The C Maj or Scale

The Common Key. Discussion #6.

by Ed Shaw

Author of " Learn the Neck"

Guitar for Geeks

A Creative Commons 2014
Music Education Project

Introduction to Discussion #6

This is Discussion Number Six in the " Learn the

Neck" open source music instruction program, " Guitar for
Geeks. " We briefly discuss the C maj or scale, where the
scales and C maj or chords are located on the guitar fret
board, and how this knowledge is applied both to the task
of instinctive mastery of the guitar neck and to the j oy
of creating music.
Several fretboard diagrams, most of which will
already be familiar to readers of " Learn the Neck, " are
included for illustration purposes.
The discussion features
" Amazing Grace. "

a close look at the classic hymn,

This is not a rigourous instruction program, but

rather, these discussions are meant to be taken
informally, even casually, as companions to the sometimes
arduous task of mastering the instrument. So, sit back and
enj oy the posts, take advantage of the supplementary
material on You Tube, Soundcloud, and My Listen.
Do not hesitate to contact me for help or
further information.

Image: Courtesy Samsung Corp.

The C major scales of the guitar neck

Guitarists should not

expect or be expected to stare
at this diagram until he or she
has it memorized. The title of
this series is " Learn the Neck, "
meaning j ust that.
Most of learning an
instrument, especially in the
earlier stages takes place as a
step by step, piece by piece,
procession. Teachers advise
slow but steady progress,
learning in bits, all the while
affirming that knowledge with
repetition and practice.
Knowledge and skill are acquired
in increments. Musicians call it
" paying the dues. "
There are a few reasons
it makes sense to learn sight
reading using the C maj or scale.
There are no flats or sharps in
C maj or. There is an abundance
of sheet music written in the
key of C maj or. Now that custom
and ready made backing tracks
have entered the picture, the
traditional learning method has
been made much easier.

The C maj or scale follows the

maj or scale interval pattern: root,
full-step, full-step, half-step,
full-step, full-step, full-step,
half-step to the octave.
It is a pattern because all
the maj or diatonic scales, the ones
we use, follow the same interval
pattern.
The chromatic (full) scale is
C, C#, D, Eb, E, F, F#, G, Ab, A,
A#, B, C. Twelve notes. Each note
is one half-step, one fret, or one
key away on the piano keyboard.
The C scale is the seven note
scale that results when the five
flats and sharps of the chromatic
scale are passed over.
The two half-steps of the C
scale are between B and C and
between E and F.
The C maj or scale is C, D,
E, F, G, A, B, C.
The C maj or chord is sounded
when the first, third, and fifth
degrees of the scale are played at
the same time. The diagram above
shows the notes of the C chords.

The second string C note, at the 3rd fret A string, suggests a

scale played vertically in the second position, frets 3-6 or frets 2-5.
While not always the case, notes and chords sounded on the first five
frets tend to be used either in rhythmic accompaniment (chords strummed)
or bass lines holding down the beat and the key. The position also
suggests a lateral move up the A string. In particular, it suggests a
run from the C note to the G note on the A string. That might be
considered a move to more flexible territory.
That thought leads us into the diagram below, " The Melodic
Heartland, " so called because it is the workhorse area for guitar solo
work. The great solo players, such as Mark Knopfler, Chet Atkins, Jerry
Garcia, and now, Brad Paisley, spend a lot of time in that part of the
fretboard. The notes tend to be clean, not too high, not too low, with
freedom to move in all directions around.
From the 10th fret C note, we could play C through G on the D
string, aim for the either the C note at the 13th fret or the C note at
the 17th fret.
A note that is the intended to end a phrase is called a
" landing" note. Keeping the landing note in mind, even after getting
lost or over the top in an improvisation, may likely make everything
right, provided that target note is struck on the right beat, signaling a
fresh start to the next phrase, line, or measure.

