Scale Diagrams

The follow scale diagrams are moveable to various location on the neck of the guitar. In each scale diagram you'll see notes that are surrounded by parenthesis (). These notes are the ROOT of the scale. Here's an example using the first diagram. 


 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o_o_|_o
(o)o_|_|_o(o) <-- 3rd fret
 |_|_o_o_|_|
 o_o(o)o_o_o
 |_|_|_|_|_|

  G major
The above diagram shows a ROOT on strings 6, 4 and 1. When played as shown these notes are all letter G (in three different octaves). The diagram in total shows a G major scale. If you need a major scale in a different key you can move the pattern to a different location on the neck. For example if you need a Bb major scale you move the ROOT to a Bb note (string 6 or 1, fret 6). 


 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o_o_|_o
(o)o_|_|_o(o) <-- 6th fret
 |_|_o_o_|_|
 o_o(o)o_o_o
 |_|_|_|_|_|

  Bb major
So if you know where the notes on the neck are, you can move the scale patterns around the neck and find any major scale.

Do you know the name of the notes on the fretboard?

Guitar is an interesting instrument in so many respects. One thing that has always facinated me is that some players become very skilled without "knowing what they're doing". That is they play beautiful music but they don't know the names of the notes they are playing and don't recognize the scales that they play. Still they makes great sounds. If you don't know the names of these beautiful sounds on the instruments you should memorize this chart.

Here's the basic premise with regard to the Music Alphabet system. It's a system that evolved over time and it contains some quirks that might have been eliminated had we known how music harmony was going to evolve.

In Music the alphabet goes from A to G (then it cycles back to A). There are several different versions of each letter in higher or lower octaves.

It's a good idea to memorize the names of the open strings. Below is a typical guitar diagram with a vertical orientation for the strings. It's as if you are looking a part of the neck of a guitar that's hanging on a wall. 

 6 5 4 3 2 1 
 E A D G B E
 ___________
 |_|_|_|_|_|
 |_|_|_|_|_| 
 |_|_|_|_|_|
 |_|_|_|_|_|
Here's where things are a little funny

The distance between each letter is NOT the same. In music, we use HALF steps and WHOLE steps as fundamental measuring units. Sort of like a carpenter uses inches and feet (centimeters and meters?). On the guitar a HALF step = ONE fret and a WHOLE step = two frets. Most of the letter names in the musical alphabet are a whole step apart (two frets). The two exceptions are B-C and E-F which are both a half step apart. Why? You'll have to channel some spirit from the middle ages for the answer. As Bruce Hornsby says, "That's just the way it is".

So here's what we have so far 

A-B  whole step
B-C  half step
C-D  whole step
D-E  whole step
E-F  half  step
F-G  whole step
G-A  whole step

A-B  whole step (next octave)
etc.
Taking the first string (E) as a starting point, we can find the next letter higher (F) using the fact that E-F is a half apart. (one of the two places in the musical alphabet that are half step apart not a whole step) So the letter F is located at the 1st fret. The next letter is G, a whole step (two frets) higher, putting that note at the 3rd fret. 
 6 5 4 3 2 1 
 E A D G B E
 __________o  E
 |_|_|_|_|_o  F
 |_|_|_|_|_|
 |_|_|_|_|_o  G
 |_|_|_|_|_|
Looking at the big picture, there's a total of 12 half steps per octave. But we only have 7 names so far. What are the other 5 notes named?

Here's where notes take on multiple personalities.

