@stitch @Jozsef I asked the question before I filled out the worksheet, then saw it was ordered by how many sharps or flats. I don’t understand the significance of the Circle of 5ths yet, but I know that it will get explained in the course as I carry on.
Thanks guys!
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Read this for my account:
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Tone and simetone on the note cicle there are lines a totole of 12 4 lines is a tone 2 lines is simitone
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Hello @Slimline45 and welcome to the community.
Unfortunately your post is not clear in meaning.
Cheers 
| Richard_close2u | JustinGuitar Official Guide & Moderator
Should I play the notes from a scale in a consecutive order?
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Hi @popaqy
When practicing a given scale/pattern, then yes. When improvising over a backing track, it’s up to you. 
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Georgi, once you have learned the scale up and down, then you can introduce different patterns, like play a note skip a note, go back, skip etc so the pattern would be 1 3 2 4 3 5 etc
These patterns are helpful when you come to improvising, eitehr to use them or just to have broken out of the up and down sequence.
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Hello @popaqy welcome to the Community.
Are you just learning the scale and getting the pattern into your muscle memory at the moment?
If yes, you want to be aiming to play it non-stop for three error-free full cycles of:
lowest root note to highest pattern note down to lowest pattern note to lowest root note.
Then start playing the pattern in different sequential orders sucj as:
3-in-a-line (go up 3 notes, jump back down 2 to play another 3 in a row etc).
4-in-a-line (similar to above).
Playing in 3rds.
Playing in 4ths.
Once you have a really good working grasp of the pattern in both hands then it is time to stat making music with the scale over backing tracks. And definitely 100% you will sound better if you do not just run up and down linear note patterns of the scale but get creative and invent new ways of connecting the notes.
Hope that helps.
Cheers
| Richard_close2u | JustinGuitar Official Guide & Moderator
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Yep me too. The answer sheet has an E# in the F# scale and an E# plus a B# in the C# scale. For my last two years of learning music I’ve been hearing there is no E# or B# note. And yet, there they are on Justin’s worksheet! Did I miss something in the video?
Also, the Gb scale has a Cb note. There’s even a Cb scale on the worksheet! I didn’t think Cb existed either. Very confused.
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The reason is when you write out a scale you use every letter once.
In the F# scale F is the 7th interval so it is written E# because the F has already been used
Also if you called it F there would be no E in the scale
F# G# A# B C# D# E# F#
Same goes for the other scales
Just wait until you learn about double sharps and double flats
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Thanks for the answer. So would I play an F note when I see E#?
I think the D in your F# scale should be a D#.
It is starting to become clearer how to apply the sharps and flats for these odd notes. It is like we are trying hard to maintain the rules when the reality calls an E# as an F, but we can’t due to the rules, so we flow along with it.
the overall music theory or science is interesting. Starting to see some of this when studying the triads…the way the notes are all over the fretboard.
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Thanks for catching the I’ll edit it .
Yes E# is still the F note
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The next is “why not ?”
Great explanation Jason.
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Yes. There is no other option. If you sharpen an E it is an F, It’s only down to the rules of not allowing a note letter in a scale to be repeated that it can’t be called F.
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I don’t know if this will be helpful to anyone, but I noticed something I thought was interesting while looking at Justin’s chart and figuring out how many sharps or flats are in a given key.
Building upon the Big Six Essential Notes, if you look at the chart the progression of keys is CGDAEBF#C#, which you can visualize on the guitar neck as:
C D E F#
G A B C#
3rd 5th 7th 9th fret
So if you make C = 0, you could also write out:
0 2 4 6
1 3 5 7 so this picture show how many sharps are in each of those key. Each successive key contains the sharps of the previous key plus an addition sharp that is one semi-tone lower than the key.
For the flats you just go backwards back up the neck, so you have:
Cb Db Eb F
Gb Ab Bb
And numerically it looks like
7 5 3 1
6 4 2
Fb has the flat Bb, which is also the #2 position and each successive key has all the flats of the previous key. The newest flat is the note next in line up the chain.
A little mental gymnastics, but it helps me.
Cheers.
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@kevguitar Those are great patterns and some fascinating insights between the tabulated scales and the arrangement of notes.
I’m a math-muso and love sequences-patterns-logic wherever it appears in guitarland. Cool stuff. Thanks for sharing. 
Can someone explain why the chart is missing certain notes in the leftmost column like G#? I thought maybe it would be because it’s considered similar to Ab which is already present, but I noticed that F# and Gb are both present. Not sure if I’m missing something fundamental but I’m just a little confused.
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Hi Gray,
The G# major scale is the same as the G major, but all notes are sharpened by a semitone. So you’ll have F## on degree VII. But you’ll need double accidentals comparatively less often in “real” life.
You can continue the list of major scales with D#, A#, etc. ad infinitum and you’ll make several interesting discoveries on the number of double accidentals and where those appear.
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Hello @elephant welcome to the Community.
The potential list of major scales is much larger as you suggest.
Justin has chosen the list to avoid any major scales that would create the need to use a double sharps or double flats. Because there is always an enharmonic equivalent to those which would be more sensible and more commonly used. Keeping it simple.
Hope that helps.
Cheers 
| Richard_close2u | Community Moderator, Official Guide, JustinGuitar Approved Teacher
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