Hey guys, I recently have been teaching myself as much theory as I can. I have been looking at this site for guidance

http://www.zentao.com/guitar/theory/major-scale.html

My question doesn't have anything to do with understanding, I'm pretty smart so it's been easy for me. but whenever I read anything on any site or in any book they always give me like a billion different ways to play the C major scale. So my question is which way should I play it!?!?

obviously not on just one string, that'd be stupid. but which patterns, and do the same patters translate to all keys if I were to move the pattern to the correct root note?

lol uh my question might not make sense.. but help please lol

they're just different ways to play the same thing, its a C major as long as it goes C D E F G A B C

Memorizing the fretboard and knowing where the notes are is "ideal", but if you want to drill patterns into your head, just start making them up. Like,

Play it all on one string. No, this is not stupid. Get this down cold.
Play 6 notes on one string and one note on another string in as many ways as possible.
Play across 2 strings with even note distribution.
Play across 3 strings. 4 strings. 5 strings. 6 strings.
Extend it to different lengths, with different tonal centers (modes).
Take your 3-5 string patterns, and play them at each possible root string.
Use 3NPS (Three notes per string) patterns.
Incorporate the same note, but in different positions (be creative).

If you're thinking this is a bit wasteful, it very well could be. The entire idea is that patterns are a shallow way to learn something, because you'll be stuck playing it in whichever position(s) your particular pattern happens to be in. There is no correct way to play anything.

That's actually a really good resource you've linked there. I like how it doesn't just have the patterns displayed in one particular octave, from root to root, but has them extended as far as the position/diagram allows. Good visual pattern to help drill in that scales are not patterns, and they do not end at the next root. In fact, I'm going to paste some important stuff I saw in it, just in case you missed the importance.

"When it comes to scales, the most important thing is to be able to turn the "pattern" into "music". There's really no point to mindlessly running up and down the scale for hours on end. As soon as you acquire a basic understanding of how the notes lay out across the fingerboard, it's important to start "messing around" with the scale. You need to start searching out the melodic possibilities of the scale."

"You need to know the Major scale in every key, not just C. The best way to accomplish this is to practice a different key every day. For that day's practice, stick to that key only. If you find yourself getting bored with the key you are practicing, it means that you are not digging into your practice deep enough. Instead of switching to a new key, make yourself come up with something interesting. That is how you will really learn to play!!" (By the way, forgot to mention - yeah, the patterns can move around the fretboard into different keys. This is easier to do when you master scales on one string, though, so you have a better idea of where the notes you want are horizontally on your guitar neck. It's not stupid).

Notice how the chromatic scale is said to be a scale containing "all colors". If you ever get stuck with composing, and you feel like you're stuck in the same old keys and the same old scales, just remember that any given scale cannot give you every given tonal color. These notes that aren't in the scale are particularly good at creating dissonance if you just throw in some of them as accidentals, but you could also reach them through a subtle and well planned out key modulation.

I guess this got a little bit off topic, but I hope I answered your question back when I was still actually addressing it.

Thanks a bunch Lektro! your posts never fail to amaze me hahah. But I think I'll start doing that, a new key everyday. today I'm gonna work on C some more though and just figure out as many ways to play the MS as I can( including one string, lol)

tomorow D!

Yeah there are lots of benefits to knowing the major scale not least when it comes to learning modes which are all degrees of the major scale. If you learn C Major for instance C,D,E,F,G,A,B, you will not only know the C major scale but also in essence D Dorian mode, E Phrygian mode, F Lydian mode, G Mixolydian mode, A Aeolian mode and B Locrian mode. A seven for the price of one offer if you like. :D

haha thats awesome! once I get the MS and Key signatures down, I'll start working on Modes, because ultimately thats how I would begin making my own music.

I suppose the traditional methods of playing scales would be

1. Position playing - playing the scale vertically across the fret board keeping your index finger on roughly the same fret. Usually three note per string on E,A,D,B& high E Strings and two notes on the G string.
2. Three notes per string.

or maybe four notes per string sliding up with the pinkey for the fourth note when ascending, and sliding down with the index finger when descending.

I know that people complain that you get stuck within these scale patterns, but they arn't a bad starting point and are reasonabley efficient I suppose.

yeah I'm not so concerned with getting "boxed in" right now. I just want to get the basics down so I can start making music that makes sense.

If you ever get boxed in and completely stuck, a good video to look at is the two part Fretboard Autopsy series, with Rusty Cooley. It mostly discusses things like looking at the fretboard as a whole by using the modes and patterns extending horizontally and vertically (I haven't watched it, just a small youtube clip to make sure it would fit for the thread). I thought I was smart for removing the seventh to get simple patterns that help navigate the neck (and, in the case of aeolian, create a cool major third jump that sounds cool tonally), but he's covered that in the video.

It's interesting to see other's perception on a question like this...none wrong or right , just what works for them. I'm all about patterns and being boxed in so to speak ( kinda weird as I prefer traditional notation to tab diagrams ). Playing 4 string bass , it's easy to run out of note possibilities in one hand position so I had to learn how to continue higher up the neck in a position that allowed me to play the rest of it ( memorizing patterns ). 6 string basses make this so much easier.

But yeah , there's nothing wrong with learning these scales on " your terms " first. Keep an open mind throughout the process and explore other posiblities when you are able. And one night you'll be doing a gig in front of alot of people , the drummer will break a stick , you'll get nervous...and you'll have a safe place to go...back to the hand positions that you started with , lol.

I don't know if it's common, but when I play across the mast, I find very useful the pentatonic shapes, mainly because you can add two more notes easily and play major or minor scales.

Anyway, learning the modes shapes (three notes per string) and basic arpeggios will give lots of confidence and it's my favourite resource for fast licks- well, not too fast...

Agreed. It's best to learn as many fingerings as you can. Learning scales and arpeggios on one string also helps you with when it comes to tapping as well.