Deriving major scales from the triad map

In this lesson we're going to take that triad map we learned last time, and use similar construction principles to flesh it out into five basic major scale positions.  This process is important.  Instead of mindlessly reading a major scale diagram and having no idea what notes you're playing, you'll know what exactly is under your fingers because, well, you built it yourself!  

For review, here's the triad map we're working with before.  If you recall, we can break this down into five main positions, these will become our five major scale positions.  If you aren't totally confident with your triad maps (in many keys!!) yet, you're going to want to spend some quality time getting to know them.  Everything will be easier if you can rock a triad map up and down seamlessly.

Alright, now let's get to the principles of how we're going to add the rest of the notes in the scale.  There's seven notes in a major scale, and we've got three so far with our triad map (root, 3rd and 5th).  That's 43% of the scale already under your fingers if you've really learned "the map."  (Yep, I used a calculator for that)  The degrees of the major scale are root, 2nd, 3rd, 4th, 5th, 6th, and 7th.  The ones in bold are the scale degrees we need to add.  Let's get started with finding the 2nd:

The 2nd is one whole step, or two frets, above the root.

In some cases, it's easier to find the 2nd in relation to the 3rd in the triad map.  The 2nd can also be found one whole step below the 3rd, as shown here.

Next, we'll add the 4th scale degree.  This one's easy- it's one half step (one fret) above the 3rd.

Here's the 6th of the scale.  We can find the 6th by going one whole step (two frets) above the 5th, or...

We can also find it easier sometimes by going a minor third (three frets) below the root.  One more note to find and we're done with this position!

The 7th note of the major scale can be found one half step (one fret) below the root.  Note- the two half steps in the major scale occur between the 7th/root and the 3rd/4th.  Advanced note- in the 7 modes of the major scale, where these half steps occur in relation to the starting note determine the mode's character.  Deep stuff.

Well, that does it for this position.  Here's a clean copy with out my Microsoft Paint drawn orange arrows messing it up:

For best results, get your axe and blank guitar diagram out and follow these procedures for the remaining four positions.  Then come back, check your results with what I have below.  You'll gain a deeper understanding of what's under your fingers if you do the work yourself.  So this is your spoiler alert... don't scroll any further down until you've done this!






(I promise it's worth it!)












(Hmm, what a nice sunset outside.)




















(That should do it.)






Alright, here's the remaining positions.  Go ahead and check your work with these:

Well, there you have it.  Five positions of the major scale, all figured out by yourself from the triad map.  Take a second and think about a few observations:

1.  Note the overlap between the positions- it's what will help you link them together mentally.

2.  Note how the lowest note of each position makes a certain mode.  Position one is Ionian, or major.  Two is a Dorian shape, with the 2nd as the lowest note.  Three is Phrigyian, with the 3rd being the lowest note.  Four is Mixolydian, with the 5th as the lowest note.  Five is Aeolian, or natural minor, with the 6th as the lowest note.

The fourth mode of the major scale (Lydian), fits into position three if you use the 4th scale degree as the lowest note.  The seventh mode of the major scale (Locrian) fits into position one if you use the 7th scale degree as the root.  Bam- there's all your modes for you.

3.  Remember:  modes are all about context.  What the bass/harmony is playing along with what notes you emphasize will make position five sound either major or minor.  Just like social interactions, it's all about context and how you say it.

4.  Aren't you glad you learned your triad map so well?  Do you want to spend some more time with it now?

5.  Could you do this with your harmonic and melodic scales as well?  Yup.  Should you do that eventually?  You bet!

6.  Should you, after approaching the scales vertically like this, take a whole different horizontal approach?  Say for example, playing a scale up a single string?  That would be a great idea, and Mick Goodrich wrote an awesome book about this.  Check it out, it's called The Advancing Guitarist, and it's got lifetimes of great "stuff" inside.

Alright that's all for today.  Have some fun with your major scales and triad maps now!