Major scale
One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. They are particularly helpful for improvisation, and once they are memorized, they serve as an excellent aid to understand the visual and auditory relationships between intervals. Select a root note to see a list of box patterns for the major scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The major scale is one of the most used musical scales, being of central importance in the development of European music. It is made up of seven notes, with the eight duplicating the first at the double of frequency. The intervallic structure of the major scale is given as w, w, h, w, w, w, h, (h meaning half a tone and w meaning a whole tone). Thus, it follows that the major scale of C is made up of all natural notes, making it the easiest scale to write.
The relative minor of a major scale starts down a minor third, and uses the same key signature. For example, G major and E minor use the same key signature. The major scale corresponds to the Ionan mode (as originally classified by Heinrich Glarean in the sixteenth century). In musical languages that make use of an extensive number of scales, the term 'major scale' is used broadly when referring to any scale whose first, third, and fifth degree form a major triad.
C major
The C major scale is the archetypal example of a major scale. It is made up of all the natural notes (the white notes of the piano), thus being the easiest scale to write and read. The relative minor scale of C major is A minor. The notes that make up the C major scale (also the C Ionian mode) are the same ones used for the D doric mode, E phrygian, F lydian, G mixolydian, A aeolian (or minor), and B locrian.
Below you will find the seven shapes that you can use to play the C major scale on your guitar. You will also find a table of chords you can use with the C major scale, together with their harmonic function.
C major Pattern I |
C major Pattern II |
C major Pattern III |
C major Pattern IV |
C major Pattern V |
C major Pattern VI |
C major Pattern VII |
The following chords can be played when using the C major scale.
IC I7C7 iiDm II7D7 ii7b5Dm7b5 iiiEm III7E7 bIIIEb IVF ii7b5/iiiF#m7b5 ivFm VG V7G7 vGm viAm VI7A7 bVIAb viiBdim vii7b5Bm7b5 bVIIBb
C#/Db major
The D flat major scale has five flats (Db, Eb, Gb, Ab, and Bb) and, because of this, it is not a very common choice to play or write guitar music in this key: guitar pieces (as well as most pieces for string instruments) are usually written considering the resonance of the instrument and the comfort of the player. There are no open strings on D flat major, thus making it an uncommon key for the guitar.
Still, D flat major is a far more used key than its enharmonic counterpart C sharp major, consisting of seven sharps as opposed to five flats. D flat major has been widely used in piano music (especially since the romantic period), as they black keys of the piano correspond to the flats in the scale, allowing an easy fingering.
The relative minor scale of D flat major is Bflat minor. Its parallel is D flat minor, usually replaced with C sharp minor for easier writing. We can see an example of this in Chopin's Prelude in D flat major, where writes a middle section in the parallel minor, using the enharmonic equivalent C sharp minor.
The notes that make up the D flat major scale are the same ones used for the Eb doric mode, F phrygian, Gb lydian, Ab mixolydian, Bb aeolian (or minor), and C locrian.
Below you will find the seven shapes that you can use to play the D flat major scale on your guitar. You will also find a table of chords you can use with the D flat major scale, together with their harmonic function.
D flat major Pattern I |
D flat major Pattern II |
D flat major Pattern III |
D flat major Pattern IV |
D flat major Pattern V |
D flat major Pattern VI |
D flat major Pattern VII |
The following chords can be played when using the D flat major scale.
IDb I7Db7 iiEbm II7Eb7 ii7b5Ebm7b5 iiiFm III7F7 bIIIE IVGb ii7b5/iiiGm7b5 ivGbm VAb V7Ab7 vAbm viBbm VI7Bb7 bVIA viiCdim vii7b5Cm7b5 bVIIB
D major
The scale of D major has two sharps (F# and C#), and it is frequently used for guitar music. It is well suited to strings instruments in general, given that almost all of them are tuned with their open strings in pitches corresponding to the notes of the scale. This favors sympathetic resonance and makes for a brighter sound. In guitar music, it is common to drop the low E string to D: this eases some fingerings, and it creates the possibility of playing D chords with a powerful, resounding fifth between the lower strings of the instruments. It is also common to lower the G string to an F#. A significant number of string-based pieces has been written in the key of D, such as Mozart's second violin concerto, or Beethoven's violin concerto.
The relative minor of D major is B minor, and its parallel minor key is D minor. The notes that make up the D majorscale are the same ones used for the E doric mode, F# phrygian, G lydian, A mixolydian, B aeolian (or minor), and C# locrian.
Below you will find the seven shapes that you can use to play the D major scale on your guitar. You will also find a table of chords you can use with the D major, toghether with their harmonic function.
D major Pattern I | |
D major Pattern II | |
D major Pattern III | |
D major Pattern IV | |
D major Pattern V | |
D major Pattern VI | |
D major Pattern VII |
The following chords can be played when using the D major scale.
ID I7D7 iiEm II7E7 ii7b5Em7b5 iiiF#m III7F#7 bIIIF IVG ii7b5/iiiG#m7b5 ivGm VA V7A7 vAm viBm VI7B7 bVIBb viiC#dim vii7b5C#m7b5 bVIIC
D#/Eb major
The E flat major scale has three flats, and it is not used often in classical guitar music, though it can be indirectly achieved by playing music in they key of E using a half-step down tuning (a common practice in some genres of popular music, often used to accomodate singers). In classical music, they key of E flat major is often associated with heroic qualities, mainly due to the possibilities it offers in brass writing, and Beethoven's use of it in his Eroica Symphony.
The relative minor scale of E flat major is C minor. The notes that make up the E flat major scale are the same ones used for the F doric mode, G phrygian, A flat lydian, Bb flat mixolydian, C aeolian (or minor), and D locrian.
Below you will find the seven shapes that you can use to play the E flat major scale on your guitar. You will also find a table of chords you can use with the E flat major, toghether with their harmonic function.
Eb major Pattern I |
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Eb major Pattern II |
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Eb major Pattern III |
Eb major Pattern IV |
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Eb major Pattern V |
Eb major Pattern VI |
Ebv major Pattern VII |
The following chords can be played when using the Eb major scale.
IEb I7Eb7 iiFm II7F7 ii7b5Fm7b5 iiiGm III7G7 bIIIGb IVAb ii7b5/iiiAm7b5 ivAbm VBb V7Bb7 vBbm viCm VI7C7 bVIB viiDdim vii7b5Dm7b5 bVIIDb
E major
The E major scale has four sharps notes (F#, G#, C#, and D#) and it is extremely well suited for the guitar due to the easy fingerings of the chords most commonly employed with it. With the lowest note of the guitar being E, it allows for powerful tonic chords and an easy use of pedal notes. Other strings instruments also benefit from this key.
