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Fundamentals of Scales
Notation and Terminology
Scale Exercises
Melodic Techniques
Closed Positions
Diatonic Modes
Triplet Exercises
Scale Patterns
Scale Exercises by Key

Measurements
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NOTATION AND TERMINOLOGY

  Tab Description

  The following defines the meaning of the various lines that makes up the tab used herein, using a G Major scale as an example:

               Absolute note:   G  A  B  C  D  E  F# G  A  B  C  D  E  F# G        

              Scale Degree:   1  2  3  4  5  6  7  1  2  3  4  5  6  7  1    

           Measure markers:  |                       |                       |        

Fret numbers for each note:

              First string:  ----------------------------------0-----4--5-----

             Second string:  ----------------------------0--1-----5-----------

              Third string:  ----------------------0--2-----------------------

             Fourth string:  -------------0--2--4-----------------------------

              Fifth string:  -------0--1--------------------------------------

              Sixth string:  -0--2--------------------------------------------

             Finger/Attack:   T  I  T  I  T  M  I  T  I  T  I  M  T  I  T    

  The only lines in this tab method that are absolutely necessary are those denoting the six strings. The relative and/or absolute notes can be included as convenient additional information. The scale degrees, corresponding to the notes in the diatonic scale: 1 (do), 2 (re), 3 (me), etc. Measure markers may be helpful to define the timing (feel) for some exercises.  It is assumed that all notes are of equal length (eg., eighth notes or eighth note triplets). No method is proposed at this time for representing exercises with varying note lengths, although such exercises can also be very helpful. The optional finger/attack line can be included to suggest the actual finger or attack to use for each note. These can be T (thumb), I (index finger), M (middle finger), R (ring finger), H (hammer on), P (pull off), or S (slide).

  When a note position on the neck must be specified, it will be indicated by the number of its string followed by a backslash (\) followed be the number of the fret. Thus, the F note on the fourth string, 3^rd fret is denoted 4\3.

Bar Movement

Each note change in a scale is referred to as a “move”, which is accomplished by some type of manipulation of the bar. The different types of moves that are referenced are as follows:

Free Move – A change of note where the first note is played on an open string and the second is fretted, or vice versa. There may also be cases where two consecutive open notes are used or where two consecutive notes at the same fret are played. These are also considered free moves since little or no movement of the bar is necessary.  

Hammer-On  – A change of note where the first note is plucked on an open string and the second is accomplished by lightly striking the ringing string with the bar.

Pull-Off – A change of note where the first note is plucked on a fretted string and the second is played by pulling the bar against the string as it is removed, causing the open note to ring.  

Slide - A change of note where the first note is plucked on a fretted string and the second is played by sliding the bar on the same string up or down to the second note, without plucking the string a second time.  

Closed Move - A change of note where the first note is played on a fretted string and the second is also played on a fretted string. These are usually the most difficult moves because the first note must be plucked, allowed to ring, muted, the bar repositioned (with some short period of quiet), re-fretted, and the second note plucked. The string on which the first string is played may or may not be the same as that of the second note.  

Free Shift – This move is like a free move, except that the position on the neck is changed. This is a technique where the time needed to play an open note is exploited to reposition the bar up or down the neck.  

Closed Shift – This move is like a closed move, except that the position on the neck is changed.  

Neck Positions

For guitars, fiddles, and other fretted instruments, there are well defined hand positions for playing scales which determine the finger to be used for a given note. On the resonator guitar, hand positions are not clearly defined, since we only use one “finger” to play all the notes. In an attempt to understand the resonator guitar neck, I have devised “neck positions” for playing scales, so that at any given time, I visualize myself playing in a particular position. When moving up or down the notes of a scale, there is often need for a “shift” between positions. The following is a diagram of the first 17 frets, indicating all notes that belong in the G major scale:  

          2^nd            5^th       7^th        9^th           12^th                     17^th

5----+----6----+----7----1----+----2----+----3----4----+----5----+----6----+----7----1

3----4----+----5----+----6----+----7----1----+----2----+----3----4----+----5----+----6

1----+----2----+----3----4----+----5----+----6----+----7----1----+----2----+----3----4

5----+----6----+----7----1----+----2----+----3----4----+----5----+----6----+----7----1

3----4----+----5----+----6----+----7----1----+----2----+----3----4----+----5----+----6

1----+----2----+----3----4----+----5----+----6----+----7----1----+----2----+----3----4

  The relationship of notes for a key other than G can be acquired by shifting the above diagram to the right or left the appropriate number of frets. Notice that the frets of  most significance to the G major scale are the open position, and the 5^th, 7^th, 12^th and 17^th frets. This is because the notes on all six strings at those bar positions are in the scale.  These correspond to the bar positions where the main chords in the key of G are played: root (I) - open, 12^th fret;  subdominant (IV) - 5^th  fret, 17^th fret; dominant (V) - 7^th fret.

  From this note arrangement, the following neck positions are defined: open, I, IV, and V. The numbered positions are at the fret where the indicated chord is played for whatever key you are playing in. The following associates the notes in the G scale with the various neck positions.

