The 7 Fingerings of the Major Scale

First let’s get into the 7 fingerings of the major scale. You can look at the major scale as being the foundation from which all other scales are derived.

When you hear or see an explanation of a scale which includes a b3 or b7 it doesn’t mean the note itself is a flat but that the third or seventh is a half step lower then it would be in the major scale. So it’s a natural place to start.

So as not to drive myself crazy I will henceforth use the term “the forms” for the seven fingerings of the major scale. I like to call them forms because they fit together like pieces of a jig saw puzzle to create the entirety of the neck rather then a piecemeal approach that most methods teach that I always felt was limited.

Some people might look at what I call the forms like this: The “forms” of the major scale are essentially the modes. For example, Form 2 would be a Dorian mode on the second degree of the major scale.

In one sense that definition is accurate, as in form 1 is Ionian, form 2 is dorian, form 3 is phrygian etc. I intentionally do not call them modes because you can play any mode in any of the forms.

For example, it’s limiting to think you can only play dorian off of form 2, when you can play dorian literally in every form. The nature of the guitar is such that you can play the exact same note 6 different places, on 6 different strings ranging from the lowest frets to the very highest.

Compound that with the fact that every time you change the finger of your left hand to play the note, it puts you in a different position. Using the template of the 7 forms we can learn the modal patterns within each form.

This will give us the greatest flexibility in playing longer lines by connecting different positions and greater fluidity in playing through changes.

The major scale has 7 notes. 7 notes, 7 forms. Simple enough eh? The 7 forms are 7 fingerings which are movable because they contain no open string notes.

Essentially they are 7 inversions of the scale or key. The sequence of notes are generally called the degrees of the scale with the root being the first /1st degree and the other 6 following in order through the 7 letters of the musical alphabet. A B C D E F G.

C major: Notes C   D   E   F   G   A   B
Degrees             1    2   3    4   5    6   7

G major:  G   A   B   C   D   E   F#
Degrees    1   2    3   4    5   6    7

The forms match the degrees of the scale, as in form 1 starts on the root (first note) of the scale with the 1st or index finger of the left hand positioned on the 6th string. This is crucial to remember. All the forms begin with the 1st finger off the 6th string.

Form 2 starts off the 2nd degree, form 3 off the 3rd degree etc. thru the 7th degree/form which is followed by 1. The system always follows in sequence, 1, 2, 3, 4, 5, 6, 7,  1.

All this sounds pretty complicated I know. Trying to explain it with words is a lot harder than just showing you.

7 Forms

We will start learning the forms in 1 key. The key of F major. F is the lowest fretted note on the guitar and this system works best low to high so we start as low as you can go with F being the root or 1st degree starting with the first finger on the 6th string with form 1.

• Then play form 2 off the 2nd note of the scale, G on the 3rd fret 6th string with the 1st finger.
• Then play form 3 off the 3rd note of the scale, A on the 5th fret 6th string 1st finger.
• Then play form 4 off the 4th note of the scale, Bb on the 6th fret 6th string 1st finger.
• Then play form 5 off the 5th note of the scale, C on the 8th fret 6th string 1st finger.
• Then play form 6 off the 6th note of the scale, D on the 10th fret 6th string 1st finger.
• Then play form 7 off the 7th note of the scale, E on the 12th fret 6th string 1st finger.

It is very helpful to use a fretboard map of the key you’re dealing with so you can clearly see how the patterns fit together. Since we’re starting with F major I’m including a fretboard map in F help you see it.

F Major Fretboard Map

Basic rule of thumb is to practice with a metronome at a reasonably slow tempo and play the fingering both ascending and descending in the 3 subdivisions of eighth notes, eighth note triplets, and 16th notes.

Next step is playing all 7 forms off the same note. It could be any note but let’s do it off G on the 3rd fret, 6th string starting with the 1st finger play form 1 (ascending and descending). Then form 2, 3, 4, 5, 6, and 7.

Lastly take each form and play each chromatically up the neck starting from F. (Form 2 and form 6 will necessitate using open strings).

Play form 1 off F 1st finger 1st fret 6th string.

Then move up 1 fret and play form 1 off F# 1st finger 2nd fret.

Then move up 1 fret and play form 1 off G 1st finger 3rd fret.

Etc., etc. until you’ve played up till E on the 12th fret 6th string.

Do the same with 2.

Do the same with 3.

Do the same with 4.

Do the same with 5.

Do the same with 6.

Do the same with 7.

Peter Lerner

Peter Lerner has toured with Grammy award winning pianist Ramsey Lewis and has played duets on NBC and CBS with acclaimed trumpeter Orbert Davis. Peter has performed with Bill Russo’s Chicago Jazz Ensemble at the Jazz Showcase where he performed with such luminaries as Lee Konitz.