A scale is a group of notes put together in a specific order. So, learn the order, what the scale sounds like, and how to play it. Just being able to finger a scale is not at all the same as KNOWING it!! You have to own the diatonic major scale before any of the other stuff (pentatonics, harmony, modes) make any useful sense.
So, you need to know:
1. The formula- W W H W W W H
2. How to build it in any key with the correct enharmonics- that is you know not only that the key of D has a C#, but why it's C# and not Db.
3. How it sounds- when you play it you need to know how the next note sounds BEFORE you play it.
4. How to play it over at least two octaves ascending and descending.
That's what you need to learn, so how to go about it?
1. Memorize these two bits- the whole step/half-step formula (W W H W W W H) and that in the key of C there are no sharps or flats.
2. From those two memorized bits, it follows that there's a half-step between E natural and F natural, and a half-step between B natural and C natural.
3. From the only two things you need to memorize and what you learned in step 2, you can sit down with paper and work out the notes in all the other keys. Start at A and apply the formula-
3 a. Write out all the letters for the note names A B C D E F G A
3 b. Figure out the whole steps and half steps A (W) B (W) C (H) D (W) E (W) F (W) G (H) A
3 c. Work out from 1 and 2 where to put sharps or flats (not both)
A to B is a whole step, so no changes needed; B to C is a half step but the formula requires a whole step, so we move from C to C# (can't be Db because we have to use the letter C first); C# to D is a half step so we're OK; D to E is a whole step as the formula requires, we're OK; E to F is a half-step but we need a whole step, so we move to F#; F# to G is only a half-step and we need another whole step, so move to G#; G# to A is a half step, which is what we need so we're OK, and we've gotten back to our starting point. That's WHY the key of A has three sharps, and they're C#, F#, and G#; so the A major scale is A B C# D E F# G# A. Work this out for all 12 keys.
4. Find the notes on the fingerboard over two octaves at least. As you play the scale (ascending and descending), sing the note names before you play the note. So for the key of G you'd play sing "G", hit the note, then sing "A", hit that note, etc. Don't stay locked into one position, because you need to be able to play music along the whole neck.
Note that only step 4 has anything to do with physically playing the instrument, and it's the absolute LEAST important part of "knowing" a scale. After you know how to do this with a couple of keys, it becomes a lot faster because you'll have the sound in your head, your fingers will start to recognize the common patterns, and you'll be able to say the notes faster from practice.
After learning the diatonic major scale (and I don't mean memorizing all 12 keys- there are still some keys I have to take a second and work out the notes for quickly in my head because I don't play in Db or F# very often), then start to learn basic chordal theory. Two main ways to look at chords, both of which require you own the major scale...
A. Learning chords from the scale of the root of the chord- the easiest and quickest way to get into how to build specific chords. This is stuff like learning a major chord is 1 3 5, a minor is 1 b3 5, a 7th is 1 3 5 b7, etc. Get a good music theory book and study this, but also work out the fingerings for the chords (not strummed, but played one note at a time- arpeggios). I recommend Edly's Music Theory for Practical People (
Play, Learn, Music, theory, instruction, books, piano)
B. The harmonized scale- if you stack every other note from the major scale you'll get seven different four-note chords. Because they come from the same formula, no matter what key you're in the NATURE of the seven chords is always the same. This is vital because it's how chords go together and create harmony- and our job is to define the harmony.
Only after you really understand the major scale and know basic chord construction, does it make any sense to even think about modes. And you'll find that most of the modal applications that are taught are already covered in chords.
Search through the theory forum for recurring threads about how to learn theory, the progression of theory, why or why not to deal with modes, and how to put it all together. Malcom Amos, Chris K, and Mambo4 (among others) have excellent and well-written posts all over the place for the last few years that will help you tremendously.
Have fun with this! It's a blast, and you should enjoy the journey as well as the destination.
John
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