In music, the distance between two notes is called an interval. The first two kinds of intervals we are going to talk about are half-steps and whole-steps. A half-step is an interval equal to the distance of moving up one fret on the guitar. A whole-step is equal to the distance of two frets on the guitar. As an example, if we play the open G string, and then play the G# on the 1st fret of the same string, this would be the distance of a half-step.

A whole-step is an interval equal to the distance of two frets. A whole step up would be playing the open G string, and then play the A on the 2nd fret of the same string. This would be the distance of a whole-step. You can see the distances in whole steps between each note on the 3rd string below.

Combining Half-Steps and Whole-Steps Into Larger Intervals

We can also add half steps and whole steps together to create larger intervals. In the example below, you can see the distances between two notes measured in half steps. We start with a single half-step and whole-step and build larger intervals until we reach the same note as our starting note at a higher pitch, called the octave. Octaves are 12 half steps (or frets on the guitar) away from the original note, meaning that the open 3rd string G pitch is repeated an octave higher on the 12th fret of the same string.

**Larger Intervals In Half-Steps and Whole-Steps**

Although it is acceptable to label intervals with whole-steps and half-steps, it is more common to use shorthand names for each interval based on its numerical distance away from the note and its relationship to the Major Scale, which we will discuss in our next lesson. For example, a half-step interval is also known as a Minor 2nd (m2), while a whole-step is more commonly known as a Major 2nd (M2).

In the diagram below, you can see the names for each interval as well as. their distance in half-steps and whole-steps. These are shorthand labels for each interval distance.

**Intervals in Half-Steps and Whole Steps. Note the Octave is 6 Whole-Steps, or 12 half-steps away from the open string.**

Major Scales In The Open Position: Lesson 2
The Major Scale

The Major Scale

The Major Scale is the “D.N.A.” of western music. When we listen to a song, all of the notes we hear in the melody, and chords typically come from some form of the major scale. The major scale is created by sequencing whole-steps and half-steps in a specific formula until we reach the octave again the and sequence begins again.

The formula for a Major Scale is:

Whole-Step, Whole Step, Half-Step, Whole-Step, Whole-Step, Whole-Step.

By starting on any of our 12 notes (called the root of the scale) and following this formula, we can find the notes in any major scale. Observe the C Major Scale below with the whole-steps and half-steps. You will notice that when starting with the root note “C” we create a major scale that contains all 7 notes with no sharps or flats. Every major scale must contain one of every note, and only the root can be duplicated in the scale.

The C Major Scale is created by starting on the Root Note of “C” and following the major scale formula of Whole-Steps (W) and Half-Steps (H). Notice the distance between each note on the tablature staff.

Scale Degrees and Intervals in the Major Scale

Each of the 7 notes that make up the Major Scale is called a Scale Degree, this is indicated by its interval number and placement in the scale. For example, in a C major scale, the note “D” would be the Major 2nd of the scale, because it is the second note in the scale. The note “E” would be the Major 3rd as its distance away from the root is the same distance as two whole-steps, and it is the third note from the scale. This continues throughout the scale, as seen in the diagram below.

**The C Major Scale listed in both Intervals and Scale Degrees.**

Other Major Scales - Adding Sharps and Flats

Below, you will see the G Major Scale, as we are starting on a different root note, the notes in the G major scale will be different from the notes in the C Major Scale. If we start on the root note of G, and follow our major scale formula, we get the notes G, A, B, C, D, E, F#, and return to G to complete the scale.

Notice that the major scale formula required us to have a whole-step between the 6th and 7th scale degrees, so the F# was added to fit this formula. Every major scale will have a unique set of notes because of this formula.

**The G Major Scale listed in both Intervals and Scale Degrees. Note the F# on the 7th scale degree.**

Major Scales will either use sharps or flats to fit the major scale formula, but not both. This is how we label some scales as “sharp” scales or “flat” scales. In the

Below, you will see the F Major Scale, as we are starting on a different root note, the notes in the F major scale will be different from the notes in both the G major and C Major Scale. If we start on the root note of F, and follow our major scale formula, we get the notes F, G, A, Bb, C, D, E, and return to F to complete the scale.