Melody Heartland Positions Three, Four, and Five

The piece under consideration is John Newton' s well known hymn,

" Amazing Grace. " The first thing to notice on the sheet is the high and
low notes of the composition are both G notes. We start out playing
this melody in one octave. Consulting the Heartland diagram, the
attention is naturally directed to that 5th fret G note (D string) on
the fret diagram as the first place to start. This melody has an eight
note range, all in the key of C maj or.
The first phrase, " A - maz - ing Grace, " is a pickup, G note,
one beat. The second measure consists of a half note and two eighths.
Remember. we are in 3/4 time. The third measure finishes the phrase with
a half E note, and a pickup D note to intro the second phrase. You can
see that same pattern carried through for the four phrases on the first
line. Those phrases are 1) -mazing grace, 2) sweet the sound, 3) saved a
wretch, and 4) like me!
The next few pages contain an analysis of the melodic lines and
how they fit the key board. Right now, with the score in front of us, is
a good time to point out that " Amazing Grace" is a good example of
melodic resolution. Compare the two lines, phrase by phrase, noting how
they are alike and how they differ. Notice the first line creates an
expectation with the 5th degree G note, and expectation that is resolved
at the end of line two with the root, C note.

Amazing Grace, Line One

Melody Heartland Prime Real Estate

One likely place to start this song is with the G note on the
5th fret. The melody starts on the G note of the scale and goes no
lower. On account of that, we can feel comfortable starting the line
on the 10th fret of the second string, (the A string, ) the upper part
of the low range on the guitar.
A suggested practice routine would be to play the song
through once or twice at the third position, then play it a couple of
times at the fifth position. That way it does not become boring or
repetitious. How to create and hold interest with music, is part of
improvisation. We started line one with the fifth fret G note and
played that line in that position. We then shifted to the 10th fret E
note and played line two in the fifth position range. This is called
splitting the lines or phrases, an important concept for both
beginning musicians and for advanced players working or developing
the elements.
It should be said that musicians today in both secular and
religious music are expected to consistently create new and
interesting arrangements. Though this may add a certain unwelcome
pressure at times, in the long run, it is good, because the result is
a dynamic musical field. We can think of techniques such as
splitting the phrase as one of many tools in the tool box, colors on
the pallette. Once a musician has assembled several of these musical
devices, much of the mystery of improvisation begins to disappear.
We shall touch more on that.

Moving on to the second line, we find some similarities

and some important differences. Looking at the pattern of pickup
notes introducing the phrases, an E note introduces the descending G
- G - E - C note run in the first phrase of the line, " once was lost. "
In terms of degrees of the scale, that is a C maj or chord
arpeggiation,
3 - 5 - 5 - 3 - 1 .
At the end of this discussion, there are a couple of links
to videos supporting the discussion. One of the videos is an animation
of the score of " Amazing Grace. " Please notice that j ust learning the
notes is not even half of the task of sight reading. The other half
is interpreting the notes in time. That is done by using different
kinds of notes.
This discussion is not about sight reading. In music,
though, sight reading enters in to all phases. It is a fundamental
skill.
In this line, there are four phrases spread over eight
bars, two bars to the phrase. As the guitarist grows more and more
familiar with the neck and the music, he or she may fim himself
shifting neck positions at the start or end of a phrase. This adds
interest and inspires creativity.
Intervals are almost always discussed when we talk about
sight reading and learning the neck. An interval is the distance
between notes, as the half step between B and C notes.
On the above
chart, notice how the 2nd degree of the C scale, the D note, is always
to the right of the C note and up two frets, a full step.

Examining the melodic and lyrical structure of the song, we can

learn something about what it took to make a hit hymn in the 1700' s.
John Newton' s " Amazing Grace" certainly qualifies as that. . In our
studies of music composition, we usually say that the fifth of the
scale, in this case that is the G note, is a tension producing note in
the melody. That is exactly what happens here. The first line ends on a
G note; that is, with " me. " The second line resolves that expectation
with the root C note. We could even go further to say the G note
tension was built both with the " A" in the initial " A - maz - ing. . . "
and the two G notes of " . . . sound! That. . . "
The phrases of line two are 1) once was lost, 2) now am found, 3)
was blind, but 4) now I see. Those phrases are both lyrical and
melodial.
Note the G note tension created in the first line is resolved to
the root, in particular that final phrase, " but now I see, " which is
tuned notes E - C - E - D and C, a good resolution.
Some analysts might say in the Christian theme, these
coincidences of lyric and melody can be related to resolution of
conscience through salvation. According to historians, many of the
melodies had already been established in folk tunes. The church served
to formalize in collections of hymns and preserve the music both in song
and songbook, both in congregation and by choirs.

