After you have learned them, this little routine will help you make music from the scales!
View the full lesson at How To Practice Scales | JustinGuitar
Why are you starting the chromatic scale on the second fret and calling it first position?
Hey Ralph,
Justins not actually āstartingā here on the second fret. Heās starting on the root note of the G Major scale, G, on the third fret. Also, the Major scale is a diatonic scale, rather than chromatic one.
When practicing/learning scales, you usually play down to the lowest note in the scale in that position/shape, which in this case is the F# on the second fret.
Regarding why 1st position and not on first fret? Best to think of the pattern name (eg. pattern 1) as relating to the SHAPE, rather than where its played. Where it is played will be determined by the root note. For example, pattern 1 of the A Major scale has its root on the 5th fret, pattern 1 of the E major scale on the 12 fret etc.
All the best
Cheers, Shane
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Man, why didnāt anyone tell me this. Jeez, I learn so much from Justin, or, well, his site and people. I would like to say though that isnāt he playing every fret or are the four fingers just positioned above the strings and he is playing whole notes ( full steps) except for the F#. I know a lot about music because I was an accomplished clarinetist. Your site is so rich, but one thing causes me problems. The camera angle straight on to his hand makes it hard to see what fingers are playing where. I donāt know what to suggest but I have to watch some videos many times to get it. Of course, there is nothing wrong with that. Ha. Oh, and why wouldnāt the root of A Major be the open A string? Where would I find a description of all the patterns? Thank you.
You can see why I thought it was a chromatic scale.
Hey Ralph,
The patterns in this system ( CAGED system) are moveable patterns, so they cannot contain open strings. They provide the framework for the corresponding moveable chords shapes that are formed from within these shapes. It is a widely used map of the fretboard.
The Major scale itself, is just a series of 7 notes that can be formed any way you like. The CAGED system is one very common, logical, and very helpful, way to map it.
You can utilise the Major scale in the āopenā position as well ( ie using open strings), and its utilised alot on the guitarā¦ Eg For A major, start on the open A string, then move up the scale with the remaining notes.
For pattern descriptions, just do a search on the website. Thereās whole courses on this stuff, as its fundamental.
Cheers,
Shane
@reblark
Ralph, I can see why you thought it was chromatic. It is a little difficult to follow the fingers, especially when he starts playing the patterns fast.
Justin has revamped the many of his lessons, including work on a new Intermediate programme focused on the major scale: Major Scale Maestro 1 | JustinGuitar.com
You donāt give any indication as to where you are in Justinās learning pathway. Depending on where you are it may be appropriate to start with the Major Scale Maestro.
If Grade 1 and 2 more appropriate for your level, then Iād suggest follow the programmes in sequence and scales will be introduced at a point.
I have found Justinās sequencing works well to develop skills, knowledge and lay a solid foundation.
@reblark ā¦
Several questions to address.
It is not the chromatic scale, it is the major scale, the G major scale to be exact. The lowest root note in pattern 1 is G at fret 3 of the 6th string. The lowest note overall in the pattern is F# at fret 2 of the 6th string.
Note - Justin calls it position 1 in this old, old video and has since revised his thinking to call the shapes patterns not positions.
I would deter you from looking at and attempting to learn all of the patterns. There are 5 CAGED patterns. Start with pattern 1 and pattern 1 only. Until you can play it fluently, cleanly and, most importantly, use it musically, then you do not want to think of learning further patterns.
See here for Pattern 1 https://www.justinguitar.com/guitar-lessons/major-scale-pattern-1-mt-304
It is an old, old video. Justinās camera equipment and filming techniques have improved massively since. Use the new videos for learning the scale patterns and these old videos for content and advice.
Not strictly true.
There are two occurrences of a half step in any major scale.
For this G major scale they occur between F# and G plus between B and C.
F# - G = frets 2 and 3 of 6th string plus frets 4 and 5 of 4th string plus frets 2 and 3 of 1st string.
B - C = frets 2 and 3 of 5th string plus frets 4 and 5 of 3rd string.
None of the major scale patterns that you will learn through CAGED (at the beginning) contain open strings because you learn them as movable shapes. That said, there is an exception. Justin teaches the C major scale early in the beginner course (grade 2) and that does use open strings. His reason for teaching it at that stage is to introduce scale and single note picking. He deliberately does not call it a CAGED pattern even though it is. Just a CAGED pattern that is pushed off the end of the neck so some notes become open strings beyond the nut.
I hope that helps.
I have been looking at Justinās major scale maestro and some other major scale information and I think Richard and Justin are spot on with this advice.
