Part II: The Major Scale, Natural Minor, and Modes

Natural Minor

The natural minor scale is the counterpart to the major scale—often considered its polar “opposite.” This dark, sad-sounding scale is at home in metal, rock, pop, and folk styles. It is a seven-tone (diatonic) scale with a minor 3rd, minor 6th, and minor 7th. The notes, tones, and intervallic structure are shown below, based on E.

E natural minor, patterns 1 – 5

The natural minor scale has five different “positional” patterns on the neck. These contain and correspond to the minor pentatonic boxes (page 10). This makes learning the natural minor scale somewhat easier because you are just adding on to patterns previously learned. Below, the pentatonic boxes are shown in solid dots with added tones 2 and ♭6 shown in grey dots. Taken together, they form the full diatonic natural minor scale.

Fingering: Pattern 1 is in open (first) position. Pattern 2 is in second position. Pattern 3 is in fifth position (fourth for strings 3 and 4). Pattern 4 is in seventh position. Pattern 5 is in ninth position (tenth for strings 1 and 2).

Here is the entire neck for E natural minor. The “omit B, string 3” reference on lower pattern 1 tells you that one note which is unavoidably included in the bracketed area should be skipped. The higher pattern 1 begins at the eleventh fret, and so, does not need this indication.

Pause the scale from time to time and play the Em anchor chords. This way, your ear will be sure to hear E as the root.

Other tonalities

Below are full neck patterns for A minor and C minor, along with the appropriate “anchor” chords. Play the chords and patterns for each tonality.

For other keys, simply slide the nearest pattern up or down the neck, placing the circled root locations at the appropriate fret. (See page 63 for note names on the neck, if necessary.)

E natural minor, three notes per string

For faster scale runs, three-note-per-string scale patterns are useful. There are seven different three-note-per-string patterns—one beginning on each tone of the scale. (Pattern 1 is shown at the octave position, below, as well.) These are excellent patterns for sequencing practice, and are very effective for building up your speed and picking technique.

Consistent alternate picking is recommended, beginning with a downstroke. For example, when playing any of these patterns, string 6 will always be ‘down-up-down’ followed by ‘up-down-up’ on string 5. Repeat this approach on strings 4 and 3, then again on strings 2 and 1.

Fingering: When the notes span five frets on a string, use fingering 1–2–4 (or 1–3–4). Also, allow your position to change fluidly as needed through each pattern. For example, pattern 3 begins in third position (strings 5 and 6), changes to fourth position (strings 3 and 4), and changes again to fifth position (strings 1 and 2).

Other tonalities, three notes per string

Below are the three-note-per-string patterns for A and C natural minor. In each case, pattern 1 begins on the root on the sixth string, and the sequence of the patterns remains the same.

For other keys, simply slide the patterns up or down the neck. (See page 63 for note names on the neck.)

Major

The major scale is fundamental to Western music and appears in a variety of styles including pop, jazz, folk, and to a lesser extent, rock. It is bright and happy-sounding. Here are the notes, tones, and intervallic structure of this seven-tone (diatonic) scale, based on G.

G major, patterns 1 – 5

The major scale has five distinct “positional” patterns on the neck. Since the major scale contains all the tones of major pentatonic (page 18), the pentatonic boxes appear within these major patterns. This makes learning the major scale somewhat easier because you are simply adding to patterns previously learned. Below, the major pentatonic boxes are shown in solid dots with added tones 4 and 7 shown in grey dots. Taken together, they form the diatonic major scale.

Fingering: Pattern 1 is in second position. Pattern 2 is in fifth position (fourth on strings 3 and 4). Pattern 3 is in seventh position. Pattern 4 is in ninth position (tenth on strings 1 and 2). Pattern 5 is in twelfth position (eleventh on string 3).

The astute guitarist will recognize that these patterns are the same as E minor (page 26). Only the roots and anchor chords are different—but this is a critical difference which changes how the ear hears the scale.

