# Memorizing full fretboard scales?



## MajorJohnson931 (Jan 3, 2010)

how do you all go about memorizing scales? do you look at them as patterns, or do you memorize what notes are sharp/flat on the fretboard? i'm trying to look for the fastest method of memorizing any particular scale all over the fretboard, so i was wonderin what you all do yourself.


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## Hollowway (Jan 3, 2010)

I don't know if this is the best way to do it or not, but I just memorized the major scale in the main modes. i.e. If I'm in G major I can do the typical G major scale (ionian) at the 3rd fret. And then I can move up to the the 5th fret and play A Dorian, which is basically just the G scale, starting on the A at the 5th fret (on a 6 string, that is). And since the G major scale is the same as the Em scale, I've pretty much got all the major and minor keys covered. 
So really it's just a few patterns, and then you have to be aware of what key you're in, and then you can just shift the entire group of patterns to that key. Check out this sites for the patterns.
http://www.guitaristhelp.net/Scales_maj_min_modes_2.gif

And then, if you're like me, the modes will open a Pandora's Box of wonderment and confusion. So watch out for the Cenobites and read up on how to apply modes outside of transferring the scales around the neck:

http://www.insaneguitar.com/col/guest/JRS-1.html


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## Mr. Big Noodles (Jan 3, 2010)

I think of scales as intervallic patterns. For example, a major scale consists of its tonic, a major second, major third, perfect fourth, perfect fifth, major sixth, and a major seventh. 

A lydian dominant scale, to mix it up a little, consists of its tonic, a major second, major third, augmented fourth, perfect fifth, major sixth, and a minor seventh.

Learning intervals is far more useful than memorizing notes and scales, in my opinion, because it eventually leads back to that with a greater understanding of the components of the music.

Knowing modal relationships helps, too. I'd much rather play an A phrygian pattern than F major while I'm improvising, simply because playing at the first fret sucks, and playing in the position of the tonic mechanically causes me to emphasize the tonic note, which is boring.


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## MajorJohnson931 (Jan 3, 2010)

Hollowway said:


> I don't know if this is the best way to do it or not, but I just memorized the major scale in the main modes. i.e. If I'm in G major I can do the typical G major scale (ionian) at the 3rd fret. And then I can move up to the the 5th fret and play A Dorian, which is basically just the G scale, starting on the A at the 5th fret (on a 6 string, that is). And since the G major scale is the same as the Em scale, I've pretty much got all the major and minor keys covered.
> So really it's just a few patterns, and then you have to be aware of what key you're in, and then you can just shift the entire group of patterns to that key. Check out this sites for the patterns.
> http://www.guitaristhelp.net/Scales_maj_min_modes_2.gif
> 
> ...



thanks for the links, i'll definitely check those out. that's also what i've been doing for the past couple years, but am trying to get away from it because i don't actually know most of the notes. i simply use the ones i do know on the low E string as reference for where the patterns begin 



SchecterWhore said:


> I think of scales as intervallic patterns. For example, a major scale consists of its tonic, a major second, major third, perfect fourth, perfect fifth, major sixth, and a major seventh.
> 
> A lydian dominant scale, to mix it up a little, consists of its tonic, a major second, major third, augmented fourth, perfect fifth, major sixth, and a minor seventh.
> 
> ...



thanks for the reply, this helped  this also raises another question, do most guitarist actually think about where they are in the scale in terms of the # degree of the note their playing as well as note name? or do most sort of "feel" their way around the patterns?


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## Mr. Big Noodles (Jan 3, 2010)

MajorJohnson931 said:


> thanks for the links, i'll definitely check those out. that's also what i've been doing for the past couple years, but am trying to get away from it because i don't actually know most of the notes. i simply use the ones i do know on the low E string as reference for where the patterns begin



When I was learning the location of the notes on the fretboard, I started with the low E, and when I'd need to know which note I was on a higher string, I'd go down however many octaves I'd need to find out which note I was playing. It's a gradual process.



> thanks for the reply, this helped  this also raises another question, do most guitarist actually think about where they are in the scale in terms of the # degree of the note their playing as well as note name? or do most sort of "feel" their way around the patterns?



I have no clue.  It helps me out. I also use my ear training to help me navigate the fretboard, since I don't always know where I am. Hearing a dominant scale degree or leading tone automatically lets me know where my tonic is.


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## Brendan G (Jan 3, 2010)

It depends on how I am playing them. For example, if I'm just playing scales or mindlessly playing stuff I think of scales as patterns. If I am improvising or trying to come up with stuff that has large interval jumps I think of all of the notes in the scale.


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## JohnIce (Jan 3, 2010)

I made a lesson on this, maybe you can find it helpful 

http://www.sevenstring.org/forum/mu...fferent-approach-to-scales-video-content.html


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## Hollowway (Jan 4, 2010)

JohnIce said:


> I made a lesson on this, maybe you can find it helpful
> 
> http://www.sevenstring.org/forum/mu...fferent-approach-to-scales-video-content.html



Cool lesson! I missed that, but it looks really helpful. I'll have to sit down and play around with that.


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## TonalArchitect (Jan 4, 2010)

I don't really practice scales, but I can play within a few fairly well, and what I did was get a feel for the relative shape (by way of knowing the intervals) and just go from there. As a result, I tend to think more "linear-ly" than "horizontally" (down neck as opposed to "box patterns" across strings).


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## right_to_rage (Jan 8, 2010)

I have found that while patterns are good to start making music with quickly, learning the actual note names starting with all of the natural notes, C Major and all of its modes will allow you to grasp harmony a little easier. Knowing your scales allows you to dissect chords and figure out the possibilities for any harmonic situation. If I were you I would find "The Advancing Guitarist" by Mick Goodrick to follow the harmony approach. It's tough, but it pays off if you really work at it.


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## cob (Jan 11, 2010)

I think scales in terms of Root and fret position. For example, I know a cmaj scale from the first fret on the 7th string, the shift to get across a whole fretboard for me comes at the first octave, 3rd fret 5th string. I find that this method is best for modes. With a given key you can assess the fret number and decide. For example, gmaj, the Ionian would be 3rd fret e string, dorian would begin on A, 5th fret etc. thats assuming you learned modes the way i did. I don't know if it helps for those who learned them the other way... make sense?


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## right_to_rage (Jan 12, 2010)

Try playing the C major scale in every position, thats a disciplined exercise for ya


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## freepower (Jan 15, 2010)

To be honest, it's best to know your scales across the fretboard in many ways. 

The positional patterns (both CAGED and 3nps)
3 + octave scales and multiple fingerings thereof
The intervals from the root and where to find the root everywhere
The notes in the key.

Then obviously practice putting that all together.


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