Additional Information
	Strategies for learning scales
	These are a lot of scale forms. I understand. Do not feel like you need to learn them all. No one knows them all.
	The goal is to play through the different forms enough so that eventually your finger moves to the right place on the fretboad automatically. Avoid just memorizing patterns. Play with your ears, not your eyes.
	That said, here is a path for learning scales. First, start with the open forms of C, G, and D.
					Open form C								Open form G							Open form D
					E	A	D	G	B	E			E	A	D	G	B	E		E	A	D	G	B	E
					F				C	F							C
						B	E	A					F#	B	E	A		F#		F#	B	E	A	C#	F#
					G	C	F		D	G			G	C			D	G		G				D	G
															F#						C#	F#
	These scales are essential for learning runs chord variations for the "cowboy chords," and they also establish patterns for the moveable scales.
	If you play up the neck, the next step would be to learn the CAGED forms. They are called CAGED because of how the chords they  lie on the neck moving up the fretboard relative to each other.
					CAGED form C
									R			CAGED form A
							3
						R						5	R				5
					(Resembles C chord)														CAGED form G
														5	R	3
																					5	R	3
												(Resembles A chord)														CAGED form E
																				3
																			R					R		R				5	R		CAGED form D
																			(Resembles G chord)										3
																											5	R						5	R
																										(Resembles E chord)
																																				5		3
																																					R
																																	(Resembles D chord)
	The first one to learn is CAGED C because the pattern is similar to the open C.
					CAGED form C
					3	6	2	5	7	3		①	①	①	①	①	①
					4				R	4		②				②	②
						7	3	6					③	③	③
					5	R	4		2	5		④	④	④		④	④
	The next easiest is the E form.
					CAGED form E
					7	3	6	2		7		①	①	①	①		①
					R	4			5	R		②	②			②	②
							7	3						③	③
					2	5	R	4	6	2		④	④	④	④	④	④
	The G form requires a shift down one fret position to access the 7, then a shift back up. Many texts teach the G form first because in the fifth position, the G form is a C scale. Many players use this position for note reading.
					CAGED form G
								7							①
					6	2	5	R	3	6		①	①	①	②	①	①
									4							②
					7	3	6	2		7		③	③	③	③		③
					R	4			5	R		④	④			④	④
	The D and A forms also require a shift.
					CAGED form D														CAGED form A
							7	3						①	①					7	3	6					①	①	①
					2	5	R	4	6	2		①	①	②	②	①	①		5	R	4		2	5		②	②	②		①	①
																						7							②
					3	6	2	5	7	3		②	②	③	③	②	②		6	2	5	R	3	6		③	③	③	③	③	③
					4				R	4		④				④	④						4							④
	These closed forms have the advantage that after shifting, fingers can stay in a four-fret box and avoid stretching. Many expert players use these forms exclusively.
	You now have a workable knowledge of scale forms up the fretboard. Before moving on the the modal forms, I suggest becoming familiar with some other common scales besides major.
	These other scale documents are on different areas of the site.
	Start by looking at the minor scales. You will quickly realize you already know these patters (and the other standard modes) because they are just shifts in the major forms.
	Learn some of the scale variations such as harmonic minor, melodic minor, and the blues scales. (Note that pentatonics are usually learned befor major scales, but if you learned the major scales, the pentatonics arejust subsets of these.
	The modal terms used in the major scale are not reallly appropriate for scales not based in major, so numbers subsititue. For example, Modal Ionian becomes Modal Group 1, Modal Dorian becomes Modal Group 2, …
	Also CAGED C becomes CAGED group 2, CAGED A becomesd CAGED group 2, … to remove any implied association with Major modality.
	Once you have a grasp on the common variations, experiment with the open forms of F, Bb, and Eb. These patterns are not played on the neck much because of the limited use of flat keys for open playing, but they do serve as a model for the Modal System of playing up the neck.
					Open form F							Open form Bb							Open form C
					E	A	D	G		E			A	D	G						D	G
					F	Bb			C	F		F	Bb	Eb		C	F		F	Bb	Eb	Ab	C	F
							E	A							A
					G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb	D	G
																Eb			Ab				Eb	Ab
	As an introduction to the modal system, consider the CAGED G form and its hand shift to access 7.
					CAGED form G
								7							①
					6	2	5	R	3	6		①	①	①	②	①	①
									4							②
					7	3	6	2		7		③	③	③	③		③
					R	4			5	R		④	④			④	④
	Instead of shifting the hand down, the MODAL system plays the 7 in an alternate position and stretches up to the 7.
