Guitar Scales
In music, a scale is basically any series of notes that has some sort of musical significance. Since each scale can not only have different intervals of notes in them, but also entirely different numbers of notes, there are a huge number of them. However, depending on the style of music being played, there are generally only a few that a guitarist needs to know. This is good because you could consider 1-b2-b5 to be a scale, since it is a series of notes that have a musical significance, even if that significance is that they sound dissonant and unappealing. Trying to think of every possible combination of notes is impractical, so focusing on the more useful ones or the ones that create the feel you are going for is a very good idea.
While each scale does have its own unique feel to it, the phrasing also plays a very significant role in the feel of a song. Just because the major scale is used doesn’t mean a song will sound happy, and the minor scale doesn’t necessarily sound sad. While understanding what the scales and modes are is useful, knowing how to use them is also important.
One thing that confuses many people is the actual difference of scales and modes. Functionally, there usually isn’t any difference. If and when you get further into learning music theory, you will learn the difference, but for the most part it really isn’t important and only has to do with how modes are derived from scales. What also tends to cause extra confusion is that the term “modes” can refer to a few different musical concepts when used in different contexts, but, again, unless you get heavily into learning music theory, those situations aren’t very likely to come up.
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Major (Ionian) Scale: 1-2-3-4-5-6-7
The major scale is the most common scale in Western music and the one which the common modes are derived. This usually has a happy sort of tone. Every other scale is defined by intervals in relation to the major scale, as either flat (one half step lower in pitch, b) or sharp (one half step higher in pitch, #). If you have the major scale down, you can pretty much play any scale by adjusting the notes in it. It might not be the easiest or most convenient way to play the scale, but it is possible. In general, with experience, you should quite easily gravitate towards the easier ways to hold scales, but this does give you a starting point.
Modes of the Major Scale
Dorian Mode: 1-2-b3-4-5-6-b7
Phrygian Mode: 1-b2-b3-4-5-b6-b7
Lydian Mode: 1-2-3-#4-5-6-7
Mixolydian Mode: 1-2-3-4-5-6-b7
Minor (Aeolian) Scale: 1-2-b3-4-5-b6-b7
Locrian Mode: 1-b2-b3-4-b5-b6-b7
These modes (or scale in the case of the minor scale) are listed in the relative order of where the root is moved in the original major scale. For example, if the new root was originally the 2 note of the major scale, then you are in the Dorian mode. If you are using the 7 note of the major scale for the new root, then you are in the Locrian mode.
Since all the major modes use the same looping interval pattern, but with a different root note, you can literally play each mode for a different root with the same box shape. So if you are playing a C major box shape, you could also use that same exact box for A minor or E Phrygian. It isn’t common to do so, but realizing the notes for these different scale and modes can sometimes be useful.
Despite their relationship, these scales and modes do sound quite different from one another. Even without musical training, most people should quite easily be able to distinguish the major and minor scales in most situations. Some of the modes and scales are a little closer in feel to each other, so the differences can sometimes be quite subtle. For example, the minor scale and Phrygian mode only differ based on the second note, which is flattened in Phrygian. This isn’t necessarily a large enough change for most people to recognize, but in some situations, it can create a very nice nuanced difference to a song.