It is therefore wise to practice G major as its own set of patterns, to see it properly “attached” to its major anchors. Since you are familiar with the shapes already, learning them as G major should go quickly!

• Pause the scale now and then to play the G chords. This way, your ear will be sure to hear G as the root. Also, try shifting between playing just the solid pentatonic dots and the full diatonic patterns. This makes for a great exercise!

Other tonalities

Below are full neck patterns for E and C major, along with the appropriate “anchor” chords. Play the chords and patterns for each tonality.

For other keys, simply slide the nearest pattern up or down the neck. (See page 63 for note names on the neck, if necessary.)

G major, three notes per string

For faster scale runs, three-note-per-string scale patterns are useful. There are seven different three-note-per-string patterns—one beginning on each tone of the scale. Once again, these are the same patterns you learned as E natural minor (page 28). Here, however, we will anchor them to G roots and G major chords.

• Consistent alternate picking is recommended, beginning with a downstroke. For example, when playing any of these patterns, string 6 will always be ‘down-up-down’ followed by ‘up-down-up’ on string 5. Repeat this approach on strings 4 and 3, then again on strings 2 and 1.

Fingering: Same as natural minor three-note-per-string patterns (see page 28).

Other tonalities, three notes per string

Below are the three-note-per-string patterns for E and C major. Number 1 begins on the root on string 6 and the sequence of the patterns always remains the same.

For other keys, simply slide the patterns up or down the neck. (See page 63 for note names on the neck.)

Creating Modes

Modes are created when the root note of a “parent” scale is displaced. For example, let’s take C major. Played from C to C, this is simply the C major scale itself. In modal terms, this is the first mode of C major. Next use the same notes, but this time play them from D to D—making the second note of the scale (D) to be the root—and you have the second mode of C major. Play from E to E and you have the third mode of C major, and so on. There are seven different notes in the scale, so there are a total of seven different modes.

Modal names

The seven different modes of the major scale are named with the following Greek names. Notice how each mode of C major is completely contained within the same overall C major pattern 1.

The Ionian mode is the modal name for the major scale itself. The Aeolian mode is the modal name for the natural minor scale.

Each mode may be viewed as a scale in its own right. Below are the modes derived from the G major parent scale, shown in full, two-octave shapes.

Look for a G major barre chord within the G Ionian pattern, an A minor chord within the A Dorian pattern, a B minor chord within the B Phrygian pattern, a C major chord within the C Lydian pattern, a D major chord within the D Mixolydian pattern, an E minor chord within the E Aeolian patter, and an F♯ diminished chord within the F♯ Locrian pattern.

All modes derived from any parent scale (a modal family) are said to be related—this means that they share the same notes. It is important to realize that it is the placement of the roots which cause each pattern to be a particular mode. Delete the root information above and all of the patterns can be G major. They also could all be A Dorian, B Phrygian, C Lydian, D Mixolydian, E Aeolian, or F♯ Locrian.

On the following pages, the modes (other than Ionian and Aeolian) are each covered as scales in their own right, over the entire fretboard.

Dorian

The Dorian mode is a natural minor scale with a raised (major) sixth step, making it a distinctly minor type of scale with a moment of brightness. It is common in rock and pop styles. The notes, tones, and intervallic structure are shown below, based on E.

E Dorian, patterns 1 – 5

The Dorian mode has five different “positional” patterns on the neck. These contain and correspond to the minor pentatonic boxes (page 10). Below, the pentatonic boxes are shown in solid dots with added tones 2 and 6 shown in grey dots. Taken together, they form the full diatonic Dorian mode.

Fingering

Pattern 1 is in open (first) position. Pattern 2 is in second position. Pattern 3 is in fourth position (fifth for strings 1 and 2). Pattern 4 is in seventh position (stretch back a fret on string 3). Pattern 5 is in ninth position (tenth for strings 1 and 2).

