Next up in this Major Scale pattern series in Pattern 3. Again the nice symmetry of Shape 1 is absent. The finger configuration for this shape is as follows –
1st, 2nd & 4th fingers for E String
1st3rd & 4th fingers for A & D strings
1st, 2nd & 4th fingers for G, B & E strings
Major Scale Pattern 3
Again G Major is the chosen key. Looking at the notes – G, A, B, C, D, E & F# we can see that shape 3 will start from a B root note. Reorganising those notes from that root note gives – B, C, D, E, F#, G & A.
The intervals which result are –
Root Note, Minor 2nd, Minor 3rd, Perfect 4th, Perfect 5th, Minor 6th & Minor 7th
This pool of intervals, when heard is known by the modal name of Phrygian.
The Phrygian Scale Shape On the Fret-Board
In keeping with the series, I have recorded & transcribed shape 3 (in tab & standard notation form) as a repetitive exercise followed by its complimentary, improvisational counterpart. As mentioned in the earlier posts, repetition and improvisation are complimentary exercises. A lack of repetition means the scale shape is rendered insufficiently memorized and a lack of improvisation becomes boring but, again, if I only had time for one of these exercises, improvisation would be my choice.
This shape is the one which took me longest to memorize and I would often forget it when playing each shape in sequence across the fret-board
Here’s the audio of me playing, first of all, a few repetitions of the shape and secondly some improvised licks & passages to try –
Here’s an extended backing track to practice the shape, my ideas and some improvisations/licks of your own –
The chord progression is –
Bm | D / C
This establishes the desired root note of B.
Here’s the transcription of my performance –
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