3 Things I Am Learning From Beginner Guitar Scales

As mentioned in my previous post on playing the long game and pursuing a virtual doctorate (read this post), I am following the guidance and tenants of Christopher Berg. In doing so, the first requirement in his guide for his university students is to master the open position scales in every key and play at a specific speed. After working through the beginner guitar scales in open position for a while now, I thought I’d reflect on three things I am learning since returning.

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Open Position Scales, What Are Those?

First, I realize how much I really did not learn through my previous studies. I, amazingly, have a master of music degree in classical guitar performance. Through my undergraduate and graduate studies, I was never required to memorize all the open position scales in every key. It is no wonder that my understanding of the guitar really accelerated when I began studying jazz after finishing my graduate studies. I was forced to really memorize the fretboard and harmony over the entirety of the instrument.

What is an Open Position Scale?

An open position scale on the guitar refers to a scale that utilizes open strings in its pattern. The term “open position” indicates that the scale is played using the frets that are closest to the headstock, incorporating the open strings (strings played without fretting any notes) as part of the scale’s pattern. Open-position scales serve as the foundation for learning more complex scales and chord progressions.

The most common open-position scale on the guitar is the open-position C major scale. In this scale, the open strings are played whenever possible to create the diatonic major scale pattern that starts and ends on the root note of C. The illustration below indicates the root note, C, with a yellow dot. The full scale in the key of C major includes the following notes:

C – D – E – F – G – A – B – C

Open-position scales are beneficial for beginners because they require less finger movement and provide an opportunity to familiarize oneself with the notes on the fretboard. They also allow guitarists to play melodies and create simple chord progressions using the open strings.

In addition to the open position major scale, there are open position scales for other modes and keys. For example, the open position minor pentatonic scale is a popular choice for blues and rock guitarists, and it can be played using open strings in the pattern as well.

As guitarists progress in their skills, they typically learn more advanced scales and positions up the fretboard, expanding their musical vocabulary and versatility. However, mastering the open-position scales is an essential starting point that provides a strong foundation for further exploration in the world of guitar playing.

Back to My Progress

According to Berg’s guide, the requirement for the first phase of development is 80 bpm (playing sixteenth notes). I can play memorized pattern-oriented scales much faster (between 140 and 160 bpm). But it is interesting how the open strings play a different role in your fluency with open position scales. I should know them like the back of my hand, but alas, I am close but am still moving toward that point.

Beginner Guitar Scales And Sight-Reading

Secondly, I know how much improvement my sight-reading needs. In the process of working on these beginner guitar scales, I am sight-reading out of the Scale Pattern Studies for Guitar, Supplement 3 by Aaron Shearer. When it comes to the common scales we play often on the guitar (C, A, G, E, D, etc.), my sightreading is strong. However, when it comes to keys with many sharps and flats and their corresponding minor scales, the story is much different.

Minor scales fall into three basic types: natural, harmonic, and melodic. Melodic minor is much more difficult than harmonic due to the change in ascending vs. descending changes. Especially when a sharp or flat creates an open string in that key (i.e. G# melodic/harmonic minor with an F double sharp).

The Harmonic Minor Scale

The formula for the harmonic minor scale is as follows (in terms of semitones between each note):

1 – 2 – ♭3 – 4 – 5 – ♭6 – 7 – 8 (or 1)

Let’s take the A harmonic minor scale as an example:

A – B – C – D – E – F – G# – A

In this scale, the seventh note, G, is raised to G#, creating the minor third interval between the ♭3 (C) and the raised seventh (G#). This interval creates a distinct sound that sets the harmonic minor scale apart from the other minor scales.

The harmonic minor scale is widely used in various musical genres, especially in genres that seek to evoke a Middle Eastern or exotic vibe. It has a mysterious and dramatic quality, making it a popular choice for composing melodies and solos in many styles of music, including metal, jazz, and fusion.

One of the key features of the harmonic minor scale is the augmented second interval between the ♭6 and 7 notes. In the A harmonic minor scale, this interval is present between the F and G# notes (sixth and seventh scale degrees). This augmented second interval is what gives the scale its distinctive and slightly dissonant character.

