Chapter 16:
Major scale
About the major scale
The major scale, also called the “Ionian mode”, is one of the most common musical modes in the world. It has been the basis of Western harmony for at least 400 years. See Chapter 8. Major key harmony for more information.
The major scale is a seven note diatonic scale with semitones between degrees 3-4 and 7-1. Not coincidentally, all the major scale degrees are major or perfect intervals.
| T | T | S | T | T | T | S | |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 1 |
| C | D | E | F | G | A | B | C |
Assemble on one string
The simplest way to visualize a scale is on a single guitar string. The scale semitones and tones are one and two frets apart.
Here is the major scale on one string.
Tetrachords
Here are the two tetrachords of the major scale.
Both tetrachords of a major scale are the same, with intervals 1-2-3-4 (T-T-S). This is sometimes called the major tetrachord.
Practicing scale forms
Practice slowly and thoughtfully, first ascending and descending, then with tunes, licks, scale patterns and arpeggios.
See “practicing scales” in Chapter 15. Introduction to scales for details.
C form
Here is the major scale assembled in CAGED C form.
Fingering in the C form is straightforward and comfortable, with the fourth finger on the 5th-string tonic.
A form
Fingering for the A form is mostly straightforward except for the 4 on the 2nd string. Use the fourth finger to play both the 3 and the 4.
G form
This is a comfortable and convenient scale form.
It can be played with a partial barre shape, enabling fast performance of scale patterns and chords.
The 7 is usually played on the 3rd string with the first finger, sliding between the 1 as needed.
In cases when it’s preferable to keep the barre intact, the 7 can also be played by reaching up with the fourth finger on the 4th string.
E form
Fingering is straightforward in this form. Start with the second finger on the sixth string tonic.
D form
Fingerings for the D form involve some shifting around.
One approach is to use the first finger for the lower 7 and 3 as well as the 1 and 4, with a lot of slides. This is a fast and fluid way to do it, when a legato sound is acceptable.
Another approach is to shift the whole hand back, playing the lower 7 and 3 with the first finger, the 1 and 4 with second finger, and bringing the fourth finger into play as needed to enable the shift. It’s a bit awkward at first but it feels more natural after awhile.
Whole fretboard
The following diagram shows the major scale on the entire fretboard.
