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> Major Scales 101
Iluha
post Aug 19 2007, 06:33 PM
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Only one thing I didn't get, when you transcribed the Major scale boxes, at the begining of the explanation you said there were 7 boxes, but in the end you said there were 5.

Now, to me 7 would sound more logical since you have 7 diffrent notes in the scales, and so you can have 7 diffrent boxes while begining on a diffrent note on the low E string.


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Andrew Cockburn
post Aug 19 2007, 08:36 PM
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QUOTE (Iluha @ Aug 19 2007, 01:33 PM) *
Only one thing I didn't get, when you transcribed the Major scale boxes, at the begining of the explanation you said there were 7 boxes, but in the end you said there were 5.

Now, to me 7 would sound more logical since you have 7 diffrent notes in the scales, and so you can have 7 diffrent boxes while begining on a diffrent note on the low E string.


H there - yes, you are exactly right - there are in reality 7 boxes, one for each note of the scale. Right after that I explained that 2 of these boxes only differ from the previous box by 1 semitone (due to the construction of the major scale), so we tend to miss those 2 out as they are only slightly different from the box before. That leaves a gap of 3 semitones in those 2 cases which is more sensible, and we then have 5 boxes separated either by 2 or 3 semitones.

So it is convention that we use 5 boxes, you could have 7 if you wanted to smile.gif


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Iluha
post Aug 19 2007, 08:47 PM
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Yeah figured as much heheh... thanks Andrew smile.gif


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Spyle
post Oct 11 2007, 03:42 AM
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One thing I don't quite understand with the boxes is how the start/end notes were decided?

Like with box 2 we end on a B, why not end on the C?
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Spyle
post Oct 11 2007, 04:16 AM
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QUOTE (Spyle @ Oct 10 2007, 09:42 PM) *
One thing I don't quite understand with the boxes is how the start/end notes were decided?

Like with box 2 we end on a B, why not end on the C?


Actually I suppose box 2 is the only one I don't understand why it does not end on the C. All the other boxes blend together well except 2 and 3.
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Andrew Cockburn
post Oct 11 2007, 04:30 AM
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QUOTE (Spyle @ Oct 10 2007, 11:16 PM) *
Actually I suppose box 2 is the only one I don't understand why it does not end on the C. All the other boxes blend together well except 2 and 3.


Check my introduction to scales lesson for the answer smile.gif


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Spyle
post Oct 11 2007, 04:55 AM
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QUOTE (Andrew Cockburn @ Oct 10 2007, 10:30 PM) *
Check my introduction to scales lesson for the answer smile.gif


Sorry, I'm just not getting it.. sad.gif You sure you just didn't miss the last dot on the 2nd boxes diagram? wink.gif
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Andrew Cockburn
post Oct 11 2007, 05:37 AM
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QUOTE (Spyle @ Oct 10 2007, 11:55 PM) *
Sorry, I'm just not getting it.. sad.gif You sure you just didn't miss the last dot on the 2nd boxes diagram? wink.gif


Ok, I see what you are saying, sorry smile.gif

Yes, you could put a C there and it is playable from that box which would make it flow into the next box nicely - ok I'll fix it smile.gif

EDIT: Done!

This post has been edited by Andrew Cockburn: Oct 11 2007, 05:42 AM


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Spyle
post Oct 11 2007, 08:16 PM
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Nice smile.gif
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niklas39
post Feb 17 2008, 11:31 AM
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Hi! i want to find all the boxes by myself and are using the wwhw... thing and then i have reached the 8 note in the box am i going to count from 1 again? in the first box it looks like its from 2 and that the second starts on 2! i am really cunfused so please help! blink.gif
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Andrew Cockburn
post Feb 17 2008, 01:43 PM
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QUOTE (niklas39 @ Feb 17 2008, 05:31 AM) *
Hi! i want to find all the boxes by myself and are using the wwhw... thing and then i have reached the 8 note in the box am i going to count from 1 again? in the first box it looks like its from 2 and that the second starts on 2! i am really cunfused so please help! blink.gif


Yes, the 8th note of the Major scale woiuld be the same as the first note again. Like this in the key of C:

C D E F G A B C

If it doesn't turn out like that then you may have miscounted ...