The relative minor scale of E major is C# minor. The notes that make up the E major scale are the same ones used for the F# doric mode, G# phrygian, A lydian, B mixolydian, C# aeolian (or minor), and D# locrian.
Below you will find the seven shapes that you can use to play the E major scale on your guitar. You will also find a table of chords you can use with the E major scale, together with their harmonic function.
E major Pattern I |
E major Pattern II |
E major Pattern III |
E major Pattern IV |
E major Pattern V |
E major Pattern VI |
E major Pattern VII |
The following chords can be played when using the E major scale.
IE I7E7 iiF#m II7F#7 ii7b5F#m7b5 iiiG#m III7G#7 bIIIG IVA ii7b5/iiiA#m7b5 ivAm VB V7B7 vBm viC#m VI7C#7 bVIC viiD#dim vii7b5D#m7b5 bVIID
F major
The F major scale has only one flat note (Bb), making it one of the easiest scales for beginners. It is frequently found in guitar music. The relative minor scale of F major is D minor. The notes that make up the F major scale are the same ones used for the G doric mode, A phyrigian, Bb lydian, C mixolydian, D aeolian, and E locrian.
Below you will find the seven shapes that you can use to play the F major scale on your guitar. You will also find a table of chords you can use with the F major scale, together with their harmonic function.
F major Pattern I |
F major Pattern II |
F major Pattern III |
F major Pattern IV | |
F major Pattern V |
F major Pattern VI |
F major Pattern VII |
The following chords can be played when using the F major scale.
IF I7F7 iiGm II7G7 ii7b5Gm7b5 iiiAm III7A7 bIIIAb IVBb ii7b5/iiiBm7b5 ivBbm VC V7C7 vCm viDm VI7D7 bVIDb viiEdim vii7b5Em7b5 bVIIEb
F#/Gb major
The F sharp major scale has six sharps (F#, G#, A#, C#, D#, and E#), the same amount of flats its enharmonic equivalent -G flat major- has (Gb, Ab, Bb, Cb, Db, Eb). Neither of these keys is regularly used in guitar music: guitar pieces (as well as most pieces for string instruments) are usually written considering the resonance of the instrument and the comfort of the player. Neither is used in orchestral music regularly either. It is an acceptable key for piano pieces, given its easy fingering.
The relative minor scale of F# major (Gb major) is D# minor (Eb minor). The notes that make up the scale are the same ones used for the G# doric mode, Bb phrygian, B lydian, C# mixolydian, and F locrian.
Below you will find the seven shapes that you can use to play the F# major scale on your guitar. You will also find a table of chords you can use with the F# major scale, together with their harmonic function.
F# major Pattern I |
F# major Pattern II |
F# major Pattern III |
F# major Pattern IV |
F# major Pattern V |
F# major Pattern VI |
F# major Pattern VII |
The following chords can be played when using the F# major scale.
IF# I7F#7 iiG#m II7G#7 ii7b5G#m7b5 iiiBbm III7Bb7 bIIIA IVB ii7b5/iiiCm7b5 ivBm VC# V7C#7 vC#m viD#m VI7Eb7 bVID viiFdim vii7b5Fm7b5 bVIIE
G major
The G major scale has only one sharp (F#), and it is one of the most frequently used keys for both academic and popular music. This is partly because of its ease of playing in both keyboard and stringed instruments: in the guitar, mandolin, banjo, violin, etc. most of the strings are notes of the scale when played open. The easiest chords to play in the guitar are the ones mainly used in the keys of G and C major.
The relative minor scale of G major is E minor. The notes that make up the G major scale are the same ones used for the A doric mode, B phrygian, C lydian, D mixolydian, E aeolian (or minor), and F# locrian. Below you will find the seven shapes that you can use to play the G major scale on your guitar. You will also find a table of chords you can use with the G major scale, together with their harmonic function.
G major Pattern I |
G major Pattern II |
G major Pattern III |
G major Pattern IV | |
G major Pattern V |
G major Pattern VI |
G major Pattern VII |
The following chords can be played when using the G major scale.
IG I7G7 iiAm II7A7 ii7b5Am7b5 iiiBm III7B7 bIIIBb IVC ii7b5/iiiC#m7b5 ivCm VD V7D7 vDm viEm VI7E7 bVIEb viiF#dim vii7b5F#m7b5 bVIIF
G#/Ab major
The A flat major scale has four flats (Ab, Bb, Db, and Eb), and it is not used often in classical guitar music. It is far more common in classical piano and orchestral music, being, for example, one of Chopin's favorite keys. The relative minor scale of A flat major is F minor. The notes that make up the A flat major scale are the same ones used for the B flat dorian mode, C phrygian, D flat lydian, E flat mixolydian, F aeolian, and G locrian.
Below you will find the seven shapes that you can use to play the A flat major scale on your guitar. You will also find a table of chords you can use with the A flat major scale, together with their harmonic function.
Ab major Pattern I |
Ab major Pattern II |
Ab major Pattern III |
Ab major Pattern IV | |
Ab major Pattern V |
Ab major Pattern VI |
Ab major Pattern VII |
The following chords can be played when using the A flat major scale.
IAb I7Ab7 iiBbm II7Bb7 ii7b5Bbm7b5 iiiCm III7C7 bIIIB IVDb ii7b5/iiiDm7b5 ivDbm VEb V7Eb7 vEbm viFm VI7F7 bVIE viiGdim vii7b5Gm7b5 bVIIGb
A major
The A major scale has three sharps (C#, F#, and G#) and it is a scale very well suited for guitar music, given that its first, second, third, fourth, and fifth degree are open strings (actually conforming a pentatonic scale, which can be considered to be a sort of structural basis for the major scale).
The relative minor scale of A major is C# minor. The notes that make up the A major scale are the same ones used for the B doric mode, C# phrygian, D lydian, E mixolydian, F# aeolian (or minor), and G# locrian. Below you will find the seven shapes that you can use to play the A major scale on your guitar. You will also find a table of chords you can use with the A major scale, together with their harmonic function.
A major Pattern I |
A major Pattern II | |
A major Pattern III |
A major Pattern IV |
A major Pattern V | |
A major Pattern VI | |
A major Pattern VII | |
The following chords can be played when using the A major scale.