You can easily find all the patterns, but, they are just patterns and too many patterns does is no good at all. Justin and Richard take the approach of emphasizing musicality over, not technique, but rote learning. I have thought about this a lot, because I love technique, but I believe they are right.
Learn to use one scale pattern, make music with it, play it in different ways and learn how to make it musical and not just letting your fingers fall into a pattern. Then the other patterns can be added in in a useful and musical way.
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Well, all so very interesting. First of all, I was surprised to learn that I have to pay for the course on Scales. However, I donāt mind it at all because it is of inestimable value. This is very different from playing scales on a clarinet or a piano and it is fascinating. I agree that musicality is the ultimate goal but that technique is one of the requirements to reach that goal. There is so very, very much to learn and Justin is a great teacher, a natural. One problem for me is my fingers (3rd and 4th) simply canāt reach close to the fret on the succeeding frets. I hope that itās true that you can stretch them.
Ralph, are you referring to the Practical Music Theory course? If so you can begin working on scales in Grade 2 or the course I linked to in a previous reply.
It is true, based on my own experience.
Ralph, you categoricaly do not have to pay for the courses which teach about the major scale and its CAGED patterns. The paid course, as @DavidP suggests, is the theory course. You can subscribe but it is not how you access the major scale lessons.
Hi all
First of all, I would like to say that everything Justin says on this topic makes sense to me and I am trying to put it into practice. Together with the eBook āEffective Practice,ā I now have a clear picture of how best to practice scales, licks, and songs. For me, the idea of ālearning things correctly firstā and then āpracticing slowly at the beginning and only increasing the tempo once Iāve played it 10 times in a row without mistakesā is extremely valuable. Because āpractice makes permanent and not perfect, so practice perfectly,ā Iām trying to make this my mantra.
However, I now have a problem in this regard that is bothering me quite a bit and is currently spoiling my enjoyment of practicing scales. I am currently developing the 5 Scales Practice Routine and am at Stage 4. Play in 3rds. After learning the pattern, I started playing the minor pentatonic scale in 3rds as slowly as possible at 40 BPM. Iām really trying to concentrate and play in time with the metronome. But no matter how slowly I play, after 2x3 correct runs, I make a mistake. And then I beat myself up and take it really hard to heart, because I always have it in the back of my mind how important it is not to make mistakes with the scales and that I should do it right from the start, because otherwise it will take 50 times longer for my brain to reprogram itself. Justin stresses this point over and over again, and
I can see the wisdom behind it. This applies to learning scales, licks, and songs: my ability to focus is limited by certain neurological characteristics that I donāt want to go into in detail. I meditate and try to improve this, but especially when Iām tired after work or havenāt slept well, I feel like I have the ability to focus of a fruit fly. And since I try to practice 1 hour 6 times a week, this state is more the rule than the exception. I practice in 5-minute blocks and try to implement everything Iāve read about effective practice. But Iām really reaching my limit in this regard. So I thought it would be best to ask the community here, because maybe Iām not alone with this problem or someone has a simple solution that Iām not seeing. Thank you for your help. 
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Hi Dominic,
I have this same experience, and like you I usually mess up on the 3rd or 4th repetition. Sometimes itās caused by my mind wandering, which I attribute to being bored (in the moment) with the exercise. Other times itās caused by focusing on a specific part of the exercise ā I stumble on the thing Iām focusing on. In both cases, I stop for 30-45 seconds, look around the room or take a sip of tea, then start again. I still mess up after starting again, but only after I get a couple more good reps in. If I canāt get any good reps, I set it aside for the day.
Iām no expert, but Iād advise: stop beating yourself up ā we donāt all have the same innate proclivity to guitar. Also, many people teaching practice techniques started learning young and have been playing for years. They donāt recall the experience of being a beginner.
FWIW, when I hit a plateau (for example, I canāt to play faster than 80% of my target tempo after a couple week of practice), I sometimes set the thing aside. Sometimes I decide to be content my current speed for now, and just keep practicing at that tempo. That feels easy, which instills confidence.
As I said, Iām no expert. But youāre not alone!
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There are quite a few cooments Iād like to make.
First, and foremost, learning scale patterns and playing them up and down is not music.
You mention five patterns. And you mention minor pentatonic. Have you spent serious amounts of time exploring just pattern 1. No other patterns. By exploring I mean your fingers can easily and comfortably walk up and down the scale in multiple combinations of ways but you have gine far beyond that and have used the scale to play lead guitar kines, licks, solos, attempted a little improvisation?
