Appendix
Appendix: Scale Reference
Scale Construction Table
The table below shows the scale tones and structure for every scale covered in this book. Alternative names are shown in parentheses. Tonal numbers reflect the note’s position in relation to the tones of the major scale. The letter “w” stands for an interval of a “whole step” (two frets) and the letter “h” stands for an interval of a “half step” (one fret).
| Scale name | Tones | Structure |
|---|---|---|
| major | 1 2 3 4 5 6 7 | w, w, h, w, w, w, h |
| natural minor | 1 2 ♭3 4 5 ♭6 ♭7 | w, h, w, w, h, w, w |
| major pentatonic | 1 2 3 5 6 | w, w, w+h, w, w+h |
| minor pentatonic | 1 ♭3 4 5 ♭7 | w+h, w, w, w+h, w |
| blues | 1 ♭3 4 ♭5 5 ♭7 | w+h, w, h, h, w+h, w |
| major blues | 1 2 ♭3 3 4 ♭5 5 6 ♭7 | w, h, h, h, h, h, w, h, w |
| minor blues | 1 2 ♭3 4 ♭5 5 ♭6 ♭7 | w, h, w, h, h, h, w, w |
| Ionian mode (major) | 1 2 3 4 5 6 7 | w, w, h, w, w, w, h |
| Dorian mode | 1 2 ♭3 4 5 6 ♭7 | w, h, w, w, w, h, w |
| Phrygian mode | 1 ♭2 ♭3 4 5 ♭6 ♭7 | h, w, w, w, h, w, w |
| Lydian mode | 1 2 3 ♯4 5 6 7 | w, w, w, h, w, w, h |
| Mixolydian mode | 1 2 3 4 5 6 ♭7 | w, w, h, w, w, h, w |
| Aeolian mode (nat. minor) | 1 2 ♭3 4 5 ♭6 ♭7 | w, h, w, w, h, w, w |
| Locrian mode | 1 ♭2 ♭3 4 ♭5 ♭6 ♭7 | h, w, w, h, w, w, w |
| harmonic minor (Mohammedan) | 1 2 ♭3 4 5 ♭6 7 | w, h, w, w, h, w+h, h |
| Phrygian-dominant (major Phrygian, Spanish-flamenco) | 1 ♭2 3 4 5 ♭6 ♭7 | h, w+h, h, w, h, w, w |
| Jazz melodic minor | 1 2 ♭3 4 5 6 7 | w, h, w, w, w, w, h |
| Dorian ♭2 | 1 ♭2 ♭3 4 5 6 ♭7 | h, w, w, w, w, h, w |
| Lydian augmented | 1 2 3 ♯4 ♯5 6 7 | w, w, w, w, h, w, h |
| Lydian ♭7 (overtone) | 1 2 3 ♯4 5 6 ♭7 | w, w, w, h, w, h, w |
| Mixolydian ♭13 (Hindu) | 1 2 3 4 5 ♭6 ♭7 | w, w, h, w, h, w, w |
| Locrian ♯2 | 1 2 ♭3 4 ♭5 ♭6 ♭7 | w, h, w, h, w, w, w |
| super Locrian (altered) | 1 ♭2 ♭3 ♭4 ♭5 ♭6 ♭7 | h, w, h, w, w, w, w |
| chromatic | 1 ♭2 2 ♭3 3 4 ♭5 5 ♭6 6 ♭7 7 | h × 12 |
| whole tone | 1 2 3 ♯4 ♯5 ♯6 | w, w, w, w, w, w |
| whole half diminished | 1 2 ♭3 4 ♭5 ♭6 6 7 | w, h, w, h, w, h, w, h |
| half whole diminished | 1 ♭2 ♭3 ♭4 ♭5 5 6 ♭7 | h, w, h, w, h, w, h, w |
| enigmatic | 1 ♭2 3 ♯4 ♯5 ♯6 7 | h, w+h, w, w, w, h, h |
| double harmonic (gypsy, Byzantine) | 1 ♭2 3 4 5 ♭6 7 | h, w+h, h, w, h, w+h, h |
| Hungarian minor | 1 2 ♭3 ♯4 5 ♭6 7 | w, h, w+h, h, h, w+h, h |
| Persian | 1 ♭2 3 4 ♭5 ♭6 7 | h, w+h, h, h, w, w+h, h |
| Arabian (major Locrian) | 1 2 3 4 ♭5 ♭6 ♭7 | w, w, h, h, w, w, w |
| Japanese | 1 ♭2 4 5 ♭6 | h, w+w, w, h, w+w |
| Egyptian | 1 2 4 5 ♭7 | w, w+h, w, w+h, w |
| Hirajoshi | 1 2 ♭3 5 ♭6 | w, h, w+w, h, w+w |
Note Names on the Neck
The vertical lines below represent the guitar strings, and the horizontal lines represent the frets. The low E string is on the left; the high E string on the right. The frets between the labeled notes are named with either a sharp of the note right below it (in terms of pitch), or a flat of the note right above it.
To play a particular scale in a different key than is shown in this book, simply find the appropriate root you wish to use on the diagram below. Then shift that scale's set of patterns up or down the neck placing the root symbol in the scale pattern on the new root note position. Play the same shape in the new position.
