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In this last session series of Magnify, we will move the scale form based on octave 54 (scale form 54, C Major scale at the nut) up the board. Just as we can move the pentatonic scale shapes, we can do the same with Major scale patterns [or any closed system]. We first played the C Major scale in this session. We've moved the whole shape up one fret. What were opens are now 1 frets. The D♭ scale is in a fixed position in P1 [fingers match the fret numbers], unless we are using 3 tones per string. If 3 tones per string, we shift to P2 on the 2 string. As with any closed system, when we move it, it maintains its quality; its musical meaning. In this instance, all of the scale components are in the same relative position. 12 for 1 = movable to every position → 12 Major scales.
When we move this shape to these positions...the key is...It's good to take note that most of the enharmonic keys for the Majors, have flat names. The only key with 2, in this list, is F♯ (also G♭ - 6 sharps/6 flats). And, D♭ is C♯ (7 sharps) & B is C♭ (7 flats). Yet, we rarely, if ever, see D♭ & B written as C♯ & C♭. D♭ has 5 flats (better than 7 sharps), and B has 5 sharps (better than 7 flats). See the Circle of 5ths. We can refer to this scale as the scale form 54 (or the C scale form - since the root C is the lowest this shape can be moved -the scale pattern is a heel/origin). 54 = 5/4 = string the root is located / finger that starts the pattern]. For the key of C Major [the scale form, the heel], we can play this scale as a 5/3, since we don't have to fret the nut [the open strings]. And, we could start the scale in the higher versions with the 3 finger (Major root). This Major scale pattern lines up with frame 4 of the pentatonic system & the C CAGED form.
Reminder: this is a scaffolding process. Set it up – build, then 'remove' (move to pure knowledge). We first worked with the form in Easy Way to Move the C Form. We mentioned that the C form, like the G form, have a R-3 bass/base. This is in contrast to the E, A, & D forms which have a R-5 bass/base. This R-3 base in the C shape translates to a bunch of 5th-less movable chords (the 5th can be included on the 6 or 1 strings). We saw that we can move the C shape 'as is', in 3 different ways. We also saw that we can play a fully closed system which works in any/every strain-less position (inside 4 strings only). Let's now include string 1. And, we'll move it 2 frets to D. We don't bar the nut like this usually (in zero position), but by doing so, we can see how the fingering is built - how the architecture works.
3 String BarBar strings 1-2-3, or work a curve (2 points of pressure). For 2 points of pressure, this is a mental approach. We 'land' on the 3 & 1 strings with a thought: "tip-tip side edge". We target the tip on the 3 string and the side edge of the top knuck on the 1 string. We may pick up the 2 string (the tone could work if 2 finger wasn't fretting above it). Find your angle.
Names in Every PositionWhen we move this shape to these positions…the key is…
Using the P1 C Major scale, we can extract the 7 modes. In this position, the lowest tone is E, so this scale is sometimes referred to as the Phrygian pattern for C Major. We have choices for how we think about scale forms/patterns and what there names are. Just keep in mind that for any pattern, all of the derivative modes live within it. Over time, we develop our own organizational system which works best for our soloing frameworks. Example: my guitarist friend Joe always thinks of F Lydian when he sees G7. This is a thinking method (choice, personal preference) he's developed because he digs the results (sound, fingerings). We can think any way which suits our intent. And, only experience will build these types of views.