If no, park your efforts at patterns 2-4 and spen time just in pattern 1.
You mention ascending and descending the minor pentatonic in 3rds. That does work for the major scale and is an important step in the process of training your fingers and ears to play and hear the scale and its intervals. But the minor pentatonic is not constructed in intervals such that you can do similiar. You can play around with 3-in-a-line ?ascend / descend 3 notes, go back 2). And other combinations work too. These are legitimate ways of building scale muscle-memory when first learning a scale pattern.
Scale practice has the feature of developing picking / fretting coordination too. And alternate picking skills.
But making music from one scale pattern is the enriching work.
I hope that gives a helpful perspective.
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Hey Dominic,
In addition to @Richard_close2u 's expert advice, Iād like to offer a general comment on this philosophy
"ā¦practice makes permanent and not perfect, so practice perfectly,ā
Remember this is an ideal to aspire to, a mindset to be in as much as possible.
It is certainly important for learning , but as human beings, we are going to fall short at times, become frustrated - angry even- at not getting it ārightā. Thats perfectly normal
The very fact that you are consciously aware of it, in itself, is a big part of ingraining this philosophy.
So, its all good mate.
Cheers, Shane
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Hi Judi
Thank you for your insights 
It is good to hear that somebody makes the same experiences as me. When I make a mistake I stop and say to myself it was a mistake and begin from the start. Normally itās not that I canāt do it because I play to fast or because itās technical challenge, itās more like my thoughts beginn to wander and then Iām lost. Yeah I guess I tend to be to hard on myself, but the good thing is that the whole thing teaches me patience(which isnāt my strong suit but its getting better as I get older 
), with whole slow practice with a metronom. 
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Hi Richard,
Thanks for your feedback and help
> You mention five patterns. And you mention minor pentatonic. Have you spent serious amounts of time exploring just pattern 1. No other patterns. By exploring, I mean that your fingers can easily and comfortably walk up and down the scale in multiple combinations of ways, but have you gone far beyond that and used the scale to play lead guitar riffs, licks, solos, and attempted a little improvisation?
> If no, park your efforts at patterns 2-4 and spend time just on pattern 1.
Penta Pattern 1 is a good friend of mine and I mainly use this pattern to improvise and play over backing tracks. I also play licks based on Pattern 1, which I have learned and can already use well. But youāre right, before I immersed myself in JustinGuitar, I had already memorized all 5 patterns of the Penta as well as the blues scale, but when improvising, I mostly only played the first two patterns. The good thing is that I can already connect the individual patterns, but I understand the concept that it makes sense to concentrate on one pattern and use it to make music, or rather to learn licks from it and use them when soloing. Because my solos/improvisations still sound a lot like scales, of course 
You mention ascending and descending the minor pentatonic in 3rds. That does work for the major scale and is an important step in the process of training your fingers and ears to play and hear the scale and its intervals. But the minor pentatonic is not constructed in intervals such that you can do similiar. You can play around with 3-in-a-line ?ascend / descend 3 notes, go back 2). And other combinations work too. These are legitimate ways of building scale muscle-memory when first learning a scale pattern.
I think I misunderstood something here. Since I wanted to have a solid foundation and to correct bad habits, I decided to go through Grades 1 and 2 and then move on to Grade 3, where I now completed the first module. At the same time, I also started with Practical Music Theory and came across āHow to practice Scalesā https://www.justinguitar.com/guitar-lessons/how-to-practice-scales-sc-102#learn-more. I was in the process of integrating this into my practice routine, when I encountered the problems mentioned above. Since I read that it is best to learn the minor pentatonic scale first and then the major scale, I thought I would apply the Five Stage Scale Practice Routine described there to the first pattern of the minor pentatonic scale. But if I understand you right, I am probably mistaken? So the Five Stage Scale Practice Routine is not suitable for the minor pentatonic scale, but only for the major scale? Is there a counterpart to the Five Stage Scale Practice Routine for the pentatonic scale? Iām not sure if I have understood the exercise you described correctly. You mean playing the first 3 notes of the scale and then going back 2 notes and up and down, right?
Thank you again for your help, I really appreciate it 
Shane!
Your insights have been a great help to me so far, and again your words make sense to me. I will honor the saying
practice makes permanent and not perfect, so practice perfectly
and adopt it as an ideal and goal worth striving for. And yes, not putting too much pressure on myself is definitely a good idea It seems to be the same with many things in my life at the moment; I see it and Iām aware of it, but Iām still struggling to put it into practice
Mahalo 
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