IA I7A7 iiBm II7B7 ii7b5Bm7b5 iiiC#m III7C#7 bIIIC IVD ii7b5/iiiD#m7b5 ivDm VE V7E7 vEm viF#m VI7F#7 bVIF viiG#dim vii7b5G#m7b5 bVIIG
A#/Bb major
The Bb major scale has two flats (Bb and Eb). Even though three open strings are notes of the scale, it is not so commonly used in guitar music, the main reasons being that most of the fundamental chords used for music in Bb would require a barred position. The most usual way of playing in B flat major in the guitar is to use a capo on the first fret and play as in the key of A major.
The relative minor scale of Bb major is G minor. The notes that make up the Bb major scale are the same ones used for the C doric mode, D phrygian, Eb lydian, F mixolydian, G aeolian (or minor), and A locrian. Below you will find the seven shapes that you can use to play the Bb major scale. You will also find a table of chords you can use with the Bb major scale, together with their harmonic function.
Bb major Pattern I |
Bb major Pattern II |
Bb major Pattern III |
Bb major Pattern IV | |
Bb major Pattern V |
Bb major Pattern VI |
Bb major Pattern VII |
The following chords can be played when using the Bb major scale.
IBb I7Bb7 iiCm7 II7C7 ii7b5Cm7b5 iiiDm III7D7 bIIIDb IVEb ii7b5/iiiEm7b5 ivEbm VF V7F7 vFm7 viGm VI7G7 bVIGb viiAdim vii7b5Am7b5 bVIIAb
B major
The B major scale has five sharps (C#, D#, F#, G#, and A#), and it is found with some frequency in guitar music, though not as often as E major. B major was considered by Chopin to be the easiest scale for the piano in terms of fingering, and taught it even before the C major scale.
The relative minor of B majoris G# minor. The notes that make up the B major scale are the same ones used for the C# doric mode, D# phrygian, E lydian, F# mixolydian, G# aeolian (or minor), and A# locrian. Below you will find the seven shapes that you can use to play the B major scale on your guitar. You will also find a table of chords you can use with the B major scale, together with their harmonic function.
B major Pattern I |
B major Pattern II |
B major Pattern III |
B major Pattern IV | |
B major Pattern V |
B major Pattern VI |
B major Pattern VII |
The following chords can be played when using the B major scale.
IB I7B7 iiC#m II7C# ii7b5C#m7b5 iiiD#m III7D#7 bIIID IVE ii7b5/iiiFm7b5 ivEm VF# V7F#7 vF#m viG#m VI7G#7 bVIG viiA#dim vii7b5A#m7b5 bVIIA
Minor Scale
One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. They are particularly helpful for improvisation, and once they are memorized, they serve as an excellent aid to understand the visual and auditory relationships between intervals. Select a root note to see a list of box patterns for the minor scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The minor scale is one the most used scales in western music. The term minor scale is quite broad, as it may encompass different variations of what we know as the natural minor scale, or Aeolian scale (as it corresponds to the Aeolian mode according to the modern system of modes). This scale features the intervallic pattern: WHWWHWW (with W meaning whole tone and H meaning half-tone), which corresponds to all the white keys of the piano when played from any A to its octave. If a minor scale and a major scale share a key signature, they are relative keys. Basically, a minor scale has the same notes as its relative major, just starting a sixth above (or a third below).
The harmonic and melodic versions of the minor scale arose as variations on the natural scale, the first to create a leading note for harmonic purposes, and the second to compensate the dissonant interval this new leading tone creating in the melodic runs of the scale.
In a broader sense, the name minor is used for any scale that features a minor third, whether it be the Dorian or Phrygian mode.
C minor
The C minor scale has only three flat notes (Bb, Eb, and Ab), and it is not often used in classical guitar music. It has been historically associated with Beethoven and the musical depictions of heroic struggle.
The relative major scale of C minoris E flat major. The notes that make up the C minor scale are the same ones used for the F doric mode, G phyrigian, Ab lydian, Bb mixolydian, and D locrian. Below you will find the seven shapes that you can use to play the C minor scale on your guitar. You will also find a table of chords you can use with the C minor scale, together with their harmonic function.
C minor Pattern I |
C minor Pattern II |
C minor Pattern III |
C minor Pattern IV |
C minor Pattern V |
C minor Pattern VI |
C minor Pattern VII |
ICm I7C7 ii7b5Dm7b5 II7D7 IIIEb III7Eb7 ivFm IVF #iv°F#° V(7)G(7) vGm VIAb #vi7b5Am7b5 VIIBb vii°7B°7
C#/Db minor
The C sharp minor scale has three sharps (F#, C#, and G#), and it is sometimes found in classical guitar literature. Its relative major, E major, is one of the most used scales in guitar writing, so it's only natural that works contain fragments in C sharp minor. However, it is not among the most common keys in orchestral and piano writing. In some genres of popular music, guitarists will tune their guitars half a step down (either from standard or dropped tunnings), in order to accommodate singers. Thus, a work played as in D minor may actually sound in C sharp minor. It should be noted that it's enharmonic scale, D flat minor, is almost never used as it is impractical for reading and writing.
The notes that make up the C sharp minor scale are the same ones used for the F# doric mode, G# phrygian, A lydian, B mixolydian, E ionian (or major), and D# locrian. Below you will find the seven shapes that you can use to play the C sharp minor scale on your guitar. You will also find a table of chords you can use with the C sharp minor scale, together with their harmonic function.
C# minor Pattern I |
C# minor Pattern II |
C# minor Pattern III |
C# minor Pattern IV |
C# minor Pattern V |
C# minor Pattern VI |
C# minor Pattern VII |
The following chords can be played when using the C# minor scale.
IC#m I7C#7 ii7b5D#m7b5 II7D#7 IIIE III7E7 ivF#m IVF# #iv°G° V(7)G#(7) vG#m VIA #vi7b5A#m7b5 VIIB vii°7C°7
D minor
The D minor scale has only one flat note (Bb), and it is very well suited for guitar writing. Popular scordaturas for the guitar include dropping the low E string to D (thus making possible a very resounding D minor chord, as well as easing fingerings), or dropping all the strings a tone lower (thus making it possible to play in E minor, the most practical key, and sound in D minor). Other stringed instruments may benefit from the key also.