					Modal Aeolian
					6	2	5	R	3	6		①	①	①	①	①	①
									4							②
					7	3	6	2		7		③	③	③	③		③
					R	4			5	R		④	④			④	④
							7							④
	Two of the other Modal forms employ similar shifts compared to their CAGED counterparts.
					CAGED form A
						7	3	6					①	①	①				Modal Mixolydian
					5	R	4		2	5		②	②	②		①	①		5	R	4		2	5		①	①	①		①	①
								7							②							7							①
					6	2	5	R	3	6		③	③	③	③	③	③		6	2	5	R	3	6		②	②	②	②	②	②
									4							④							4							③
																			7	3	6	2		7		④	④	④			④
					CAGED form D
							7	3						①	①				Modal Dorian
					2	5	R	4	6	2		①	①	②	②	①	①		2	5	R	4	6	2		①	①	①	①	①	①
					3	6	2	5	7	3		②	②	③	③	②	②		3	6	2	5	7	3		②	②	②	②	②	②
					4				R	4		④				④	④		4				R	4		③				③	③
																				7	3						④	④
	While two modal forms are happily the same as the CAGED forms.
					CAGED form C														Modal Phrygian
					3	6	2	5	7	3		①	①	①	①	①	①		3	6	2	5	7	3		①	①	①	①	①	①
					4				R	4		②				②	②		4				R	4		②				②	②
						7	3	6					③	③	③					7	3	6					③	③	③
					5	R	4		2	5		④	④	④		④	④		5	R	4		2	5		④	④	④		④	④
																			Modal Locrian
					CAGED form E
					7	3	6	2		7		①	①	①	①		①		7	3	6	2		7		①	①	①	①		①
					R	4			5	R		②	②			②	②		R	4			5	R		②	②			②	②
							7	3						③	③						7	3						③	③
					2	5	R	4	6	2		④	④	④	④	④	④		2	5	R	4	6	2		④	④	④	④	④	④
	The five-fret stretching possibilities of the modal system also allow for two new scale forms without CAGED counterparts.
					Modal Ionian
					R	4			5	R		①	①				①
							7	3						①	①
					2	5	R	4	6	2		②	②	②	②	②	②
					3	6	2	5	7	3		④	④	④	④	④	④
					Modal Lydian
					4				R	4		①					①
						7	3	6					①	①	①
					5	R	4		2	5		②	②	②		②	②
								7							③
					6	2	5	R	3	6		④	④	④	④	④	④
	One advantage of the modal system is that now each scale degree on the sixth string has its own unique scale form.
																																	CAGED form E
					Modal Ionian																	(CAGED forms shown as reference) -->											7	3	6	2		7
					R	4			5	R																							R	4			5	R		CAGED form D
							7	3				Modal Dorian																							7	3						7	3
					2	5	R	4	6	2		2	5	R	4	6	2																2	5	R	4	6	2		2	5	R	4	6	2
																			Modal Phrygian																												CAGED form C
					3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3		Modal Lydian														3	6	2	5	7	3		3	6	2	5	7	3
												4				R	4		4				R	4		4				R	4									4				R	4		4				R	4		CAGED form A
													7	3	6					7	3	6					7	3	6				Modal Mixolydian															7	3	6					7	3	6
																			5	R	4		2	5		5	R	4		2	5		5	R	4		2	5									5	R	4		2	5		5	R	4		2	5		CAGED form G
	Added flexibility shows in Modal shifts such as the "Three note per string" form.																					7							7							7				Modal Aeolian																	7							7
																										6	2	5	R	3	6		6	2	5	R	3	6		6	2	5	R	3	6		Modal Locrian							6	2	5	R	3	6		6	2	5	R	3	6
					Ionian Mode																																4							4														4							4			CAGED form E
																																	7	3	6	2		7		7	3	6	2		7		7	3	6	2		7									7	3	6	2		7		7	3	6	2		7
												Dorian Mode																												R	4			5	R		R	4			5	R									R	4			5	R		R	4			5	R
					R	4																																				7	3						7	3																				7	3
							7	3											Phrygian Mode																												2	5	R	4	6	2																2	5	R	4	6	2
					2	5	R	4	6	2		2	5	R	4											Lydian Mode
					3	6	2	5	7	3	##	3	6	2	5	7	3		3	6	2	5											Mixolydian Mode
									R	4		4				R	4		4				R	4		4
													7	3	6			##		7	3	6					7	3	6											Aeolian Mode
																2	5		5	R	4		2	5		5	R	4		2	5		5	R	4
																						7			##				7							7											Locrian Mode
																							3	6		6	2	5	R	3	6	##	6	2	5	R	3	6		6	2	5	R
																														4							4							4
																															7		7	3	6	2		7	##	7	3	6	2		7		7	3	6	2
																																					5	R		R	4			5	R		R	4			5	R
	This ability to move up and down the neck in repeated patterns is why the modal system is preferred by many progressive players and speed freaks.																																									7	3			##			7	3
																																												6	2		2	5	R	4	6	2
	Once you are comfortable with the stretches, you are ready to experiment with symmetrical scales such as Whole Tone and Octotonic (shown in a different section).