The astute guitarist may notice that E Dorian uses the patterns of D major/B minor (but with roots on E). Nevertheless, it is best to learn each mode as a scale in its own right, with its parallel, “superimposed” pentatonic and anchor chords. This will also allow for quick and easy parallel modality changes—for example, changing between E natural minor and E Dorian “on the fly” during a guitar solo—using a relative pattern will not.

Other Tonalities

Here is the A Dorian mode along with the associated Am anchor chords. Shift it into other keys as well.

Three notes per string

You should already know the diatonic three-note-per-string patterns and sequence (pages 28 and 32), so all you really need here is the correct starting point. The shape shown on page 32 as “pattern 2” becomes pattern 1 for Dorian. Shift it to start on the sixth string root. In this case, to play G Dorian, we’ll start with this pattern on G at the third fret and continue from there.

continue with page 32 patterns 5, 6, 7, and 1 as 4, 5, 6, and 7 (down two frets)...

Phrygian

The Phrygian mode is a natural minor scale with a flatted (minor) second step, which adds a distinctly Spanish flavor. It is common in metal and alternative rock. The notes, tones, and intervallic structure are shown below, based on E.

E Phrygian, patterns 1 – 5

The five positional patterns of the Phrygian mode are shown below. The pentatonic boxes contained within the patterns are shown in solid dots with added tones ♭2 and ♭6 shown in grey dots. Taken together, they form the full diatonic Phrygian mode.

Fingering: Pattern 1 is in open (first) position. Pattern 2 is in second position (third for strings 1 and 2). Pattern 3 is in fifth position (stretch back a fret on string 3). Pattern 4 is in seventh position. Pattern 5 is in tenth position (ninth for strings 3 and 4).

The astute guitarist may notice that E Phrygian uses the patterns of C major/A minor (but with roots on E). Nevertheless, it is best to learn each mode as a scale in its own right, with its parallel, “superimposed” pentatonic and anchor chords. This will also allow for quick and easy parallel modality changes—for example, changing between E natural minor and E Phrygian “on the fly” during a guitar solo—using a relative pattern will not.

Other Tonalities

Here is the A Phrygian mode along with Am anchor chords. Shift this into other keys as well.

Three notes per string

You should already know the diatonic three-note-per-string patterns and sequence (pages 28 and 32), so all you really need here is the correct starting point. The shape shown on page 32 as “pattern 3” becomes pattern 1 for Phrygian. Shift it to the sixth string root. In this case, to play G Phrygian, we’ll start with this pattern on G at the third fret and continue from there.

continue with page 32 patterns 6, 7, 1, and 2 as 4, 5, 6, and 7 (down four frets)...

Lydian

The Lydian mode is a major scale with a raised (augmented) fourth step, which gives it an odd, mysterious quality. The notes, tones, and intervallic structure are shown below, based on G.

G Lydian, patterns 1 – 5

The Lydian mode has five different “positional” patterns on the neck. These contain and correspond to the major pentatonic boxes (page 18). Below, the pentatonic boxes are shown in solid dots with added tones ♯4 and 7 shown in grey dots. Taken together, they form the full diatonic Lydian mode.

Fingering: Pattern 1 is in second position. Pattern 2 is in fourth position (fifth for strings 1 and 2). Pattern 3 is in seventh position (stretch back a fret for string 3). Pattern 4 is in ninth position. Pattern 5 is in twelfth position (eleventh for strings 3 and 4).

The astute guitarist may notice that G Lydian uses the patterns of D major/B minor (as well as those of E Dorian shown on page 36), simply with displaced roots. However, it is best to learn each mode as a scale in its own right, with its “superimposed” pentatonic and proper anchor chords. This will also allow for quick and easy parallel modality changes “on the fly” during a guitar solo—using a relative pattern will not.

Other Tonalities

Here is the C Lydian mode with its associated anchor chords. Shift into other keys as well.