Outside guitar music D minor has been widely used, even being the home key of Beethoven's longest symphony. Sclarlatti wrote about 32 of his 151 minor key-sonatas in D minor, and they often borrow mannerisms from the guitar music of the period. The relative minor scale of D minoris F major. The notes that make up the D minor scale are the same ones used for the G doric mode, A phyrigian, Bb lydian, C mixolydian, D aeolian, and E locrian.
Below you will find the seven shapes that you can use to play the D minor scale on your guitar. You will also find a table of chords you can use with the D minor scale, together with their harmonic function.
D minor Pattern I |
D minor Pattern II |
D minor Pattern III |
D minor Pattern IV |
D minor Pattern V |
D minor Pattern VI |
D minor Pattern VII |
The following chords can be played when using the D minor scale.
IDm I7D7 ii7b5Em7b5 II7E7 IIIF III7F7 ivGm IVG #iv°G#° V(7)A(7) vAm VIBb #vi7b5Bm7b5 VIIC vii°7C#°7
D#/Eb minor
The E flat minor scale has six flats (Eb, Gb, Ab, Bb, Cb, and Db) and it isn't regularly found in classical guitar music, with composers choosing instead the neighboring (and far better suited for fingering and resonance) keys of D minor and E minor. Some genres of popular music, however, have a tradition of tuning the guitars half a step down in order to accommodate singers, so its common to find pieces played as in E minor and sounding in E flat minor instead.
They key of E flat minor is used with frequency in classical Russian piano tradition. It is also favored by jazz and blues musicians, as it allows for really easy fingerings in pentatonic scales. The relative major scale of E flat minor is G flat major. The notes that make up the scale are the same ones used for the G# doric mode, Bb phrygian, B lydian, C# mixolydian, and F locrian. It should be noted that E flat minor is favored over D sharp minor for its practicality in woodwind writing.
Below you will find the seven shapes that you can use to play the E flat minor scale on your guitar. You will also find a table of chords you can use with the E flat minor scale, together with their harmonic function.
Eb minor Pattern I |
Eb minor Pattern II |
Eb minor Pattern III |
Eb minor Pattern IV |
Eb minor Pattern V |
Eb minor Pattern VI |
Eb minor Pattern VII |
The following chords can be played when using the Eb minor scale.
IEbm I7Eb7 ii7b5Fm7b5 II7F7 IIIGb III7Gb7 ivAbm IVAb #iv°A° V(7)Bb(7) vBbm VICb #vi7b5C#7b5 VIIDb vii°7D°7
E minor
The E minor scale has only one sharp note (F#) and it is one of the most used scales in both the classical and popular guitar repertoires, as it is a very natural key for the instrument: four of the guitar's open strings are part of the tonic chord.
The relative major scale of E minor major is G major. The notes that make up the E minor scale are the same ones used for the A doric mode, B phrygian, C lydian, D mixolydian, and F# locrian. Below you will find the seven shapes that you can use to play the E minor scale on your guitar. You will also find a table of chords you can use with the E minor scale, together with their harmonic function.
E minor Pattern I |
E minor Pattern II |
E minor Pattern III |
E minor Pattern IV |
E minor Pattern V |
E minor Pattern VI |
E minor Pattern VII |
The following chords can be played when using the E minor scale.
IEm I7E7 ii7b5F#m7b5 II7F#7 IIIG III7G7 ivAm IVA #iv°A#° V(7)B(7) vBm VIC #vi7b5C#m7b5 VIID vii°7D#°7
F minor
The F minor scale has four flat notes (Ab, Bb, Db, and Eb), and it is not often found in the classical guitar repertoire, though it is an extremely popular key for piano writing, particularly from the romantic era (when it was associated with passionate feelings). Sometimes the key of F minor is achieved in the guitar by playing as in E minor with a capo placed in the first fret, a common practice to accommodate singers. The relative minor scale of F minor major is Ab major. The notes that make up the F minor scale are the same ones used for theB flat dorian mode, C phrygian, D flat lydian, E flat mixolydian, and G locrian.
Below you will find the seven shapes that you can use to play the F minor scale on your guitar. You will also find a table of chords you can use with the F minor scale, together with their harmonic function.
F minor Pattern I |
F minor Pattern II |
F minor Pattern III |
F minor Pattern IV |
F minor Pattern V |
F minor Pattern VI |
F minor Pattern VII |
The following chords can be played when using the F minor scale.
IFm I7F7 ii7b5Gm7b5 II7G7 IIIAb III7Ab7 ivBbm IVBb #iv°B° V(7)C(7) vCm VIDb #vi7b5Dm7b5 VIIEb vii°7E°7
F#/Gb minor
The F sharp minor scale has three sharps (F#, G#, and C#) and it is usually found in popular guitar pieces (not so often in classical repertoire), as it is the relative minor of A major, a very natural scale for guitar writing. The notes that make up the F sharp minor scale are the same ones used for the B doric mode, C# phrygian, D lydian, E mixolydian, F# aeolian (or minor), and G# locrian. It should be noted that it's enharmonic scale, G flat minor, is almost never used as it is impractical for reading and writing.
Below you will find the seven shapes that you can use to play the F sharp minor scale on your guitar. You will also find a table of chords you can use with the F sharp minor scale, together with their harmonic function.
F# minor Pattern I |
F# minor Pattern II |
F# minor Pattern III |
F# minor Pattern IV |
F# minor Pattern V |
F# minor Pattern VI |
F# minor Pattern VII |
The following chords can be played when using the F# minor scale.
IF#m I7F7 ii7b5G#m7b5 II7G7 IIIA III7A7 ivBm IVB #iv°C° V(7)C#(7) vC#m VID #vi7b5D#m7b5 VIIE vii°7F°7
G minor
The G minor scale has two flats (Eb, and Bb), and it is seldom used in classical guitar pieces. Since the classical period it has been associated with sadness (mainly due to Mozart's use of it). The relative minor scale of G minor is Bb major. The notes that make up the G minor scale are the same ones used for the C doric mode, D phrygian, Eb lydian, F mixolydian, and A locrian.
Below you will find the seven shapes that you can use to play the G minor scale on your guitar. You will also find a table of chords you can use with the G minor scale, together with their harmonic function.
G minor Pattern I |
G minor Pattern II |
G minor Pattern III |
G minor Pattern IV |
G minor Pattern V |
G minor Pattern VI |
G minor Pattern VII |
The following chords can be played when using the G minor scale.