											##																																								7	3
	The three note forms show one way to shift from one form to another, a very important skill to avoid getting locked into a pattern. Now, explore some more shifts.
																		##
	First, if you have never done so, take a look at some of the remaining open forms. (Guitarists that do not play up the neck can jump back in here if you skipped the moveable forms.)
																									##
					Open form E							Open form A							Open form B													##
					E	A			B	E		E	A	D		B	E		E				B	E
							D#	G#	B						G#					A#	D#	G#																			##
					F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E		C#	F#
																D						A#
					G#	C#	F#		D#	G#		G#	C#	F#			G#		G#	C#	F#		D#	G#
	Notice how the open forms line up with the movebale forms close to them. Start by combining the notes from open form D with Caged E (or Modal Phryigian) to create an extended form.
					Open form D														Second Position Open D
					E	A	D	G	B	E		Modal Phrygian							E	A	D	G	B	E
												CAGED form C
					F#	B	E	A	C#	F#		3	6	2	5	7	3		F#	B	E	A	C#	F#	2nd
					G				D	G	+	4				R	4	=	G				D	G
						C#	F#						7	3	6					C#	F#	B
												5	R	4		2	5		A	D	G		E	A
	This new group is versitile because it allows for many optional notes including the open notes with the moveable form. Bluegrass payers slide for the open forms to the second position forms often. The position also alows for new hammer-on pull-off possibilities.
	Compare Open form G with Locrian or CAGED form E with root G.
					Open form G
					E	A	D	G	B	E		CAGED form E							E	A	D	G	B	E
									C			Modal Locrian											C
					F#	B	E	A		F#		7	3	6	2		7		F#	B	E	A		F#	2nd
					G	C			D	G	+	R	4			5	R	=	G	C			D	G
							F#							7	3						F#	B
												2	5	R	4	6	2		A	D	G	C	E	A
	This combination is not quite as elegant as the D forms because the first-fret C on the second string requires a shift or stretch. To simplify, eliminate any first fret note alternatives from the Second Position Open forms.
					Second Position Open G
					E	A	D	G	B	E
					F#	B	E	A		F#	2nd
					G	C			D	G
							F#	B
					A	D	G	C	E	A
	Several other keys have usable Second Position Open forms.
					Second Position Open C							Second Position Open A							Second Position Open E							Second Position Open B							Second Position Open F							Second Position Open Bb							Second Position Open Eb
					E	A	D	G	B	E		E	A	D		B	E		E	A			B	E		E				B	E		E	A	D	G		E			A	D	G						D	G
						B	E	A			2nd	F#	B	E	A	C#	F#	2nd	F#	B	E	A	C#	F#	2nd	F#	B	E		C#	F#	2nd			E	A			2nd				A			2nd							2nd
					G	C	F		D	G						D													A#				G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb	D	G
								B				G#	C#	F#	B		G#		G#	C#	F#	B	D#	G#		G#	C#	F#	B	D#	G#													Eb			Ab				Eb	Ab
					A	D	G	C	E	A		A	D			E	A		A				E	A						E			A	D	G	C	E	A		A	D	G	C		A			D	G	C
	Note that the keys of F#/Gb, C#/Db, and G#/Ab do not work well as either open or second position open forms because of the sparsity of open notes in those scales. Use the modal or CAGED moveable forms instead.