  Open                                  IV        V                                 I          

        2^rd                   3^rd     5^th       7^th     9^th           9^th         12^th         

5---+---6---+---7---      6---+---7---1---      2---+---3---4---      3---4---+---5---+---6---

3---4---+---5---+---      +---5---+---6---      7---1---+---2---      +---2---+---3---4---+---

1---+---2---+---3---      2---+---3---4---      5---+---6---+---      6---+---7---1---+---2---

5---+---6---+---7---      6---+---7---1---      2---+---3---4---      3---4---+---5---+---6---

3---4---+---5---+---      +---5---+---6---      7---1---+---2---      +---2---+---3---4---+---

1---+---2---+---3---      2---+---3---4---      5---+---6---+---      6---+---7---1---+---2---

  The above diagram does not represent a continuous resonator guitar neck but, rather, four sections of the neck, some of which overlap (play close attention to the fret numbers). As shown above, some of the notes are accessible from two different positions (eg., the 4^th on fret 10). For the key of G, the open position differs from the I position (12^th fret) because of the lack of accessible notes “behind the bar”. In geneal, the open position has a different note pattern for each key and can have notes in common with the next higher position.

  Notice that the notes associated with the IV position are “behind the bar” (ie., at or below the 5^th fret), those associated with the V position are “in front of  the bar”, and those associated with the I position are “on both sides of  the bar “. This is one way to organize the neck for the purpose of  constructing scales. Certainly, there are many other ways to view the notes on neck.    

Root Chord Locations

It is useful to be familiar with where the notes that make up the root chord (1, 3, and 5) lie on the neck. The following diagram identifies them for the key of G.

Open                     IV        V                        I

                         5^th       7^th                      12^th

5----+----+----+----+----1----+----+----+----3----+----+----5----

3----+----+----5----+----+----+----+----1----+----+----+----3----

1----+----+----+----3----+----+----5----+----+----+----+----1----

5----+----+----+----+----1----+----+----+----3----+----+----5----

3----+----+----5----+----+----+----+----1----+----+----+----3----

1----+----+----+----3----+----+----5----+----+----+----+----1----

  From the diagram above,  it can be seen that, besides being able to play a G chord open or at the 12^th fret, there are several “approximations” of  a G chord that can be played near the 5^th and 7^th frets:  

Forward slant – 1\5, 3\4. This two note approximation places the root on top and the 3^rd on the bottom.

  Reverse slant – 2\3, 3\4, 4\5. If all 3 notes are played together, the chord will be slightly out of tune. However, any pair can be played in tune.

  Forward slant – 1\9, 2\8, 3\7. If all 3 notes are played together, the chord will be slightly out of tune. However, any pair can be played in tune.

  If you associate either of the first two of these “chords” with position IV, the third with position V, and a straight bar with position I, it is easier to visualize the pattern of notes in the scale for each position:

              IV        V                                 I

    3^rd     5^th       7^th                               12^th        

6---+---7---1---      2---+---3---4---      3---4---+---5---+---6---

+---5---+---6---      7---1---+---2---      +---2---+---3---4---+---

2---+---3---4---      5---+---6---+---      6---+---7---1---+---2---

6---+---7---1---      2---+---3---4---      3---4---+---5---+---6---

+---5---+---6---      7---1---+---2---      +---2---+---3---4---+---

2---+---3---4---      5---+---6---+---      6---+---7---1---+---2---

  or:

            IV        V                                 I

    3^rd     5^th       7^th                               12^th        

6---+---7---1---      2---+---3---4---      3---4---+---5---+---6---

+---5---+---6---      7---1---+---2---      +---2---+---3---4---+---

2---+---3---4---      5---+---6---+---      6---+---7---1---+---2---

6---+---7---1---      2---+---3---4---      3---4---+---5---+---6---

+---5---+---6---      7---1---+---2---      +---2---+---3---4---+---

2---+---3---4---      5---+---6---+---      6---+---7---1---+---2---    

Right Hand Techniques  

Scale exercises help strengthen both hands, and increase familiarity with the neck. There will be many choices of how to play the exercises in terms of which finger to use for a given note, and whether to pluck, hammer-on, slide, etc. The method one uses to play the notes will vary with that player’s style and approach to the instrument. It is recommended that a given exercise first be learned using the method that feels most natural. However, when the left hand has become comfortable with where the notes lie, additional benefit can be gotten from the exercise by varying the right hand technique.  

Some players tend to use only two fingers for single note playing; thumb-index, thumb-middle, or index-middle. It is good exercise to learn the exercise using alternating fingers (eg., T I T I …) taking care never to interrupt the alternation by using the same finger twice in a row. The exercise can varied by leading with the opposite finger, so that the entire right hand pattern is reversed.

Players who use three fingers for single note playing may want to try the exercise using different pairs of  fingers. Another technique is to attempt the exercise using a forward or backward three finger roll (uninterrupted) to play the notes.

For open position exercises, another variation is to use all hammer-ons, pull-offs, or slides where possible, thus minimizing the number of notes plucked by the right hand.

There are numerous variations that can be formed by using combinations of the methods described. These variations can produce moves that are very awkward at first. But that’s like a body builder putting more weight on the bar. Whatever awkwardness you overcome contributes to the general dexterity of your hands and will improve your playing.  

Open Strings

  Scales are easiest to play in the keys that contain the open notes, G, B, or D. The following identifies which keys include which open notes.

            Included notes         Keys                                                   Included notes        Keys  

GBD                      G, C, D                                                B                           B, E, F#

BD                         A                                                        G                            Ab

GB                        Bb, Eb, F                                             D

GD                                                                                   None                      Db

Those keys whose scale contains all the open notes provide the best opportunity to use melodic techniques. This is discussed in a later section.