As guitarists we tend to regard scales as patterns that can be moved up and down the neck depending on what key we're playing in.
We refer to these movable patterns as boxes or box positions.
As an example, here is the minor pentatonic box:
I use this as an example because it is the first scale/box that most guitarists seem to learn.
The bottom horizontal line represents the bottom or sixth string, which is the thickest one. Each black circle indicates where to place a finger for each of the notes from the scale in question.
The * represents the start fret. For example, if you are to play using this box in the key of G, then your start fret would be the 3rd. Alternatively, if you moved everything up the neck by one tone (or two frets) then you would be in the key of A, at the fifth fret.
The notes with the lighter shading are root notes i.e. when in the key of G, they are G notes.
On this page, I give you nine boxes and two runs. I've numbered them with the following key:
For modal scale boxes, see the 'Modes - Where?' page.
* Box 10 shows the 'Blues' box. This is the same as the minor pentatonic, with an added note. This added note is called the 'flattened fifth' because it is one semitone down from the fifth note of the relative major scale. It is often referred to as the 'blues note', hence me calling it the blues box.
You can also add this note to the natural minor scale, and on most occasions to any minor scale or run. Try using it often at first - and use your ears to decide whether or not it works.
minor pentatonic run
Run 2
major pentatonic run
The bottom horizontal line represents the bottom or sixth string, which is the thickest one. Each black circle indicates where to place a finger for each of the notes from the scale in question.
The * represents the start fret. For example, if you are to play using this box in the key of G, then your start fret would be the 3rd. Alternatively, if you moved everything up the neck by one tone (or two frets) then you would be in the key of A, at the fifth fret.
The notes with the lighter shading are root notes i.e. when in the key of G, they are G notes.
On this page, I give you nine boxes and two runs. I've numbered them with the following key:
| BOX 1 | - | Minor pentatonic scale, root note on 6th string |
| BOX 2 | - | Natural minor scale, root note on 6th string |
| BOX 3 | - | Minor pentatonic scale, root note on 5th string |
| BOX 4 | - | Natural minor scale, root note on 5th string |
| BOX 5 | - | Major scale, root on 6th string |
| BOX 6 | - | Major scale, root on 6th string (alternative fingering) |
| BOX 7 | - | Major scale, root on 5th string |
| BOX 8 | - | Major pentatonic scale, root on 5th string |
| BOX 9 | - | Mixolydian mode scale, root on 6th string |
| BOX 10 | - | 'Blues' box, root on 6th string |
| RUN 1 | - | Minor pentatonic run |
| RUN 2 | - | Major pentatonic run |
For modal scale boxes, see the 'Modes - Where?' page.
| Box 1 minor pentatonic scale, root note on 6th string | Box 2 natural minor scale, root note on 6th string |
Box 3 minor pentatonic scale, root on 5th string | Box 4 natural minor scale, root on 5th string |
Box 5 major scale, root on 6th string | Box 6 major scale (speed picking), root on 6th string |
Box 7 major scale, root on 5th string | Box 8 major pentatonic, root on 5th string |
Box 9 mixolydian scale, root on 6th string | Box 10 * 'Blues scale', root on 6th string |
* Box 10 shows the 'Blues' box. This is the same as the minor pentatonic, with an added note. This added note is called the 'flattened fifth' because it is one semitone down from the fifth note of the relative major scale. It is often referred to as the 'blues note', hence me calling it the blues box.
You can also add this note to the natural minor scale, and on most occasions to any minor scale or run. Try using it often at first - and use your ears to decide whether or not it works.
Run 1
minor pentatonic run
Run 2
major pentatonic run
Notes on where to use the boxes
C major across the first 12 frets showing the location of boxes
I generally use the key of C major for examples, as I think that the lack of sharps/flats makes it easier to follow. I taught myself all this stuff in C major, then I just shifted everything up and/or down my neck for other keys.
If you've worked through the pages 'How to work out scales', you will have the major, natural minor, minor pentatonic and major pentatonic scales in all 12 keys.
Place an asterix beside each scale that contains only 'natural' notes - no sharps or flats. This will give you a series of scales which can all be played when in the key of C major (the only major key with no sharps or flats).
This is what you end up with:
If we now equate these scales to the eleven boxes/runs shown above, we arrive at the following positions:
This gives us a lot of scope for moving around the fretboard, whilst only using notes from the C major scale.
You can also play the D Dorian, E Phrygian, F Lydian, G Mixolydian and B Locrian modal positions - check out my 'What are modes?' page for simple answers to the question.
For more box positions checkout my 'Modes - Where?' page.
For notes on jamming/soloing checkout my 'Soloing/jamming' page.
I generally use the key of C major for examples, as I think that the lack of sharps/flats makes it easier to follow. I taught myself all this stuff in C major, then I just shifted everything up and/or down my neck for other keys.
If you've worked through the pages 'How to work out scales', you will have the major, natural minor, minor pentatonic and major pentatonic scales in all 12 keys.
Place an asterix beside each scale that contains only 'natural' notes - no sharps or flats. This will give you a series of scales which can all be played when in the key of C major (the only major key with no sharps or flats).
This is what you end up with:
| C major | - | C | D | E | F | G | A | B | C |
| C major pentatonic | - | C | D | E | G | A | C | ||
| F major pentatonic | - | F | G | A | C | D | F | ||
| G major pentatonic | - | G | A | B | D | E | G | ||
| A natural minor | - | A | B | C | D | E | F | G | A |
| A minor pentatonic | - | A | C | D | E | G | A | ||
| D minor pentatonic | - | D | F | G | A | C | D | ||
| E minor pentatonic | - | E | G | A | B | D | E |
If we now equate these scales to the eleven boxes/runs shown above, we arrive at the following positions:
| Box number | Fret to play from |
| ONE | 5, 10, 12 (or open position) |
| TWO | 5 |
| THREE | 5, 7, 12 (or open position) |
| FOUR | 12 (or open position) |
| RUN 1 | 5, 10, 12 (or open position) |
| FIVE | 8 |
| SIX | 8 |
| SEVEN | 3 |
| EIGHT | 3, 8, 10 |
| NINE | 3 |
| RUN 2 | 1, 3, 8 |
This gives us a lot of scope for moving around the fretboard, whilst only using notes from the C major scale.
You can also play the D Dorian, E Phrygian, F Lydian, G Mixolydian and B Locrian modal positions - check out my 'What are modes?' page for simple answers to the question.
NOTE: When in a major key you can obviously play the major scale. However, you can also sometimes play the minor pentatonic scale at the same position.
This is most apparent when playing the blues, and can confuse players into thinking that a piece is in a minor key, when in fact it's not.
As your ears improve, you'll be able to hear whether or not this can be done over a particular progression.
I encourage you to try it all the time, particularly when playing rock or blues.
Note that this is not true in reverse i.e. if a piece is in C minor, the C major scale doesn't fit.
This is most apparent when playing the blues, and can confuse players into thinking that a piece is in a minor key, when in fact it's not.
As your ears improve, you'll be able to hear whether or not this can be done over a particular progression.
I encourage you to try it all the time, particularly when playing rock or blues.
Note that this is not true in reverse i.e. if a piece is in C minor, the C major scale doesn't fit.
For more box positions checkout my 'Modes - Where?' page.
For notes on jamming/soloing checkout my 'Soloing/jamming' page.