	With a little stretching, these forms can extend to the sixth fret
					Six-fret Open C							Six-fret Open G							Six-fret Open D							Six-fret Open A							Six-fret Open E							Six-fret Open B							Six-fret Open F							Six-fret Open Bb							Six-fret Open Eb
					E	A	D	G	B	E		E	A	D	G	B	E		E	A	D	G	B	E		E	A	D		B	E		E	A			B	E		E				B	E		E	A	D	G		E			A	D	G						D	G
						B	E	A				F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E		C#	F#				E	A							A
					G	C	F		D	G		G	C			D	G		G				D	G						D													A#				G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb	D	G
								B						F#	B					C#	F#	B				G#	C#	F#	B		G#		G#	C#	F#	B	D#	G#		G#	C#	F#	B	D#	G#													Eb			Ab				Eb	Ab
					A	D	G	C	E	A		A	D	G	C	E	A		A	D	G		E	A		A	D			E	A		A				E	A						E			A	D	G	C	E	A		A	D	G	C		A			D	G	C
									F													C#						G#	C#					D#	G#	C#				A#	D#	G#	C#		A#						F				Eb			F			Bb	Eb			F	Bb
	The choice of two notes on multiple strings lead to a number variations of a scale in 2nd position. D has the most variations, an overwhelming 48 forms.
					Six-fret Open D 1							Six-fret Open D 2							Six-fret Open D 3							Six-fret Open D 4							Six-fret Open D 5							Six-fret Open D 6							Six-fret Open D 7							Six-fret Open D 8							Six-fret Open D 9							Six-fret Open D 10							Six-fret Open D 11							Six-fret Open D 12
					E							E					E		E							E					E		E				B			E				B	E		E			G				E			G		E		E			G				E			G		E		E			G	B			E			G	B	E
					F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#
					G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G
						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#
					A	D	G		E	A		A	D	G			A		A	D	G		E	A		A	D	G			A		A	D	G		E	A		A	D	G			A		A	D			E	A		A	D				A		A	D			E	A		A	D				A		A	D			E	A		A	D				A
								C#							C#																																			C#							C#
					Six-fret Open D 13							Six-fret Open D 14							Six-fret Open D 15							Six-fret Open D 16							Six-fret Open D 17							Six-fret Open D 18							Six-fret Open D19							Six-fret Open D 20							Six-fret Open D 21							Six-fret Open D 22							Six-fret Open D 23							Six-fret Open D 24
					E		D					E		D			E		E		D					E		D			E		E		D		B			E		D		B	E		E		D	G				E		D	G		E		E		D	G				E		D	G		E		E		D	G	B			E		D	G	B	E
					F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#
					G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G
						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#
					A		G		E	A		A		G			A		A		G		E	A		A		G			A		A		G		E	A		A		G			A		A				E	A		A					A		A				E	A		A					A		A				E	A		A					A
								C#							C#																																			C#							C#
					Six-fret Open D 25							Six-fret Open D 26							Six-fret Open D 27							Six-fret Open D 28							Six-fret Open D 29							Six-fret Open D 30							Six-fret Open D 31							Six-fret Open D 32							Six-fret Open D 33							Six-fret Open D 34							Six-fret Open D 35							Six-fret Open D 36
					E	A						E	A				E		E	A						E	A				E		E	A			B			E	A			B	E		E	A		G				E	A		G		E		E	A		G				E	A		G		E		E	A		G	B			E	A		G	B	E
					F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#
					G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G
						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#
						D	G		E	A			D	G			A			D	G		E	A			D	G			A			D	G		E	A			D	G			A			D			E	A			D				A			D			E	A			D				A			D			E	A			D				A
								C#							C#																																			C#							C#
					Six-fret Open D 37							Six-fret Open D 38							Six-fret Open D 39							Six-fret Open D 40							Six-fret Open D 41							Six-fret Open D 42							Six-fret Open D 43							Six-fret Open D 44							Six-fret Open D 45							Six-fret Open D 46							Six-fret Open D 47							Six-fret Open D 48
					E	A	D					E	A	D			E		E	A	D					E	A	D			E		E	A	D		B			E	A	D		B	E		E	A	D	G				E	A	D	G		E		E	A	D	G				E	A	D	G		E		E	A	D	G	B			E	A	D	G	B	E
					F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#
					G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G		G				D	G
						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#						C#	F#	B					C#	F#	B					C#	F#	B					C#	F#	B					C#	F#						C#	F#
							G		E	A				G			A				G		E	A				G			A				G		E	A				G			A						E	A							A						E	A							A						E	A							A
								C#							C#																																			C#							C#
	Perhaps the most powerful use of second position open forms happens when they are  in Mixolydian mode. Try E Mixolydian scale. Play the notes from the A form, but start and end on E. This is the scale from "Xanadu" by Rush.