Three notes per string

You should already know the diatonic three-note-per-string patterns and sequence (pages 28 and 32), so all you really need here is the correct starting point. The shape shown on page 32 as “pattern 4” becomes pattern 1 for Lydian. Shift it to the sixth string root. In this case, to play E Lydian, we’ll start with this pattern on open E and continue from there.

continue with page 32 patterns 7, 1, 2, and 3 as 4, 5, 6, and 7 (down eight frets, or up four)...

Mixolydian

The Mixolydian mode is a major scale with a flatted (minor) seventh step. This is common in rock and pop styles, where it is often used as a major-sounding mode in place of the major scale. It contains the tones of the dominant seventh chord. The notes, tones, and intervallic structure are shown below, based on G.

G Mixolydian, patterns 1 – 5

The Mixolydian mode has five different “positional” patterns on the neck. These contain and correspond to the major pentatonic boxes (page 18). Below, the pentatonic boxes are shown in solid dots with added tones 4 and ♭7 shown in grey dots. Taken together, they form the full diatonic Mixolydian mode.

Fingering: Pattern 1 is in second position (third for strings 1 and 2). Pattern 2 is in fifth position (stretch back a fret for string 3). Pattern 3 is in seventh position. Pattern 4 is in tenth position (ninth for strings 3 and 4). Pattern 5 is in twelfth position.

The astute guitarist may notice that G Mixolydian uses the patterns of C major/A minor, simply with displaced roots. However, it is best to learn each mode as a scale in its own right, with its “superimposed” pentatonic and proper anchor chords. This will also allow for quick and easy parallel modality changes “on the fly” during a guitar solo—using a relative pattern will not.

Other Tonalities

Here is the C Mixolydian mode with its associated anchor chords. Shift into other keys as well.

Three notes per string

You should already know the diatonic three-note-per-string patterns and sequence (pages 28 and 32), so all you really need here is the correct starting point. The shape shown on page 32 as “pattern 5” becomes pattern 1 for Mixolydian. Shift it to the sixth string root. In this case, to play E Mixolydian, start with this pattern on open E and continue from there.

continue with page 32 patterns 1, 2, 3, and 4 as 4, 5, 6, and 7 (up two frets)…

Locrian

The Locrian mode is like the Phrygian mode with a flatted (diminished) fifth step. It is common in the heaviest forms of modern metal. It contains the tones of the diminished (and minor seven flat five) chord. The notes, tones, and intervallic structure are shown below, based on E.

E Locrian, patterns 1 – 5

The five positional patterns of the Locrian mode are shown below. The pentatonic boxes must be altered to form a “pentatonic ♭5” scale to conform to the Locrian mode’s diminished fifths. This is shown in solid dots with added tones ♭2 and ♭6 shown in grey dots. Taken together, they form the full diatonic Locrian mode.

Fingering: Pattern 1 is in open (first) position. Pattern 2 is in third position (second for strings 3 and 4). Pattern 3 is in fifth position. Pattern 4 is in seventh position (eighth for strings 1 and 2). Pattern 5 is in tenth position (stretch back a fret for string 3).

The astute guitarist may notice that E Locrian uses the patterns of F major/D minor (but with roots on E). Nevertheless, it is best to learn each mode as a scale in its own right, with the “superimposed” pentatonic and anchor chords.

The anchor chords shown are m7♭5 types.

* Pattern is incomplete; include B♭ either on string 2, fret 23, or string 1, fret 18.

Other tonalities

Here is the A Locrian mode along with Am anchor chords. Shift this into other keys as well.

Three notes per string

You should already know the diatonic three-note-per-string patterns and sequence (pages 28 and 32), so all you really need here is the correct starting point. The shape shown on page 32 as “pattern 7” becomes pattern 1 for Locrian. Shift it to the sixth string root. In this case, to play G Locrian, start with this pattern on G at the third fret and continue from there.

G Locrian

continue with page 32 patterns 3, 4, 5, and 6 as 4, 5, 6, and 7 (up one fret)...