Each letter name can be "sharped" or raised a half step (one fret) using the sharp symbol ("#"). Notice we yet haven't given the 2nd fret a name. Using the F as a reference we can sharp that note. If you sharp the note, now it is referred to as "F#" and it is located on string 1 fret 2. 
 6 5 4 3 2 1 
 E A D G B E
 ___________
 |_|_|_|_|_o  F
 |_|_|_|_|_o  F#
 |_|_|_|_|_|
 |_|_|_|_|_|

 6 5 4 3 2 1 
 E A D G B E
 ___________
 |_|_|_|_|_o  F (and E#)
 |_|_|_|_|_o  F#
 |_|_|_|_|_|
 |_|_|_|_|_|
The "multiple personalities" shows up in many ways, here's an example. We can sharp any letter name, let's start with the open first string E, and sharp that note. It's now called E# (E sharp) and it is located at string 1 feet 1, the same place that is also called F. Yes F and E# are the same sound. The name of E# is much less common, but it is a legitimate note and in some contexts it is the correct name for that sound. This isn't the place to explain the details, check out the Music Fundamental book at Guitarland for the rest of the story. The bottom line is that each sound has more than one name. This normal in music, however usually only one of the names at a time is used.

In addition to sharps, there are "flats" whose symbol is "b". Flats have the opposite effect as sharps, flats lower a note by a half step (1 fret). Now multiple personalities are in full effect. If you "flat" a G on string 1 fret 3, the resulting note, referred to as "Gb", is on string 1 fret 2, the same location as F#. Yes, F# and Gb sound the same. Some violinists might argue the point but on guitar and piano this is true. 

 6 5 4 3 2 1 
 E A D G B E
 ___________
 |_|_|_|_|_| 
 |_|_|_|_|_o  F# and Gb
 |_|_|_|_|_|
 |_|_|_|_|_|

So we finally end up with 12 notes per octave and 21 names (our 7 original music alphabet letter names, plus a sharp and flat version of each letter) spread out over the 12 sounds. It's kind of strange when you think about. I'm not even gonna mention double sharps and double flats. ...Oops.

Here's a 12 fret map of the both the natural and chromatic notes. 
  6      5      4      3      2      1
 E/Fb    A      D      G    B/Cb    E/Fb <- open
 ______________________________________
  |      |      |      |      |      |
  F      |      |      |      C      F  1
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  |      B      E      A      |      |  2
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  G      C      F      |      D      G  3
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  |      |      |      B      |      |  4
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  A      D      G      C      E      A  5
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  |      |      |      |      F      |  6
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  B      E      E      D      |      B  7
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  C      F      |      |      G      C  8
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  |      |      B      E      |      |  9
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  D      G      C      F      A      D 10
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  |      |      |      |      |      | 11
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  E      A      D      G      B      E 12
  |      |      |      |      |      |
 _____________________________________

  6      5      4      3      2      1
 E/Fb    A      D      G    B/Cb    E/Fb <- open
 ______________________________________
  |      |      |      |      |      |
 F/E#  A#/Bb  D#/Eb  G#/Ab   C/B#   F/E#  1
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
F#/Gb   B/Cb   E/Fb    A    C#/Db  F#/Gb  2
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  G     C/B#   F/E#  Bb/A#    D      G    3
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
G#/Ab  C#/Db  F#/Gb   B/Cb  D#/Eb  G#/Ab  4
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  A      D      G     C/B#   E/Fb    A    5
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
 A#/Bb  D#/Eb  G#/Ab  C#/Db  F/E#  A#/Bb  6
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
 B/Cb   E/Fb    A      D    F#/Gb   B/Cb  7
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
 C/B#   F/E#  A#/Bb  D#/Eb    G     C/B#  8
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
C#/Db  F#/Gb   B/Cb   E/Fb  G#/Ab  C#/Db  9
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
  D      G     C/B#   F/E#    A      D   10
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
 D#/Eb  G#/Ab  C#/Db  F#/Gb A#/Bb  D#/Eb 11
  |      |      |      |      |      |
 _____________________________________
  |      |      |      |      |      |
 E/Fb    A      D      G    B/Cb    E/Fb 12
  |      |      |      |      |      |
 _____________________________________

Now you can use the scale forms presented here in any key that is needed. Just move the note in parenthesis to the place on the neck that gives you the desired letter name for the key you are in.