	Now you are becoming aware of moving vertically up the neck rather than being locked into one pattern.
	Suppose you wanted to move from the Dorian mode to the Phrygian.
					Dorian Mode							Phrygian Mode
					2	5	R	4	6	2
					3	6	2	5	7	3		3	6	2	5	7	3
					4				R	4		4				R	4
						7	3						7	3	6
												5	R	4		2	5
	The beauty of the Modal system is that on any string, just shift up one scale degree to moce into the next mode.
					Dorian Mode							Fifth-string shift							Phrygian Mode
					2	5	R	4	6	2		2	5
					3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
					4				R	4		4				R	4		4				R	4
						7	3						7	3	6					7	3	6
													R	4		2	5		5	R	4		2	5
	Some shifts naturally flow into alternate versions of the scale above. Alternate versions occur because in a five-finger fret box, the note on the second string lowest fret is the same as the note on the third string four frets above it.
	For example, Ionian naturally flowsw into Dorian Alternate, with the sixth scale degree on the third string. After establishing the new mode, switch to the standard Dorian for ease of playing.
					Ionian Mode							Fifth-string shift							Dorian Mode Alternate							Dorian Mode
					R	4				R		R	4
							7	3
					2	5	R	4	6	2		2	5	R	4		2		2	5	R	4		2		2	5	R	4	6	2
					3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
																R	4		4				R	4		4				R	4
													7	3	6					7	3	6					7	3
	CAGED shifts are a bit more complicated. The tradeoff for the easier fingerings of the CAGED forms is that shifting to the next form can involve double scale degree shifts.
					CAGED		Group C					Fifth-string shift							CAGED		Group A
					3	6	2	5	7	3		3	6
					4				R	4		4
						7	3	6					7	3	6					7	3	6
					5	R	4		2	5		5	R	4		2	5		5	R	4		2	5
															7							7
													2	5	R	3	6		6	2	5	R	3	6
																4							4
	Shift patterns are possible on any string, but the first ones to learn are the shifts that start the new mode on the same scale degree as the previous mode, like the one above, and these patterns:
					CAGED Group G
												Fifth-string shift							CAGED Group E
																																	CAGED D Requires a double shift of both 7 and R.
								7																		Fifth-string shift							CAGED Group D
					6	2	5	R	3	6		6	2
									4																															Fifth-string shift
					7	3	6	2		7		7	3	6	2		7		7	3	6	2		7		7	3
					R				5	R		R	4			5	R		R	4			5	R		R	4
														7	3						7	3						7	3						7	3
													5	R	4	6	2		2	5	R	4	6	2		2	5	R	4	6	2		2	5	R	4	6	2		2	5
																											6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
		The shift from CAGED A to CAGED G is more appealing as a fourth-string shift.																												R	4		4				R	4		4				R	4
																																									7	3	6
					CAGED		Group A																																		R			2	5
												Fourth-string shift							CAGED Group G
						7	3	6					7	3
					5	R	4		2	5		5	R	4
								7							7							7
					6	2	5	R	3	6		6	2	5	R	3	6		6	2	5	R	3	6
									4							4							4
														6	2		7		7	3	6	2		7
																5	R		R				5	R
	Adding a second shift yeilds these extended patterns.
					CAGED		Group C					CAGED Group C Extended							CAGED		Group A
																										CAGED Group A Extended							CAGED Group G
					3	6	2	5	7	3		3	6
					4				R	4		4																												CAGED Group G Extended
						7	3	6					7	3	6					7	3	6					7	3
					5	R	4		2	5		5	R	4					5	R	4		2	5		5	R	4
															7							7							7							7
													2	5	R	3	6		6	2	5	R	3	6		6	2	5	R	3			6	2	5	R	3	6		6	2
																4							4							4							4										CAGED Group E
															2		7											6	2		7		7	3	6	2		7		7	3	6	2
																5	R													5	R		R				5	R		R	4
																																										7	3											CAGED Group E Extended							CAGED Group D
																														6	2										5	R	4	6	2
																																																																				CAGED Group D Extended
	This choice of shifting yeilds an important group of forms, the two-string repeated pattern forms.																																										5	7	3		7	3	6	2		7		7	3
																																												R	4		R	4			5	R		R	4
	Two-string forms have the sme pattern on eachof the three pairs of strings. The pattern on strings 5-6 is the same as the pattern on strings 3-4 and on 1-2.																																																7	3						7	3						7	3
	All the extended CAGED patterns except CAGED A fall into the Two-string 1 category, with three notes on the sixth string and four notes on the fourth string.																																														2	5	R	4	6	2		2	5	R	4				2	5	R	4	6	2		2	5
	An alternate two-string pattern has four  notes on the sixth string and three notes on the fourth string.
