How to Use the Major Scale Formula on Guitar

Learn all about Tones and Semitones in the third part of the Powering Your Way Up the Pyramid series. Known in North America as Whole Steps and Half Steps, these are the measures of intervals on the chromatic scale and are the nuts and bolts of music theory.
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Abridged Script:
The next two levels on the Guitar Music Theory Pyramid really both concern the Major Scale.
Tones and Semitones are like the real nuts and bolts of music theory. In North America you more commonly call these Whole steps and Half steps… They are words we use to measure intervals on the chromatic scale. A semitone, or half step, describes the interval between any two notes that are next to each other on the scale and two semitones make a tone or whole step.
Remember, the chromatic scale is important because the layout of the frets on the guitar follows the chromatic scale. So, on the fret board, we mostly think of a semitone as being the interval between one fret and the next. The Major Scale Formula is: Tone, Tone, Semitone, Tone, Tone, Tone, Semitone. Let’s look at how we can put that to immediate use.
The easiest way is to apply the formula to notes on any single string. For example, if I start at the note G here at fret 3 on the 6th string.
Move up another tone then a semitone tone and another semitone… I have played all the notes of a G Major Scale. Or I could start here on the note Bb at fret 1 on the A string and play all the notes of a Major scale in the key of Bb.
More commonly though we use scales across the strings. To do this it is important to know that the strings are tuned five semitones apart - except the 2nd and 3rd strings which are tuned 4 semitones apart.
So to play a Major scale by applying the formula across the strings I line up my hand one finger per fret like this. Then play the first note with my SECOND finger then I need a note a tone higher which I can reach on the same string with my pinky. I then want a note a tone higher but I want to find it without moving my hand position, so I move across to the next string (up 5 semitones) and subtract 3 by moving down the fret board three frets and this means finding the note under my first finger here. I then move up a semitone using the second finger and another tone using my pinky again.
For the next note I again want to move across to the next string (plus 5 semitones) and down three frets (minus three semitones) and that takes me to the first finger note here another tone using the third finger and the final semitone the pinky again on the same string.
So that’s T T S T T T S without needing to move the hand or even stretch it.
And that’s how we derive a movable pattern that will produce a Major scale of any note starting on the 6th or 5th strings.
On the Secret Guitar Teacher site, we develop this trick quite a bit further to help you find Major Scales for all notes in all positions. And, as the Major Scale is the reference point for all chord formulas and for all other types of scale as well, command of this area of applied music theory is a massive breakthrough for anyone wanting to play guitar in an intelligent way.

[Chimp_No_]

Really interesting and helpful. Thanks.

[paulchan]

The simplest way to explain the chromatic scale by a master teacher.

[oneeyemonster]

Im so glade...I learned the C MAJOR/A min as a kid. i believe it was the only reason
my dad got me a more expensive guitar aside from the $5 yard sale guitar.lol
Theres wasnt much inforamation avalible back when....I drew out all the Notes (less # /b)
of the fretboard ...over and over again....in detention, during class, lunch..ect
It took me a while to complete the fretboard..becuase I was just a kid..
But I saw repeating patterns or simular pattern..that I could around.

Aside from playing the notes going towards the bridge...I also played them going
towards the NUT...Mostly so I would know to make open chords or bar chords.
ROOT note on each strings for different types of chords.

Once I figure out KEY are just PITCH...and that I can use the fretboard like a slide
ruler. It helped alot...
Then It made since for me to learn the other parallel scales.
I simply used the MAJOR scale as the REFERENCE...as I did with modes
within the Major scale...To obtain the Intervals to the other scale.

Then I figure out...basic chords stacking is just EVER OTHER NOTE.
I simply apply the same concept to learn the chords/modes from the other scales.

Then I found out I can alter chords....such as the lydian #2..from maj7 to min/maj7

Then I simply apply apply the same concept to other modes..such as loc b4, phry b4

Then it was easy from me to make different chords using the Hungerian MAJOR
( Mix #2, #4) from the same root note.

i dont know all the modes of the egmatic scales by heart (yet)..such as the
harmonic min b2. melodic min b2 ...harmonic min #4..
because there's cluster notes in them...
but I know I can make a Maj7 ...chord from the Minor's b2 possition
to help me CYCLE down to the 4th..
Lydian...Ionian...then Mix....as if I was counting from RIGHT to LEFT
or backward/descending
F MAJOR....Bb MAJOR....Eb MAJOR.
i can modulate to any of those keys from A min ...if I wanted to,

I can modulated to any keys....certain movements or intervals will help me.
The 9 parallel scales helps me.

I also made a scale weather it was listed or not..
melodic min gives me the Lydian dominant b2

i know the messiani modes exist...i still havnt learn all of them by heart..
but it's like the FULL diminished ( HW/WH)

learning the FULL diminished and augmented chords...and knowing how
to alter chords within the 9 diatonic scales...are just stepping stones to
learning the messiani modes....

It's a continous learning process....Live and Learn.
i also wanted to master the instrument as a child....wheather no one help me or not.

[bradford_shaun_murray]

Question for the SecretGuitarTeacher: Can I use this movable scale method for other different scale types starting from the 6th or 5th strings as well? For example I drew out your MAJOR SCALE movable across the strings pattern in this video using G (3rd fret low E 6th string) as the root note and it makes sense that you can now move that pattern or shape to any different starting note on the 6th or 5th stings for a different key.

So I've now written out the HARMONIC MINOR SCALE pattern again using G (3rd fret low E 6th string) for my starting reference for the shape. So is it ok that that shape can now be moved anywhere starting on the 6th and 5th strings as well like you did with the MAJOR SCALE?

If this is the case I'll do it next for the MELODIC MINOR SCALE...it could open up a lot of tonal opportunities that I wasn't sure of before.