Here is " Amazing Grace" in a usual lead sheet form. The melody
is on the staffs. The chord changes are above.
Notice that the pickup measure starting the song is the last
measure of the second line. This is often the case. To simplify, that
pickup bar is noted as the last bar of the last line of the song. This
lead sheet may also be put into the following form:

C
C
C
C

C
C
C
G

F
G
F
C

C
G
C
G

This is a standard notation, to which additional material may be

added, including the arrangements of verse and chorus.
This song is in 3/4 time, meaning three beats to the bar, waltz time.
Each letter is one measure. This is a 16 bar composition.
There are two pickup measures. One is under " A - " of line one,
and the other is under " I, " of line two.
See also the chord changes should be directly above the note, or
beat, where the change is made. When the chord change comes in the
middle of a measure, it is written in this way: C/G.

Easily the least understood aspect of sight reading is rhythm.

The longer a musician plays, the more he recognizes that what makes a
melody in time. Whole notes are held for the bar. Quarter notes are four
to the bar, or three quarter notes to the bar in 3/4 (waltz) time. All
this can be quite confusing, or, " has been quite confusing in the past. "
Technology and industry have come to the rescue. There is no longer any
excuse to not at least know the principles of rhythmic notation.
All college music students have been familiar with music
composition software known as Sebelius. It may be quite expensive, but
it is considered a " must" for serious musicians. Now, NCH software has
come to the rescue by offering their amazing " Crescendo" as a free
download. This is a way of introducing customers to the NCH product
line, a product line that incudes the great screen capture (stills and
movies) software, " Debut. " NCH software is reasonably priced in the
first place, so this free Crescendo is j ust a welcome introduction.
In the video that accompanies this lesson and in some other
" Learn the Neck" videos, we see Crescendo in action. The lead sheet
scores were built with it, and the " play" function produced the piano
rendition heard on the video, all features contained in the standard
software.
The reason I am so high on this Crescendo situation is the same
reason music composition software has been standard in music schools and
colleges since it was first introduced as high end software. InDesign
and Qwark were introduced as high end desktop publishing software
suites, too, some years ago. Now, I compose this manual on open source
Scribus, which has an active supporting community in the open source. I
write the manual, import the graphics, and, in this case, export to the
. pdf readers enj oy right now. Most of the graphics were designed in MS
Paint. Back to rhythm.
The thing about the composition software is that is allows
hands-on manipulation of notes (whole, half, quarter, eighth,
sixteenth, dotted, and tied, ) rests, and a few other timing notations
(signature being the most important) so that the user may actually see
and hear the results of the information he or she has entered on to the
staff. This is j ust like having your own personal musician at your whim,
executing whatever composition is entered. Anyone who has ever worked
with teachers or professional musicians can imagine what a benefit this
is. With today' s schedules, a student is lucky to have the attention of
a master musician if only for a few moments a week. Technology to the
rescue.

The Value of the Church Hymnal to All Musicians

Regardless of the facts or fiction of history, the is no doubt the
Great American Religious Awakening which followed the American Revolution
and lasted up until the 1920' s was a worldwide outpouring of faith
expressed in musical compositions from all corners of the Christian
world. The result is a collection of religious and worship songs that can
also perform duty as a magnificent display of melodies. Melodies
naturally stem from a progression of notes and tones ordered with the
variations of time.
In other words, the Great Awakening produce and preserved a great
musical catalog, which is thousands of Christian Hymns, largely a product
of the Protesatant Reformation, mainly based on folk melodies which
otherwise probably would have vanished. We all know " Amazing Grace. "
Formal offerings such as Shubert' s " Ave Maria" are kept alive, as are the
Christmas Carols. We also know very well contemporary additions, such as
" Precious Lord" and " Soon and Very Soon. " What has not been fully
investigated are many of the lesser known from the main stream hymnal.
For the purpose of executing the principles in this book, I
sincerely advise obtaining any of the Hal Leonard gospel or traditional
hymn " Fake Books in C Maj or. " The books are easily obtainable from
Amazon. The price is right. Just be careful not to fall for the books
advertised as " for all C instruments" thinking the sheets will then be in
the key of C maj or. It doesn' t work that way. Some publishers have
noticed the sales in C maj or renditions are brisk, and have taken to
leading buyers to believe that is what they have to offer. In some cases,
it is not.
Advanced players might also be interested in Nicolas Slonimsky' s
" Thesaurus of Scales and Melodic Patterns, " published in 1947, available
on Amazon for about $20. 00. This work was a favorite of musicians
including John Coltrane and Jerry Garcia. Jerry Garcia was quoted as
saying that his first action in learning a new song was to figure out the
melody. Once he understood the melody, he was on his way to understanding
the structure of the song. Garcia, of course, a great interpreter of
folk, country, and blues music. Especially since his passing, there has
grown a great interest in studying Jerry Garcia' s guitar work. One web
site is www. gratefulguitarlessons. com. I share those interests. At the
same time, I feel each of us has within us the capacity to express our
own interpretation of the music we prefer.

