Major Scale Shape 4

Next up in this Major Scale pattern series is shape 4. I find this shape slightly easier to remember than shape 3 but it still takes some work to memorize. The finger configuration for this shape, transcribed at the end of the post, is as follows –

1st, 2nd & 4th fingers for Low E String

1st, 2nd & 4th fingers for A & D strings

1st, 3rd & 4th fingers for G & B strings

1st, 2nd & 4th fingers for High E String

Major Scale Shape 4

G Major is, again, the chosen key. Looking at the notes – G, A, B, C, D, E & F# we can see that shape 4 will start from a C root note. Reorganising those notes from that root note gives – C, D, E, F#, G, A & B.

The intervals which result are –

Root Note, Major 2nd, Major 3rd, #4th, Perfect 5th, Major 6th & Major 7th

This pool of intervals, when heard is known by the modal name of Lydian.

The Lydian Scale Shape On the Fret-Board

In keeping with the series, I have recorded & transcribed shape 4 (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. If the improvisation department is left wanting, practice becomes boring & repetitive and if the memorization department is neglected then improvisation can become frustrating & limiting.

Each of the scale shapes in this series of posts has pro & cons in terms of technical difficulties but as we will see in the future, the upside of each can be combined and their strengths played to – playing a lick across 2 or 3 shapes for instance and taking any technical issues out of the equation

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 –

Rather than using a chord progression for this Mode, I thought a vamp would get the vibe across more succinctly. This mode is still usable over chord progressions, in the style of the previous posts on this subject, but I decided that as Lydian has a more unusual sound it would be a better idea to present it in a more Lydianesque way.

Here’s the transcription of my performance –

Download (PDF, 50KB)

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