Moveable Major Scales

Major Scales



 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o_o_|_o
(o)o_|_|_o(o)
 |_|_o_o_|_|
 o_o(o)o_o_o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o_o_|_|
 o(o)o_|_o_o
 |_|_|_o_|_|
 o_o_o(o)o_o
 |_|_|_|_o_|





 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_|_o_o_|_|
 o_o(o)o_o_o
 |_|_|_|_|_|
 o_o_o_o_o_o
 o_|_|_|(o)o




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o_o_o(o)o_o
 |_|_|_|_o_|
 o_o_o_o_|_o
(o)o_|_|_o(o)
 |_|_o_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o_o_o_o_o_o
 o_|_|_|(o)o
 |_o_o_o_|_|
 o(o)o_|_o_o
 |_|_|_|_|_|

Moveable Natural Minor Scales

Natural Minor Scales



 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o(o)o_|_o
 o_o_|_|_o_o
 |_|_o_o_|_|
 o_o_o_o(o)o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o(o)|_|
 o_o_o_|_o_o
 |_|_|_o_|_|
(o)o_o_o_o(o)
 |_|_|_|_o_|





 6 5 4 3 2 1 
 ___________
 |_|_o_o_|_|
 o_o_o_o(o)o
 |_|_|_|_|_|
 o(o)o_o_o_o
 o_|_|_|_o_o
 |_|_|_|_|_|




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
(o)o_o_o_o(o)
 |_|_|_|_o_|
 o_o(o)o_|_o
 o_o_|_|_o_o
 |_|_o_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o(o)o_o_o_o
 o_|_|_|_o_o
 |_o_o(o)|_|
 o_o_o_|_o_o
 |_|_|_|_|_|

Moveable Harmonic Minor Scales

Harmonic Minor Scales



 6 5 4 3 2 1 
 ___________
 |_|_o_|_|_|
 o_o(o)o_|_o
 o_o_|_|_|_o
 |_|_o_o_o_|
 o_|_o_o(o)o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o(o)|_|
 |_o_o_|_o_|
 o_|_|_o_|_o
(o)o_|_o_o(o)
 |_|_o_|_o_|





 6 5 4 3 2 1 
 ___________
 |_|_o_o_o_|
 o_|_o_o(o)o
 |_o_|_|_|_|
 o(o)o_|_o_o
 o_|_|_|_o_o
 |_|_|_|_|_|




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_|_|_o_|_o
(o)o_|_o_o(o)
 |_|_o_|_o_|
 o_o(o)o_|_o
 o_o_|_|_|_o




 6 5 4 3 2 1 
 ___________
 |_o_|_|_|_|
 o(o)o_|_o_o
 o_|_|_o_o_o
 |_o_o(o)|_|
 |_o_o_|_o_|
 |_|_|_|_|_|

Moveable Melodic Minor Scales

Melodic Minor Scales



 6 5 4 3 2 1 
 ___________
 |_|_o_|_|_|
 o_o(o)o_o_o
 o_|_|_|_|_o
 |_o_o_o_o_|
 o_|_o_|(o)o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o(o)|_o
 |_o_|_|_o_|
 o_|_o_o_|_o
(o)o_|_o_o(o)
 |_|_o_|_|_|





 6 5 4 3 2 1 
 ___________
 |_o_o_o_o_|
 o_|_o_|(o)o
 |_o_|_o_|_|
 o(o)o_|_o_o
 |_|_|_|_o_|
 |_|_|_|_|_|




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_|_o_o_|_o
(o)o_|_o_o(o)
 |_|_o_|_|_|
 o_o(o)o_o_o
 o_|_|_|_|_o




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o(o)o_|_o_o
 |_|_|_o_o_|
 o_o_o(o)|_o
 |_o_|_|_o_|
 o_|_o_|_|_o

Moveable Dorian Scales

Dorian Mode (Scale)