																																																							6	2	5	7	3		3	6	2	5	7	3		3	6	2	5
				Two-note 2 Phrygian																																																						R	4		4				R	4		4
																																																									6												7	3	6
																																																										2	5										R	4		2	5
				3																																																																			7
				4																																																																			R	3	6
					7	3																																																																		4
				5	R	4
							7
				6	2	5	R	3
								4
						6	2		7
								5	R
								6	2
	CAGED A Extended belongs to the three-string 1 category, with repeated patterns on the 6-5-4 string and 3-2-1 strings (Adjusting for the smaller interval between strings 2 and 3).
	The three-string 2 pattern shifts one niote in each pattern, in this case the 3rd scale degree.
				CAGED Group A Extended
				Three-string 1 Mixolydian							Three-string 2 Mixolydian
					7	3						7
				5	R	4					5	R	4
							7							7
				6	2	5	R	3			6	2	5	R
								4							4
						6	2		7			3	6	2		7
								5	R						5	R
														3
								6	2						6	2
	These patterns are also an examples of patterns with two ascending shifts from a modal scale. Modal shifts are more elegant than CAGED shifts because they always resolve to the next modal group, so producing tables of all the modal shifts is redundant.
	For example, follow the shift table from Ionian to Dorin for the first shift, then follow the table from Dorian to Phrygian for the second shift.
	Shiftding down one patterns is less natural since the notes ascend when you are moving down frets, like walking down the up escallator. Before working on the downwqrde shist, play the scales in the two-note qnd one-note aptterns to get used to the movements.
			Two-note								One-note
								4
																6
							2	5
						7
					5	R	3								5
				3	6									4
			R	4
			2
													3
												2
											R
	Once these shifts become natural, the two-note patterns are easier. In patterns that belong in both systems, the shift patterns are different depending on the destination pattern.
	For example, the CAGED E scale and the Locirian Mode patterns are identical, but the patterns they shift to are different. CAGED shifts are often tweaked so that the destination is another CAGED scale.
			CAGED		Group E					Locrian Mode
									##
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
					7	3						7	3
			2	5	R	4	6	2		2	5	R	4	6	2
									##
								6							6
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
					7	3						7	3
			2	5	R	4				2	5	R	4
									##
							3	6							6
							4							4
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
					7							7	3
			2	5	R					2	5	R
									##
						7
						R		6					R		6
							4							4
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
												7	3
			2	5						2	5
									##
						7
					5	R		6				5	R		6
							4							4
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
												7	3
			2							2
									##
						7
				2	5	R		6			2	5	R		6
							4							4
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
												7	3
			CAGED		Group D					Aeolian Mode Altenate
									##
						7
			6	2	5	R		6		6	2	5	R		6
							4							4
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
												7	3
	Alternately, you can choose to shift the CAGED scale from the way you shift a Modal form, but the resulting scale may not be another CAGED form.
	For some scales, the destination is the same  as that in the modal counterparts.
			CAGED Standard Shift							Modal							Single-shift CAGED
			CAGED		Group C					Phrygian Mode							CAGED		Group C
									##
			3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
			4				R	4		4				R	4		4				R	4
				7	3	6					7	3	6					7	3	6
			5	R	4		2	5		5	R	4		2	5		5	R	4		2	5
			Destination after shift
			CAGED		Group A					Lydian Mode Alternate							Lydian Mode Alternate
									##
										4				R	4		4				R	4
				7	3	6					7	3	6					7	3	6
			5	R	4		2	5		5	R	4		2	5		5	R	4		2	5
						7							7							7
			6	2	5	R	3	6		6	2	5		3	6		6	2	5		3	6
							4
	But for some CAGED forms, shifting creates a new scale form.