**The F Major Scale listed in both Intervals and Scale Degrees. Note the Bb on the 4th scale degree.**

Notice that the major scale formula required us to have a half-step between the 3rd and 4th scale degrees, so the Bb was added to fit this formula. It would be incorrect to use the note “A#” in this case because every major scale needs to have one of every note, and can not have both “A” and “A#” in the same scale.

Major Scales in the Open Position: Lesson 3
Key Signatures

Key Signatures

When we use a major scale to compose a piece of music, that piece of music is considered to be “in the key” of that major scale. For example, if we compose a melody using the notes of a C major scale exclusively, that melody is in the “key” of C major.

The melody to “Mary Had A Little Lamb” in the key of C Major, starting on the 3rd of the scale (E) and ends on the root of the scale (C). Notice that all of the notes used in the melody belong to the C major scale.

If we transpose that melody to another major scale, we can hear the same melody, but using the notes of a different scale. Below, you will see the same melody line, but this time using the E Major Scale.

The melody to “Mary Had A Little Lamb” in the key of E Major, starting on the 3rd of the scale (G#) and ends on the root of the scale (E). Notice that all of the notes used in the melody belong to the E major scale (E, F#, G#, A, B, C#, D#, E)

As we learned with the major scale, using sharps and flats can alter the notes of the scale, and therefore the “key” of a song. In certain keys, certain sharps and flats are used frequently. In order to determine the key of a piece of music, and to save the composer from writing each sharp and flat in the music, a Key Signature is used to automatically raise or lower certain notes in the song. Each key has a unique key signature determined by the notes used in the major scale.

The D major scale, for example, contains the notes D, E, F#, G, A, B, and C#. By placing these two sharps at the beginning of the score, we know that we are playing a piece of music in the key of D major and that all the F notes and C notes written subsequently will be raised automatically to F# and C#. Notice that the sharps are written on the 5th line of the staff representing the note “F”, and 3rd space, which represents the note “C” to accurately indicate which notes are raised by the key signature.

Using Key Signatures

In the next example, you will see the D major scale written in two different ways. The first scale will indicate the individual sharps on each note of the scale, while the second example will use the key signature to designate which notes should be changed. Both of these scales should sound exactly the same, but are written differently.

Here, the D Major Scale is written with the sharps next to their respective notes.

Now, The D Major Scale is written with the Key Signature. Note the tablature locations of the notes in both examples are identical.

**The D Major Scale with the Key Signature.**

Sharp Keys

Flat Keys

Major Scales in the Open Position: Lesson 4
C Major Scale

C Major Scale In the Open Position

In this exercise, we will learn how to play a C major scale in the open position of the guitar. The C major scale contains the notes C, D, E, F, G, A, and B. When we play scales, it is important to use the correct finger for each fret, so we will use the same finger numbers as fret numbers for these scales. The 1st finger (index) will play the 1st fret, the 2nd finger (middle) will play the 2nd fret, the 3rd finger (ring) will play the 3rd fret, and the 4th finger (pinky) will play the 4th fret.

It is important to play each scale using alternate picking, with each note alternating between downstrokes and upstrokes, and using a metronome at a steady, moderate tempo.

Major Scales in the Open Position: Lesson 5
G Major Scale

G Major Scale In the Open Position

In this exercise, we will learn how to play a G major scale in the open position of the guitar. The G major scale contains the notes G, A, B, C, D, E, and F#. When we play scales, it is important to use the correct finger for each fret, so we will use the same finger numbers as fret numbers for these scales. The 1st finger (index) will play the 1st fret, the 2nd finger (middle) will play the 2nd fret, the 3rd finger (ring) will play the 3rd fret, and the 4th finger (pinky) will play the 4th fret.