IGm I7G7 ii7b5Am7b5 II7A7 IIIBb III7Bb7 ivCm IVC #iv°C#° V(7)D(7) vDm VIEb #vi7b5Em7b5 VIIF vii°7F#°7
G#/Ab minor
The G sharp minor scale has four sharps (F#, G#, C#, and D#) and it is not common to use it in guitar writing. It is sometimes achieved by playing as in A minor in a guitar tuned down half a step, a practice used in some styles to accommodate singers. The relative minor scale of G sharp minor is B major. The notes that make up the G sharp minor scale are the same ones used for the C# doric mode, D# phrygian, E lydian, F# mixolydian, G# aeolian (or minor), and A# locrian. It should be noted that it's enharmonic scale, A flat flat minor, is not so commonly used as it is impractical for reading and writing.
Below you will find the seven shapes that you can use to play the G sharp minor scale on your guitar. You will also find a table of chords you can use with the G sharp minor scale, together with their harmonic function.
G# minor Pattern I |
G# minor Pattern II |
G# minor Pattern III |
G# minor Pattern IV |
G# minor Pattern V |
G# minor Pattern VI |
G# minor Pattern VII |
The following chords can be played when using the G# minor scale.
IG#m I7G#7 ii7b5A#m7b5 II7A#7 IIIB III7B7 ivC#m IVC# #iv°D° V(7)D#(7) vD#m VIE #vi7b5Fm7b5 VIIF# vii°7G°7
A minor
The A minor scale is the archetypal example of a minor scale. It is made up of all the natural notes (the white notes of the piano), thus being the easiest scale to write and read. It is also one of the most used keys in both classical and popular guitar pieces. The relative major scale of A minor is C major. The notes that make up the A minor scale (also the A aeolian) are the same ones used for the D doric mode, E phrygian, F lydian, G mixolydian, C ionian, and B locrian.
Below you will find the seven shapes that you can use to play the A minor scale on your guitar. You will also find a table of chords you can use with the A minor scale, together with their harmonic function.
A minor Pattern I |
A minor Pattern II |
A minor Pattern III |
A minor Pattern IV |
A minor Pattern V |
A minor Pattern VI |
A minor Pattern VII |
The following chords can be played when using the A minor scale.
IAm I7A7 ii7b5Bm7b5 II7B7 IIIC III7C7 ivDm IVD #iv°D#° V(7)E(7) vEm VIF #vi7b5F#m7b5 VIIG vii°7G#°7
A#/Bb minor
The B flat minor scale has five flat notes (Bb, Db, Eb, Gb, and Ab), and it is not a common key for guitar pieces, though it can be indirectly achieved by playing in B minor with the strings tuned a half step down, or playing in A minor with a capo in the first fret. It is usually considered a dark and moody key. It should be noted that it's enharmonic scale, A sharp minor, is almost never used as it is impractical for reading and writing.
The relative major scale of B flat minor is D flat major. The notes that make up the B flat minor scale are the same ones used for the Eb doric mode, F phrygian, Gb lydian, Ab mixolydian, Bb aeolian (or minor), and C locrian. Below you will find the seven shapes that you can use to play the B flat minor scale on your guitar. You will also find a table of chords you can use with the B flat minor scale, together with their harmonic function.
Bb minor Pattern I |
Bb minor Pattern II |
Bb minor Pattern III |
Bb minor Pattern IV |
Bb minor Pattern V |
Bb minor Pattern VI |
Bb minor Pattern VII |
The following chords can be played when using the Bb minor scale.
IBbm I7Bb7 ii7b5Cm7b5 II7C7 IIIDb III7Db7 ivEbm IVEb #iv°E° V(7)F(7) vFm VIGb #vi7b5Gm7b5 VIIAb vii°7A°7
B minor
The B minor scale has two sharps (C# and F#) and it is usually found in classical guitar music, though not as frequently as E and A minor. The relative minor scale of B minor is D major. The notes that make up the B minor scale are the same ones used for theE doric mode, F# phrygian, G lydian, A mixolydian, and C# locrian.
Below you will find the seven shapes that you can use to play the B minor scale on your guitar. You will also find a table of chords you can use with the B minor scale, together with their harmonic function.
B minor Pattern I |
B minor Pattern II |
B minor Pattern III |
B minor Pattern IV |
B minor Pattern V |
B minor Pattern VI |
B minor Pattern VII |
The following chords can be played when using the B minor scale.
IBm I7B7 ii7b5C#m7b5 II7C#7 IIID III7D7 ivEm IVE #iv°F° V(7)F#(7) vF#m VIG #vi7b5G#m7b5 VIIA vii°7A#°7
Harmonic Minor Scale
One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. Once the patterns for the natural minor scale have been memorized, raising the seventh degree by one semitone (that is, playing the note that comes before the tonic one fret higher) will give the harmonic minor scale as a result. This will create some fingering differences: below you'll find the graphic representation of all the box patterns for the harmonic minor scale in every key. Select a root note to see a list of box patterns for the harmonic minor scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The harmonic minor scale is one of the possible variations of the natural minor scale, in which the seventh degree is raised by one semitone. This makes the seventh degree into a leading tone for the tonic, and also transforms the otherwise minor V chord of the minor scale into a major chord. The scale is so named because this alteration is a common foundation for harmonies used in a minor key: besides making the V chord into a major chord, it may be used to transform the VII into a diminished chord and the IIi into an augmented chord.
The raising of the seventh degree creates a one-and-a-half-tone interval from the sixth to the seventh degree of the scale, thus giving the scale runs a sonority that was deemed harsh in the common practice period. Maybe for this reason the scale hasn't seen much melodic uses when it comes to classical academic music. In modern music, the augmented interval has been sometimes exploited in order to create an eastern, exotic feeling, due to the scale's rough similarity with the Hijaz jins and Nahawand-Hijaz arabic scales. The so called Hungarian scale is also similar, but with an raised fourth degree (making for an even tenser sound, with the addition of other augment interval).