The C major Chord and C Major Inversions

If this is not the first " Learn the Neck" discussion the reader
has been exposed to, he or she will know that no discussion of any
scale or chord is complete in this series without a look at the common
C maj or chord and the three note (triad) inversions, found up and down
the neck.

First, the common open C maj or chord, played in the first, or

open, position. It is called the open position because one or more
strings are left unfretted. Here, those strings are both E strings and
the G string. It has been observed that chords are actually little
scales, made of notes that naturally harmonize. In any scale, the 1 - 3
and 5 of the scale make up the common chord. We must point out that if
that exact same shape is moves up one half fret, the chord increases a
half tone.
In that instance, the C# chord is sounded.
The standard C maj or chord on the piano or any other instrument is
sounded as C - E - G. Over the years, musicians found that playing the
same notes in a different order produced chords with slightly different
sounds. For instance, the standard C maj or chord sounds a C note as the
bass note and a G note as the treble note, with the E note in the
middle. Musicians found that of they strummed the chord in an inverted
order, say, the G as the bass and the E as the treble, the sound was
slightly different, even thouh the overall sound registered as a C maj or
chord to the ear.
This had immediate applications in music that was heavily
rhythmically oriented, such as the blues and later, rock and roll,
because the same chord could be pounded and repeated but the variation
in texture gained interest. Some of the original users were honky tonk,
blues, ragtime, and j azz piano players, many of whom read music. The
guitar players picked up the habit. Since few guitar players read music,
the information was communicated in terms of the patterns we see on
these pages. Note the second inversion of C maj or on the guitar takes
place at the 13th fret.

Here are two more maj or chord shapes that guitar players use all
the time. On the left is the first inversion, with the E note at the
bass. It is very often played because it uses the 8th and 10th fret C
notes. That first inversion has a couple of handy features in that the
fifth and sixth strings can be barred to allow a mini bottleneck or
slide effect, as can the second and third strings. The same principle
applies to the root triad. One or two fingers can cover the third,
fourth, and fifth strings and the three note pattern can be moved after
the fashion of the slide guitar. That root C maj or triad is
conveniently located right in the middle of everything, on the 5th fret.

Conclusion
So, there you have a little bit of a discussion of the C maj or
scale and the guitar neck. It all goes toward learning how to play
songs other people have written and songs of your own, written or yet
to be written. There is no magic bullet, really. Just get yourself some
sheet music, rhythm , karaoke, or backing tracks if at all possible,
and set about the task of picking out the melodies on your instrument.
Once you master one position, move to the next. Soon you will know the
neck, not j ust theoretically, but in reality. Trumpet and saxaphone
players have always learned to read. There is no reason guitar players
should not be reading, too.

Links and Resources

https: //soundcloud. com/ed_shaw (Audio Uploads and Back Tracks. )
https: //www. youtube. com/channel/UCHpD34CBbCIgG7-oIRKi7IQ
http: //www. scribd. com/EdwardSShaw
http: //yourlisten. com/ed_shaw/
(Audio Uploads and Back Tracks. )
http: //youtu. be/yxks8S6uvMk
(Crescendo Video. )

About the Author

Ed Shaw is a musician and
student of music, with a
passion for the traditional
Christian hymns from the
period of 1620 to 1900.
Since 2001, Ed has called
the Rocky Mountain region of
Montana, Idaho, and Colorado
home.
He may be contacted using
the resource links provided
in this manual, or email:
writersblock@inbox. com

Ed Shaw
Trinidad, CO

" Guitar, " by Pablo Picasso