Playing scales and modes three notes per string is an excellent approach to master Guitar Scale G Major on the guitar. In our experience, many lead guitarists don’t devote as much effort to this as they should. This method, in our opinion, provides an efficient way to cover a lot of land on the fretboard while expanding the availability of notes inside a particular position.
The seven diatonic modes of the guitar scale G major (G A B C D E F#), played three notes per string, are a good place to start. Each mode is constructed from a distinct note, or degree, of the scale: in FIGURE 1, we have the guitar scale G major, commonly known as the G Ionian mode, beginning on the third fret of the low E string. The notes on the bottom two strings are at the third, fifth, and seventh frets, and I like to fret them with my first, second, and fourth fingers.
The notes on the middle two strings are at the fourth, fifth, and seventh frets, respectively, and I use the same fingers, sliding my index finger up one fret. The notes on the top two strings fall at the fifth, seventh, and eighth frets, so I move up to fifth position and fret these notes with my first, third, and fourth fingers. Play this pattern ascending and descending several times to learn it.
If we play the guitar scale G major from the second note, A, up to A one octave higher, we get the A Dorian mode (A B C D E F# G). FIGURE 2 depicts A Dorian, played three notes per string beginning on the fifth fret of the low E string.
Although A Dorian has the same notes as G Ionian, the distinction is in how they are oriented. A 1 3 5 7 chord or arpeggio based on this scale yields the notes G B D F# with G as our root, or “one.” When these notes are played simultaneously, they make a Gmaj7 chord. A 1 3 5 7 chord or arpeggio gives A C E G, which forms an Am7 chord or arpeggio using A as our root.
As indicated in FIGURE 3, we can continue the procedure by travelling up to the third degree of the G major scale, B, and starting from there. With B as our root note, we have the B Phrygian mode. When you play 1 3 5 7 in this scale, you get the notes B D F# A, which is a Bm7 chord or arpeggio. FIGURES 4-7 demonstrate the C Lydian, D Mixolydian, E Aeolian, and F# Locrian scales, respectively, while FIGURE 8 depicts the guitar scale G major performed 12 frets and one octave higher than our beginning position.
Remember all of these patterns, then experiment with shifting them up and down the fretboard to different keys.