We, as guitarists, often explore the harmonic minor scale to add tension and flavor to our solos and compositions. By incorporating this scale into our playing, they can create captivating melodies with a hint of exoticism.

The Melodic Minor Scale

The melodic minor scale is another variation of the minor scale, and it is commonly used in various musical genres, including jazz, classical, and fusion. The distinguishing characteristic of the melodic minor scale is that it features different patterns for ascending and descending sequences. Unlike the natural minor and harmonic minor scales, which have the same pattern in both directions, the melodic minor scale alters when played in ascending and descending order.

The formula for the melodic minor scale is as follows (in terms of semitones between each note):

Ascending: 1 – 2 – ♭3 – 4 – 5 – 6 – 7 – 8 (or 1)

Descending: 1 – 2 – ♭3 – 4 – 5 – ♭6 – ♭7 – 8 (or 1)

Let’s take the A melodic minor scale as an example:

Ascending: A – B – C – D – E – F# – G# – A

Descending: A – G – F – E – D – C – B – A

As you can see, when played in ascending order, the melodic minor scale features a raised sixth and seventh scale degree compared to the natural minor scale. This alteration creates a major sixth interval between the fifth (E) and the raised sixth (F#) and a major seventh interval between the sixth (F#) and the raised seventh (G#).

On the other hand, when played in descending order, the melodic minor scale reverts to the natural minor scale, with both the sixth and seventh scale degrees lower. This ensures a smooth and natural-sounding progression when descending the scale.

The reason behind this alteration is primarily rooted in the melodic aspect of the scale. When ascending, the raised sixth and seventh notes contribute to smoother melodic lines and more expressive phrases, creating a brighter and more uplifting quality to the music. When descending, the natural minor scale maintains a traditional and stable melodic structure.

Use of the Melodic Minor Scale

Guitarists often utilize the melodic minor scale to add sophistication and color to their improvisations and compositions. This scale’s unique characteristic allows for a wide range of melodic possibilities, making it a favorite among jazz musicians for its versatility and expressiveness.

Practicing the melodic minor scale in both ascending and descending directions can significantly enhance a guitarist’s melodic awareness and phrasing abilities. By incorporating this scale into their playing, guitarists can unlock a rich palette of tonalities and broaden their musical horizons. Whether playing jazz, fusion, or any genre that allows for melodic exploration, the melodic minor scale remains a valuable and indispensable tool in a guitarist’s repertoire.

Sight-Reading in the Harmonic and Melodic Minor Scales

It is challenging enough to read sight-read music with multiple sharps and flats. However, add to that the addition of other accidentals and the problems become greater. To further this, making the accidentals change on the ascending and descending further puts your brain into a spin. I know I need constant work on my sight-reading, even with the open position scales, to make good improvements.

Open Position Scales Are Foundational

Lastly, I am appreciating the overall understanding that beginner guitar scales are foundational to learning the guitar. We tend to put scales in patterns as guitarists. This is especially true in more popular guitar teaching. But the open position scales are not pattern-oriented. They are not moveable. You must know the notes you play. You must be able to play in any key in any position. This is something classical guitarists bypass and do not master.

Wrap Up on Beginner Guitar Scales

The mastery of these scales is a shortcoming in my own playing. I am building them up again creating a stronger foundation as I move towards a virtual doctorate (and again, hopefully, a real one).

Though my course Speeding Up Your Scales may not cover open position scales, it may be worth checking out. Though my open position scales need work, I have made great improvements on all my closed position scales; including hitting sixteenth notes at 160!

Other articles you may enjoy on charlestonclassicalguitar.org:

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Chadwick Becks

I have two degrees in guitar performance and was privileged to study under Aaron Shearer, Tom Kikta, David Skantar, Ken Karsh, Tim Bedner, and currently Christopher Berg. Outside my editorial work on this blog, I teach full-time across many genres including classical, jazz, blues, rock, funk, and metal.

3 Things I Am Learning From Beginner Guitar Scales in Open Position