			CAGED Standard Shift							Modal							Single-shift CAGED
			CAGED		Group D					Dorian Mode							CAGED		Group D
					7	3													7	3
			2	5	R	4	6	2		2	5	R	4	6	2		2	5	R	4	6	2
			3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
			4				R	4		4				R	4		4				R	4
											7	3
			Destination after shift
			CAGED Group C							Phrygian Mode							Superstretch 3
									##
																			R	4
			3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
			4				R	4		4				R	4		4				R	4
				7	3	6					7	3	6					7	3	6
			5	R	4		2	5		5	R	4		2	5		5				2	5
	This type of shifting results in a new category of scales know as Superstretch because they require a fret box larger than five frets to play.
	Superstretch forms are difficult, so do not memorize them like the other patterns. They do make a great exercise, though.
	If you get stuck in a superstretch form, just shift to the nearest standard form.
	The additional following Superstretch forms occur naturally from single-fret shifts from CAGED forms.
			Ascending shift from CAGED A							Ascending shift from CAGED G							Descending shift  CAGED A							Descending shift  CAGED G							Descending shift  CAGED D
			Superstretch 6							Superstretch 7							Superstretch 4							Superstretch 5							Superstretch 1
																		6	2	5							6						6	2
				R	4								R				4				R	4		5	R	4		2	5		R	4			5	R
						7								4				7	3	6							7						7	3
			6	2	5	R	3	6		7	3	6	2		7		5	R	4		2	5		6	2	5	R	3	6		2	5	R	4	6	2
							4			R	4			5	R					7								4
			7	3	6	2		7				7	3								3			7	3				7		3				7	3
							5			2	5			6	2
	Open form scales can shift naturally into standard modes, alternates, or supershift scales.
																																																																																							Alternate form not open							No alternate open form							No alternate open form							No alternate open form							No alternate open form
			C							C							G							G							D							D							A							A							E							E							B							B							F#							F							Bb							Eb							Ab							Enharmonic keys fingered like their counterparts
			Open form							Alternate open form							Open form							Alternate open form							Open form							Alternate open form							Open form							Alternate open form							Open form							Alternate open form							Open form							Alternate open form							Open form							Open form							Open form							Open form							Open form							C#/Db has no open forms, so it is skipped.
			E	A	D	G	B	E		E	A	D	G		E		E	A	D	G	B	E		E	A	D	G		E		E	A	D	G	B	E		E	A	D	G		E		E	A	D		B	E		E	A	D			E		E	A			B	E		E	A				E		E				B	E		E					E						B			E	A	D	G		E			A	D	G						D	G							G
			F				C	F		F				C	F						C							C																				G#							G#						D#	G#						D#	G#					A#	D#	G#					A#	D#	G#				E#	A#	D#	G#		E#		F	Bb			C	F		F	Bb	Eb		C	F		F	Bb	Eb	Ab	C	F		F	Bb	Eb	Ab	C	F
				B	E	A					B	E	A				F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E	A	C#	F#		F#	B	E		C#	F#		F#	B	E		C#	F#		F#	B			C#	F#				E	A							A															Db
			G	C	F		D	G		G	C	F		D	G		G	C			D	G		G	C			D	G		G				D	G		G				D	G						D							D																				A#							A#						E#	A#				G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb		G
													B						F#							F#	B					C#	F#						C#	F#	B				G#	C#	F#			G#		G#	C#	F#	B		G#		G#	C#	F#		D#	G#		G#	C#	F#	B	D#	G#		G#	C#	F#		D#	G#		G#	C#	F#	B	D#	G#		G#	C#	F#		D#	G#													Eb			Ab				Eb	Ab		Ab	Db			Eb	Ab
			Open form natural shifts
			Lydian Alternate							Lydian							Locrean Alternate							Locrean							Phrygian							Phrygian Alternate							Aeolian							Aeolian Alternate							Dorian							Dorian Alternate							Mixolydian							Mixolydian Alternate							Ionian							Ionian Alternate							Superstretch 6							Superstretch 3							Superstretch 7
			F				C	F		F					F						C																																																																									F	Bb				F			Bb	Eb							Eb	Ab							Ab
				B	E	A					B	E	A				F#	B	E	A		F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E	A	C#	F#		F#	B	E	A		F#		F#	B	E		C#	F#		F#	B	E			F#		F#	B			C#	F#				E	A							A															Db
			G	C	F		D	G		G	C	F		D	G		G	C			D	G		G	C			D	G		G				D	G		G				D	G						D							D																				A#							A#						E#	A#				G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb	D	G		G	C	F	Bb		G
						B							B						F#	B						F#	B					C#	F#	B					C#	F#	B				G#	C#	F#	B		G#		G#	C#	F#	B		G#		G#	C#	F#	B	D#	G#		G#	C#	F#	B	D#	G#		G#	C#	F#	B	D#	G#		G#	C#	F#	B	D#	G#		G#	C#	F#	B	D#	G#													Eb			Ab				Eb	Ab		Ab	Db			Eb	Ab
			A	D	G		E	A		A	D	G	C	E	A		A	D	G		E	A		A	D	G	C	E	A		A	D	G		E	A		A	D	G		E	A		A	D			E	A		A	D			E	A		A				E	A		A				E	A						E							E										A	D	G	C	E	A		A	D	G	C		A			D	G	C						G	C
																																									C#						G#							G#	C#					D#	G#						D#	G#	C#				A#	D#	G#			A#		A#	D#	G#	C#		A#		A#	D#	G#		E#	A#													F			Bb				F	Bb		Bb	Eb			F	Bb
	To shift up tp the nearest CAGED forms, use these patterns, which are the same for alternate forms.
