your creative arsenal. The more scales you know, the more ways you have to express yourself. Let's note some of them.
1. Minor pentatonic.
This is the first scale that most people learn. It is simple because it contains only five notes, and immediately opens huge opportunities for improvisation and blues/rock playing.
2. Major pentatonic.
This is a variation of the minor pentatonic scale, they are very similar.
3. Major scale.
One of the main scales in music.
4. Natural minor scale.
Together with the major scale, they form the basis of all music. In fact, the pentatonic scale is a minor scale, with only a few missing notes. So, wherever you use the minor scale, you can also use the pentatonic scale.
With the aforementioned scales you will play rock, and you will probably be able to play 95% of the music you are familiar with. You can be a very competent musician even if you stop at this stage. The following scales are more limited in use, and have more of a jazz sound. They will bring new flavors to your music.
5. Harmonic minor / melodic minor.
Two variations of the minor scale that sound special, especially the harmonic minor.
6. Major and minor modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian).
Natural scales are actually variations of the major scale, which are built according to special rules. Depending on the scale you use, they will give different shades to the music. Major natural frets great to learn after you have fully mastered the scales mentioned above.
By the time you've mastered the major scales and other scales, you'll be an accomplished musician with a wide range of possibilities.
7. Exotic scales.
There are hundreds of exotic scales, many of which are used in certain types of folk music.
Each type of scale will be given special attention in other articles. At this stage, you should only understand why we use them and why they are so important.