C minor (harmonic)
C harmonic Pattern I |
C harmonic Pattern II |
C harmonic Pattern III |
C harmonic Pattern IV |
C harmonic Pattern V |
C harmonic Pattern VI |
C harmonic Pattern VII |
C#/Db minor (harmonic)
C# harmonic Pattern I |
C# harmonic Pattern II |
C# harmonic Pattern III |
C# harmonic Pattern IV |
C# harmonic Pattern V |
C# harmonic Pattern VI |
C# harmonic Pattern VII |
D minor (harmonic)
D harmonic Pattern I |
D harmonic Pattern II |
D harmonic Pattern III |
D harmonic Pattern IV |
D harmonic Pattern V |
D harmonic Pattern VI |
D harmonic Pattern VII |
D#/Eb minor (harmonic)
Eb harmonic Pattern I |
Eb harmonic Pattern II |
Eb harmonic Pattern III |
Eb harmonic Pattern IV |
Eb harmonic Pattern V |
Eb harmonic Pattern VI |
Eb harmonic Pattern VII |
E minor (harmonic)
E harmonic Pattern I |
E harmonic Pattern II |
E harmonic Pattern III |
E harmonic Pattern IV |
E harmonic Pattern V |
E harmonic Pattern VI |
E harmonic Pattern VII |
F minor (harmonic)
F harmonic Pattern I |
F harmonic Pattern II |
F harmonic Pattern III |
F harmonic Pattern IV |
F harmonic Pattern V |
F harmonic Pattern VI |
F harmonic Pattern VII |
F#/Gb minor (harmonic)
F# harmonic Pattern I |
F# harmonic Pattern II |
F# harmonic Pattern III |
F# harmonic Pattern IV |
F# harmonic Pattern V |
F# harmonic Pattern VI |
F# harmonic Pattern VII |
G minor (harmonic)
G harmonic Pattern I |
G harmonic Pattern II |
G harmonic Pattern III |
G harmonic Pattern IV |
G harmonic Pattern V |
G harmonic Pattern VI |
G harmonic Pattern VII |
G#/Ab minor (harmonic)
Ab harmonic Pattern I |
Ab harmonic Pattern II |
Ab harmonic Pattern III |
Ab harmonic Pattern IV |
Ab harmonic Pattern V |
Ab harmonic Pattern VI |
Ab harmonic Pattern VII |
A minor (harmonic)
A harmonic Pattern I |
A harmonic Pattern II |
A harmonic Pattern III |
A harmonic Pattern IV |
A harmonic Pattern V |
A harmonic Pattern VI |
A harmonic Pattern VII |
A#/Bb minor (harmonic)
Bb harmonic Pattern I |
Bb harmonic Pattern II |
Bb harmonic Pattern III |
Bb harmonic Pattern IV |
Bb harmonic Pattern V |
Bb harmonic Pattern VI |
Bb harmonic Pattern VII |
B minor (harmonic)
B harmonic Pattern I |
B harmonic Pattern II |
B harmonic Pattern III |
B harmonic Pattern IV |
B harmonic Pattern V |
B harmonic Pattern VI |
B harmonic Pattern VII |
Melodic Minor Scale
One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. Once the patterns for the natural minor scale have been memorized, raising the sixth and seventh degrees by one semitone (that is, playing them one fret higher) will give the melodic minor scale as a result.
This will create some fingering differences: below you'll find the graphic representation of all the box patterns for the harmonic minor scale in every key. Select a root note to see a list of box patterns for the harmonic minor scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The melodic minor scale is a variation of the natural minor scale in which the sixth and seventh degrees are raised. The harmonic minor makes use of the raised seventh degree in order to create a leading tone to the tonic, but as a consequence, an augmented second interval appears between the sixth and seventh degrees. Common practice composers found this to be a generally harsh sounding leap when it came to melodies, and some considered it unnatural for vocal music. This eventually led to the rising of the sixth degree in order to reduce the interval. Thus, the melodic minor scale's status as a real scale is debatable, as some consider it like a mere variation employed for melody constructing purposes.
The rising of the sixth degree makes the second tetrachord of the scale identical to that of a major scale. It also opens the door to the use of the major IV chord, as well as the half-diminished raised VI chord.
C minor (melodic)
C melodic Pattern I |
C melodic Pattern II |
C melodic Pattern III |
C melodic Pattern IV |
C melodic Pattern V |
C melodic Pattern VI |
C melodic Pattern VII |
C#/Db minor (melodic)
C# melodic Pattern I |
C# melodic Pattern II |
C# melodic Pattern III |
C# melodic Pattern IV |
C# melodic Pattern V |
C# melodic Pattern VI |
C# melodic Pattern VII |
D minor (melodic)
D melodic Pattern I |
D melodic Pattern II |
D melodic Pattern III |
D melodic Pattern IV |
D melodic Pattern V |
D melodic Pattern VI |
D melodic Pattern VII |
D#/Eb minor (melodic)
Eb melodic Pattern I |
Eb melodic Pattern II |
Eb melodic Pattern III |
Eb melodic Pattern IV |
Eb melodic Pattern V |
Eb melodic Pattern VI |
Eb melodic Pattern VII |
E minor (melodic)
E melodic Pattern I |
E melodic Pattern II |
E melodic Pattern III |
E melodic Pattern IV |
E melodic Pattern V |
E melodic Pattern VI |
E melodic Pattern VII |
F minor (melodic)
F melodic Pattern I |
F melodic Pattern II |
F melodic Pattern III |
F melodic Pattern IV |
F melodic Pattern V |
F melodic Pattern VI |
F melodic Pattern VII |
F#/Gb minor (melodic)
F# melodic Pattern I |
F# melodic Pattern II |
F# melodic Pattern III |
F# melodic Pattern IV |
F# melodic Pattern V |
F# melodic Pattern VI |
F# melodic Pattern VII |
G minor (melodic)
G melodic Pattern I |
G melodic Pattern II |
G melodic Pattern III |
G melodic Pattern IV |
G melodic Pattern V |
G melodic Pattern VI |
G melodic Pattern VII |
G#/Ab minor (melodic)
G# melodic Pattern I |
G# melodic Pattern II |
G# melodic Pattern III |
G# melodic Pattern IV |
G# melodic Pattern V |
G# melodic Pattern VI |
G# melodic Pattern VII |
A minor (melodic)
A melodic Pattern I |
A melodic Pattern II |
A melodic Pattern III |
A melodic Pattern IV |
A melodic Pattern V |
A melodic Pattern VI |
C melodic Pattern VII |
A#/Bb minor (melodic)
Bb melodic Pattern I |
Bb melodic Pattern II |
Bb melodic Pattern III |
Bb melodic Pattern IV |
Bb melodic Pattern V |
Bb melodic Pattern VI |
Bb melodic Pattern VII |
B minor (melodic)
B melodic Pattern I |
B melodic Pattern II |
B melodic Pattern III |
B melodic Pattern IV |
B melodic Pattern V |
B melodic Pattern VI |
B melodic Pattern VII |
Pentatonic Major Scale
-One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. They are particularly helpful for improvisation, and once they are memorized, they serve as an excellent aid to understand the visual and auditory relationships between intervals. Select a root note to see a list of box patterns for the pentatonic scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The pentatonic scale, as it name implies, it's made up of five notes instead of the regular seven (such as the minor/major scale and the greek modes). For study purposes only, the major pentatonic scale may be thought of as an incomplete major scale, though it is crucial to understand that the pentatonic has a unique character and it is a complete scale per se. Taking any major scale and removing the fourth and seventh degrees will result in what is traditionally known as a major pentatonic scale. Thus, the C pentatonic major scale is made up of the notes C, D, E, G, and A.