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4Play
post Mar 8 2008, 04:00 AM
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Well, I believe I grasped the concept behind these scales, but what I was wondering is how important is it to learn all the possible boxes for a certain scale ( I have been through major, major pentatonic and minor pentatonic = 15 patterns to memorize). I mean, since each of the 5 patterns associated with each scale are really the same notes, just played at a higher/lower pitch, I imagine that the usefulness of knowing all the boxes is that I would be able to play notes from a certain scale anywhere on the guitar..but it can get quite tedious, so for a beginner level, knowing one, or maby two boxes out of each scale should be enough to cranck out some music, right?

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Andrew Cockburn
post Mar 8 2008, 04:14 AM
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QUOTE (4Play @ Mar 7 2008, 10:00 PM) *
Well, I believe I grasped the concept behind these scales, but what I was wondering is how important is it to learn all the possible boxes for a certain scale ( I have been through major, major pentatonic and minor pentatonic = 15 patterns to memorize). I mean, since each of the 5 patterns associated with each scale are really the same notes, just played at a higher/lower pitch, I imagine that the usefulness of knowing all the boxes is that I would be able to play notes from a certain scale anywhere on the guitar..but it can get quite tedious, so for a beginner level, knowing one, or maby two boxes out of each scale should be enough to cranck out some music, right?


Certainly - you can make an extremely convincing solo out of just one box smile.gif 2 boxes is better, 3 boxes is great ... you get the picture ! More is better but start using them straight away to get results.

Eventually, the aim is that all the boxes run together and you don't need them any more, you have mastery of the entire neck - the boxes are just a convenient way to get there.


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4Play
post Mar 8 2008, 02:19 PM
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QUOTE (Andrew Cockburn @ Mar 8 2008, 12:14 AM) *
Certainly - you can make an extremely convincing solo out of just one box smile.gif 2 boxes is better, 3 boxes is great ... you get the picture ! More is better but start using them straight away to get results.

Eventually, the aim is that all the boxes run together and you don't need them any more, you have mastery of the entire neck - the boxes are just a convenient way to get there.


Thanks! And just another thing: how do i "run the boxes together" (assuming I already know them pretty well), I mean, to move from one box to another in order to be able to paly a scale up and down the neck, using the box patterns
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Andrew Cockburn
post Mar 9 2008, 11:58 AM
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Kris has some lessons about breaking out of the boxes - but basically, bick a note on a particular string and instead of playing it in the first box, play it in the second instead, then you have shifted boxes. Spend some time experimenting to find points in the scales that work for making a shift, there is no real formula for doing this - the idea is that the boxes should have trained you to know where all the notes for a particular scale are.


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niklas39
post Mar 14 2008, 09:35 PM
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QUOTE (Andrew Cockburn @ Feb 17 2008, 01:43 PM) *
Yes, the 8th note of the Major scale woiuld be the same as the first note again. Like this in the key of C:

C D E F G A B C

If it doesn't turn out like that then you may have miscounted ...


ahh thanks much easier for me to count to 7 and then start from 1 then rolleyes.gif
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Melodicintenions
post Apr 7 2008, 07:58 AM
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Wow Andrew you know your Stuff! if I got theory questions I'll ask for sure! keep it up we need peoples like you!
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Tsarpf
post Jul 4 2008, 01:03 PM
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So I should practice the boxes by starting at the root note(?), so with the G major's box 2, should I start with my middle finger at Fourth string, fifth fret, then go through the notes at strings 3212345654?

So I would have gone through all notes in the box and ended at the beginning :S
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DeepRoots
post Jul 5 2008, 12:24 AM
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That could be a cool way of practising it smile.gif

But the object isnt to start/end on the root note when practising- but to make sure you know where in the pattern the root notes lies.

Some of the advantages of using the scale patterns are to improve finger dexterity but more importantly to give us "suggestions" of where we can go when soloing/improvising. Therefore, its quite important that we know where all the G notes are in all of the G major patterns are because using this note is very useful for ending phrases and ideas to give a "finished" sound to the passage.

Happy theorying wink.gif
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Andrew Cockburn
post Jul 6 2008, 02:30 PM
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I'll also add that if you play the patterns from start to finish without referencing the root note, you will be training your ear to hear a different scale to the one you thought. Later on, when you start to understand modes, you will be playing those patterns from start to finish, but you will effectively be playing a different scale if you do that - it very important to train your ear to the sound of the major scale in this case, and using root notes as discussed will help you to do that.


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