As guitarists we tend to regard scales as patterns that can be moved up and down the neck depending on which key we're playing in.
We refer to these movable patterns as boxes or box positions.
As an example, below is the minor pentatonic box, with the root on the 6th string.
The bottom horizontal line represents the bottom or sixth string, which is the thickest one. Each black circle indicates where to place a finger for each of the notes from the scale in question.
The asterix represents the start fret. For example, if you are to play using this box in the key of G, then your start fret would be the 3rd. Alternatively, if you moved everything up the neck by one tone (or two frets) then you would be in the key of A, at the fifth fret.
The notes with the lighter shading are root notes i.e. when in the key of G, they are G notes.
Below are nine boxes and two runs, numbered with the following key:
BOX 1 - Minor pentatonic scale, root note on 6th string
BOX 2 - Natural minor scale, root note on 6th string
BOX 3 - Minor pentatonic scale, root note on 5th string
BOX 4 - Natural minor scale, root note on 5th string
BOX 5 - Major scale, root on 6th string
BOX 6 - Major scale, root on 6th string (alternative fingering)
BOX 7 - Major scale, root on 5th string
BOX 8 - Major pentatonic scale, root on 5th string
BOX 9 - Mixolydian mode / scale, root on 6th string
BOX 10 - 'Blues' scale box, root on 6th string
Run One - Minor pentatonic
Run Two - Major pentatonic
Click here to download a PDF of all these boxes.
BOX 1
BOX 10
For modal scale boxes, see my 'Modes - Where are they?' tutorial.
Box 10 shows the 'Blues' scale, which is the the minor pentatonic with an added note. This added note is called the 'flattened fifth' because it is one semitone down from the fifth note of the relative major scale. We always use the major scale as our reference when naming notes within chords and scales; whether they are major or minor. The flattened fifth is often referred to as the 'blues note'. It's a great passing note but not one which I advise playing for long ~ although that's exactly what I do on my 'Phrygian Flat Five' backing track. :)
You can also add this note to the natural minor scale, and on most occasions to any minor scale or run. Try using it often at first - and use your ears to decide whether or not it works.
Notes on where to use the boxes
If we equate these scales to the ten boxes and two runs shown above, we arrive at the following positions:
This gives us a lot of scope for moving around the fretboard, whilst only using notes from the C major scale.
NOTE: When in a major key you can obviously play the C major scale. However, you can also sometimes play the minor pentatonic scale at the same position. This is most apparent when playing the blues, and can confuse players into thinking that a piece is in a minor key, when in fact it's not.
As your ears improve, you'll be able to hear whether or not this can be done over a particular progression.
I encourage you to try it all the time, particularly when playing rock or blues.
Note that this is not true in reverse i.e. if a piece is in C minor, the C major scale doesn't fit.
For more box positions checkout my 'Modes - Where?' page.
For seven top tips on improving your jamming and soloing checkout my 'Soloing & Jamming' page.
Related Posts:
Backing tracks
What is a scale?
How to work out scales?
Which chords to play?
The bottom horizontal line represents the bottom or sixth string, which is the thickest one. Each black circle indicates where to place a finger for each of the notes from the scale in question.
The asterix represents the start fret. For example, if you are to play using this box in the key of G, then your start fret would be the 3rd. Alternatively, if you moved everything up the neck by one tone (or two frets) then you would be in the key of A, at the fifth fret.
The notes with the lighter shading are root notes i.e. when in the key of G, they are G notes.
Below are nine boxes and two runs, numbered with the following key:
BOX 1 - Minor pentatonic scale, root note on 6th string
BOX 2 - Natural minor scale, root note on 6th string
BOX 3 - Minor pentatonic scale, root note on 5th string
BOX 4 - Natural minor scale, root note on 5th string
BOX 5 - Major scale, root on 6th string
BOX 6 - Major scale, root on 6th string (alternative fingering)
BOX 7 - Major scale, root on 5th string
BOX 8 - Major pentatonic scale, root on 5th string
BOX 9 - Mixolydian mode / scale, root on 6th string
BOX 10 - 'Blues' scale box, root on 6th string
Run One - Minor pentatonic
Run Two - Major pentatonic
Click here to download a PDF of all these boxes.
BOX 1
Minor pentatonic scale, root note on 6th string
BOX 2
Natural minor scale, root note on 6th string
BOX 3
BOX 4
BOX 5
BOX 6
Minor pentatonic scale, root note on 5th string
Natural minor scale, root note on 5th string
Major scale, root on 6th string
Major scale, root on 6th string (alternative fingering)
BOX 7
Major scale, root on 5th string
BOX 8
Major pentatonic scale, root on 5th string
BOX 9
Mixolydian mode scale, root on 6th string
BOX 10
'Blues' box, root on 6th string
RUN 1
Minor pentatonic run
RUN 2
Major pentatonic run
For modal scale boxes, see my 'Modes - Where are they?' tutorial.
You can also add this note to the natural minor scale, and on most occasions to any minor scale or run. Try using it often at first - and use your ears to decide whether or not it works.
Notes on where to use the boxes
C Major scale across the first 12 frets, showing location of boxes
We often use the key of C major for examples, as the lack of sharps / flats makes it easier to follow. I taught myself all this stuff in C major, then I just shifted everything up and / or down my neck for other keys.
If you've worked through my tutorials on 'How to work out scales', you will have the major, natural minor, minor pentatonic and major pentatonic scales in all 12 keys.
Place an asterix beside each scale that contains only 'natural' notes - no sharps or flats.
This will give you a series of scales which can all be played when in the key of C major (because it is the only major key with no sharps or flats).
This is what you end up with:
If you've worked through my tutorials on 'How to work out scales', you will have the major, natural minor, minor pentatonic and major pentatonic scales in all 12 keys.
Place an asterix beside each scale that contains only 'natural' notes - no sharps or flats.
This will give you a series of scales which can all be played when in the key of C major (because it is the only major key with no sharps or flats).
This is what you end up with:
If we equate these scales to the ten boxes and two runs shown above, we arrive at the following positions:
This gives us a lot of scope for moving around the fretboard, whilst only using notes from the C major scale.
NOTE: When in a major key you can obviously play the C major scale. However, you can also sometimes play the minor pentatonic scale at the same position. This is most apparent when playing the blues, and can confuse players into thinking that a piece is in a minor key, when in fact it's not.
As your ears improve, you'll be able to hear whether or not this can be done over a particular progression.
I encourage you to try it all the time, particularly when playing rock or blues.
Note that this is not true in reverse i.e. if a piece is in C minor, the C major scale doesn't fit.
For more box positions checkout my 'Modes - Where?' page.
For seven top tips on improving your jamming and soloing checkout my 'Soloing & Jamming' page.
Related Posts:
Backing tracks
What is a scale?
How to work out scales?
Which chords to play?
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