The term 'pentatonic' may be understood in a broader sense: any scale that's made up of five notes is technically a pentatonic scale. They occur in traditional and folk music from West Africa, India, Asia, South America, Eastern Europe, the nordic countries, etc. Scales strikingly similar to the western major and minor pentatonic are found throughout most cultures, and this pervasiveness has been the subject of numerous studies. This peculiarity makes the pentatonic scale an useful resource for creating an eastern sound when writing melodies or improvising. The pentatonic scale has seen numerous uses in musical education, playing an important role in the first stages of the Orff, Kodaly, and Waldorf methodologies. The fact that it is almost impossible to incur in harmonic 'mistakes' when improvising with it, together with its intuitiveness and its flexibility in harmonization make the pentatonic scale a very useful teaching tool.
C Pentatonic Major
C pentatonic major Pattern I |
C pentatonic major Pattern II |
C pentatonic major Pattern III |
C pentatonic major Pattern IV |
C pentatonic major Pattern V |
C#/Db Pentatonic Major
Db pentatonic major Pattern I |
Db pentatonic major Pattern II |
Db pentatonic major Pattern III |
Db pentatonic major Pattern IV |
Db pentatonic major Pattern V |
D Pentatonic Major
D pentatonic major Pattern I |
D pentatonic major Pattern II |
D pentatonic major Pattern III |
D pentatonic major Pattern IV |
D pentatonic major Pattern V |
D#/Eb Pentatonic Major
Eb pentatonic major Pattern I |
Eb pentatonic major Pattern II |
Eb pentatonic major Pattern III |
Eb pentatonic major Pattern IV |
Eb pentatonic major Pattern V |
E Pentatonic Major
E pentatonic major Pattern I |
E pentatonic major Pattern II |
E pentatonic major Pattern III |
E pentatonic major Pattern IV |
E pentatonic major Pattern V |
F Pentatonic Major
F pentatonic major Pattern I |
F pentatonic major Pattern II |
F pentatonic major Pattern III |
F pentatonic major Pattern IV |
F pentatonic major Pattern V |
F#/Gb Pentatonic Major
F# pentatonic major Pattern I |
F# pentatonic major Pattern II |
F# pentatonic major Pattern III |
F# pentatonic major Pattern IV |
F# pentatonic major Pattern V |
G Pentatonic Major
G pentatonic major Pattern I |
G pentatonic major Pattern II |
G pentatonic major Pattern III |
G pentatonic major Pattern IV |
G pentatonic major Pattern V |
G#/Ab Pentatonic Major
Ab pentatonic major Pattern I |
Ab pentatonic major Pattern II |
Ab pentatonic major Pattern III |
Ab pentatonic major Pattern IV |
Ab pentatonic major Pattern V |
A Pentatonic Major
A pentatonic major Pattern I |
A pentatonic major Pattern II |
A pentatonic major Pattern III |
A pentatonic major Pattern IV |
A pentatonic major Pattern V |
A#/Bb Pentatonic Major
Bb pentatonic major Pattern I |
Bb pentatonic major Pattern II |
Bb pentatonic major Pattern III |
Bb pentatonic major Pattern IV |
Bb pentatonic major Pattern V |
B Pentatonic Major
B pentatonic major Pattern I |
B pentatonic major Pattern II |
B pentatonic major Pattern III |
B pentatonic major Pattern IV |
B pentatonic major Pattern V |
Pentatonic Minor Scale
One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. They are particularly helpful for improvisation, and once they are memorized, they serve as an excellent aid to understand the visual and auditory relationships between intervals. Select a root note to see a list of box patterns for the pentatonic scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The pentatonic scale, as it name implies, it's made up of five notes instead of the regular seven (such as the minor/major scale and the greek modes). For study purposes only, the major pentatonic scale may be thought of as an incomplete major scale, though it is crucial to understand that the pentatonic has a unique character and it is a complete scale per se. Taking any major scale and removing the fourth and seventh degrees will result in what is traditionally known as a major pentatonic scale. Thus, the C pentatonic major scale is made up of the notes C, D, E, G, and A.
The term 'pentatonic' may be understood in a broader sense: any scale that's made up of five notes is technically a pentatonic scale. They occur in traditional and folk music from West Africa, India, Asia, South America, Eastern Europe, the nordic countries, etc. Scales strikingly similar to the western major and minor pentatonic are found throughout most cultures, and this pervasiveness has been the subject of numerous studies. This peculiarity makes the pentatonic scale an useful resource for creating an eastern sound when writing melodies or improvising. The pentatonic scale has seen numerous uses in musical education, playing an important role in the first stages of the Orff, Kodaly, and Waldorf methodologies. The fact that it is almost impossible to incur in harmonic 'mistakes' when improvising with it, together with its intuitiveness and its flexibility in harmonization make the pentatonic scale a very useful teaching tool.