 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o_o(o)o_o_o
 o_|_|_|_o_o
 |_o_o_o_|_|
 o_o_o_|(o)o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o(o)|_o
 o_o_|_|_o_o
 |_|_o_o_|_|
(o)o_o_o_o(o)
 |_|_|_|_|_|





 6 5 4 3 2 1 
 ___________
 |_o_o_o_|_|
 o_o_o_|(o)o
 |_|_|_o_|_|
 o(o)o_o_o_o
 |_|_|_|_o_|
 |_|_|_|_|_|




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_|_o_o_|_|
(o)o_o_o_o(o)
 |_|_|_|_|_|
 o_o(o)o_o_o
 o_|_|_|_o_o




 6 5 4 3 2 1 
 ___________
 |_|_|_o_|_|
 o(o)o_o_o_o
 |_|_|_|_o_|
 o_o_o(o)|_o
 o_o_|_|_o_o
 |_|_|_|_|_|

Moveable Mixolydian Scales

Mixolydian Mode (Scales)



 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o_o_o_|_|
(o)o_o_|_o(o)
 |_|_|_o_|_|
 o_o(o)o_o_o
 |_|_|_|_o_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_|_o_o_|_|
 o(o)o_o_o_o
 |_|_|_|_|_|
 o_o_o(o)o_o
 o_|_|_|_o_|





 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_|_|_o_|_|
 o_o(o)o_o_o
 |_|_|_|_o_|
 o_o_o_o_|_o
 o_o_|_|(o)o




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o_o_o(o)o_o
 o_|_|_|_o_o
 |_o_o_o_|_|
(o)o_o_|_o(o)
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o_o_o_o_|_o
 o_o_|_|(o)o
 |_|_o_o_|_|
 o(o)o_o_o_o
 |_|_|_|_|_|

Moveable Minor Blues Scales

Blues Scale



 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 |_o(o)o_|_|
 o_|_|_o_o_o
 |_|_|_o_|_|
 o_o_o_|(o)o
 o_|_|_|_|_o




 6 5 4 3 2 1 
 ___________
 |_|_o_|_|_|
 |_|_o(o)|_|
 o_o_|_|_o_o
 |_|_|_|_o_|
(o)o_o_o_o(o)
 |_|_|_|_|_|





 6 5 4 3 2 1 
 ___________
 |_|_|_o_|_|
 |_|_|_o_|_|
 o_o_o_|(o)o
 o_|_|_|_|_o
 o(o)o_o_|_o
 |_|_|_|_o_|




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
(o)o_o_o_o(o)
 |_o_|_|_|_|
 |_o(o)o_|_|
 o_|_|_o_o_o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_o
 o(o)o_o_|_o
 |_|_o_|_o_|
 |_|_o(o)|_|
 o_o_|_|_o_o
 |_|_|_|_|_|

Moveable Major Blues Scales

Major Blues Scales



 6 5 4 3 2 1 
 ___________
 |_o_|_|_|_|
 |_o_o_o_|_|
(o)|_|_o_o(o)
 |_|_|_o_|_|
 o_o(o)|_o_o
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_o_|_|_|
 |_|_o_o_|_|
 o(o)|_|_o_o
 |_|_|_|_o_|
 o_o_o(o)o_o
 |_|_|_|_|_|





 6 5 4 3 2 1 
 ___________
 |_|_|_o_|_|
 |_|_|_o_|_|
 o_o(o)|_o_o
 o_|_|_|_|_o
 o_o_o_o_|_o
 |_|_|_|(o)|




     
 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_|
 o_o_o(o)o_o
 |_o_|_|_|_|
 |_o_o_o_|_|
(o)|_|_o_o(o)
 |_|_|_|_|_|




 6 5 4 3 2 1 
 ___________
 |_|_|_|_|_o
 o_o_o_o_|_o
 |_|_o_|(o)|
 |_|_o_o_|_|
 o(o)|_|_o_o
 |_|_|_|_|_|