C Pentatonic Minor
C pentatonic minor Pattern I |
C pentatonic minor Pattern II |
C pentatonic minor Pattern III |
C pentatonic minor Pattern IV |
C pentatonic minor Pattern V |
C#/Db Pentatonic Minor
C# pentatonic minor Pattern I |
C# pentatonic minor Pattern II |
C# pentatonic minor Pattern III |
C# pentatonic minor Pattern IV |
C# pentatonic minor Pattern V |
E Pentatonic Minor
E pentatonic minor Pattern I |
E pentatonic minor Pattern II |
E pentatonic minor Pattern III |
E pentatonic minor Pattern IV |
E pentatonic minor Pattern V |
F#/Gb Pentatonic Minor
F# pentatonic minor Pattern I |
F# pentatonic minor Pattern II |
F# pentatonic minor Pattern III |
F# pentatonic minor Pattern IV |
F# pentatonic minor Pattern V |
G Pentatonic Minor
G pentatonic minor Pattern I |
G pentatonic minor Pattern II |
G pentatonic minor Pattern III |
G pentatonic minor Pattern IV |
G pentatonic minor Pattern V |
D Pentatonic Minor
D pentatonic minor Pattern I |
D pentatonic minor Pattern II |
D pentatonic minor Pattern III |
D pentatonic minor Pattern IV |
D pentatonic minor Pattern V |
A#/Bb Pentatonic Minor
Bb pentatonic minor Pattern I |
Bb pentatonic minor Pattern II |
Bb pentatonic minor Pattern III |
Bb pentatonic minor Pattern IV |
Bb pentatonic minor Pattern V |
A Pentatonic Minor
A pentatonic minor Pattern I |
A pentatonic minor Pattern II |
A pentatonic minor Pattern III |
A pentatonic minor Pattern IV |
A pentatonic minor Pattern V |
F Pentatonic Minor
F pentatonic minor Pattern I |
F pentatonic minor Pattern II |
F pentatonic minor Pattern III |
F pentatonic minor Pattern IV |
F pentatonic minor Pattern V |
B Pentatonic Minor
B pentatonic minor Pattern I |
B pentatonic minor Pattern II |
B pentatonic minor Pattern III |
B pentatonic minor Pattern IV |
B pentatonic minor Pattern V |
D#/Eb Pentatonic Minor
Eb pentatonic minor Pattern I |
Eb pentatonic minor Pattern II |
Eb pentatonic minor Pattern III |
Eb pentatonic minor Pattern IV |
Eb pentatonic minor Pattern V |
G#/Ab Pentatonic Minor
G# pentatonic minor Pattern I |
G# pentatonic minor Pattern II |
G# pentatonic minor Pattern III |
G# pentatonic minor Pattern IV |
G# pentatonic minor Pattern V |
Dorian Mode
One of the most efficient ways to memorize scales and play them on the guitar is using box patterns. These are ways of 'mapping' the scale across the guitar fretboard, creating fixed shapes that can be transposed to play the scale in a different key. They are particularly helpful for improvisation, and once they are memorized, they serve as an excellent aid to understand the visual and auditory relationships between intervals. Select a root note to see a list of box patterns for the major scale:
C C#/Db D D#/Eb E F F#/Gb G G#/Ab A A#/Bb B
The Dorian or Doric mode, in modern music theory, is a modal diatonic scale. It corresponds to the white keys of the piano from D to D or any transposition of this WHWWWHW intervallic pattern (with H meaning haf-tone and W meaning whole tone). Though historically different, it can be seen as a minor scale with its sixth grade ascended, and it is often considered as an offshot of the minor scale. It is usually used as a compositional device for deviating from the traditional minor sound, as the ascended sixth creates a IVM chord, and a somewhat medieval-like sound in melodies.
The dorian mode is named after the dorian greeks (an ethnic group of the ancient greek people, together with the aeolians, achaeans and ionians). Somewhat confusingly, the term dorian was applied to a number of different scales historically (since the modern naming system we use for modes is actually the result of a series of interpretations and sometimes wrong translations carried out by music theorists of the middle ages). For example, it is believed that one of the uses of the term dorian in greek music referred to what we today know as phrygian scale.
There are a number of famous compositions in dorian mode: Drunken sailir, Maiden Voyage (by Herbie Hancock), Milestones (by Miles Davies), etc.
C Dorian Mode
C doric
Pattern I |
C doric
Pattern II |
C doric
Pattern III |
C doric
Pattern IV |
C doric
Pattern V |
C doric
Pattern VI |
C doric
Pattern VII |
C#/Db Dorian Mode
C sharp doric
Pattern I |
C sharp doric
Pattern II |
C sharp doric
Pattern III |
C sharp doric
Pattern IV |
C sharp doric
Pattern V |
C sharp doric
Pattern VI |
C sharp doric
Pattern VII |
D Dorian Mode
D doric
Pattern I |
D doric
Pattern II |
D doric
Pattern III |
D doric
Pattern IV |
D doric
Pattern V |
D doric
Pattern VI |
D doric
Pattern VII |
D#/Eb Dorian Mode
E flat doric
Pattern I |
E flat doric
Pattern II |
E flat doric
Pattern III |
E flat doric
Pattern IV |
E flat doric
Pattern V |
E flat doric
Pattern VI |
E flat doric
Pattern VII |
E Dorian Mode
E doric
Pattern I |
E doric
Pattern II |
E doric
Pattern III |
E doric
Pattern IV |
E doric
Pattern V |
E doric
Pattern VI |
E doric
Pattern VII |
F Dorian Mode
F doric
Pattern I |
F doric
Pattern II |
F doric
Pattern III |
F doric
Pattern IV |
F doric
Pattern V |
F doric
Pattern VI |
F doric
Pattern VII |
F#/Gb Dorian Mode
F sharp doric
Pattern I |
F sharp doric
Pattern II |
F sharp doric
Pattern III |
F sharp doric
Pattern IV |
F sharp doric
Pattern V |
F sharp doric
Pattern VI |
F sharp doric
Pattern VII |
G#/Ab Dorian Mode
A flat doric
Pattern I |
A flat doric
Pattern II |
A flat doric
Pattern III |
A flat doric
Pattern IV |
A flat doric
Pattern V |
A flat doric
Pattern VI |
C doric
Pattern VII |
G Dorian Mode
G doric
Pattern I |
G doric
Pattern II |
G doric
Pattern III |
G doric
Pattern IV |
G doric
Pattern V |
G doric
Pattern VI |
G doric
Pattern VII |
A Dorian Mode
A doric
Pattern I |
A doric
Pattern II |
A doric
Pattern III |
A doric
Pattern IV |
A doric
Pattern V |
A doric
Pattern VI |
A doric
Pattern VII |
A#/Bb Dorian Mode
B flat doric
Pattern I |
B flat doric
Pattern II |
B flat doric
Pattern III |
B flat doric
Pattern IV |
B flat doric
Pattern V |
B flat doric
Pattern VI |
B flat doric
Pattern VII |
B Dorian Mode
B doric
Pattern I |
B doric
Pattern II |
B doric
Pattern III |
B doric
Pattern IV |
B doric
Pattern V |
B doric
Pattern VI |
B doric
Pattern VII |