			Open form to CAGED shifts
			CAGED		Group A												CAGED		Group E												CAGED		Group C												CAGED		Group G												CAGED		Group D												CAGED		Group A												CAGED		Group E					CAGED		Group D					CAGED		Group D					CAGED		Group C					CAGED		Group E
																																																7													7	3												7	3	6											7	3	6	2		7												7
				7	3	6											7	3	6	2		7									3	6	2	5	7	3									6	2	5	R	3	6									2	5	R	4	6	2									5	R	4		2	5									R	4			5	R				7	3				6	2	5	R	3	6
			5	R	4		2	5									R	4			5	R									4				R	4													4																											7													7	3				2	5	R	4	6	2						4			3	6	2	5	7	3		7	3	6	2		7
						7													7	3												7	3	6											7	3	6	2		7									3	6	2	5	7	3									6	2	5	R	3	6									2	5	R	4	6	2									7	3	6	2		7		4				R	4		R	4			5	R
			6	2	5	R	3	6									2	5	R	4	6	2									5	R	4		2	5									R	4			5	R									4				R	4													4																	3	6	2	5	7	3		R	4			5	R			7	3	6						7	3
							4																																																																																							4				R	4									5	R	4		2	5		2	5	R	4	6	2
	These are only a subset of all the patterns possible with shifts.
	The Learning Scales section shows 294 possible shift patterns for the asending G scale. There are anothere 252 descending. Putting them all in the main scale documents would overwhelm and alreay large presentation.
	The next group of forms uses four notes per string.
			Extended			Four note																											Four note wrapped
												Four note stretches can be played in the following manner:
																																				6
			R									1. Slide from one note to another.
												A common method would be to slide the first finger between the first two notes on a string.																								7
			2	5								So, play R with the first finger, slide up two frets to 2, and then play 3 and 4 normally.																					R			R	3
												Repeat the process for each string.																									4
			3	6	2																												2	5		2		7
			4									2. Alternately, slide with finger 4, depending on the mode or player preference.																									5	R
				7	3	6						Finger 2/3 slides are also possible, but tend to get tricky.																					3	6	2
				R	4																												4				6	2
						7						3. Use a right hand tap on the highest note on the string.																						7	3
					5	R	3					Use legato style hammers on the bottom notes (metal technique).																						R	4			3
							4
						2		7				4. Play one finer per note with stretching.																							5
							5	R				Once you get used to the stretching, these scales feel great one finger per note.
							6	2				With this extended range, you will run out of fretboard in certain keys.
												To wrap the pattern, move  notes down 12 frets, as in the diagram to the right. -->																																																																				##
								3				Which notesw to move down depends on the key and mode.
												Four note scales are impressive flight over a large range, particilaurly in speed-based styles.
	Adding another note to the five-note scale yeilds a pattern that extends over four octaves.
			Extended range				Five-note
									##
												Five-note stretches can be played in the following manner:
			R
			2									1. Use two slides per string.
												Play root with the first finger, slide up to 2, play 3 and 4 normally, then slide up to 4.
			3	6								Repeat the process on each string
			4
				7								2. Play one finger per note and a slide.
			5	R	4							Slide from either R to 2 or from 4 to 5 depending on preference.
				2	5							3. Play one finger per note legato technique on the first four notes and
												then right hand tap the top note.
				3	6	2
												4. Play one finger per note legato technique on the first three notes and
					7	3						then right hand tap the top two notes with two different fingers.
					R	4
							7					The full range of this pattern only works when the lowest note is on an E, and only with a 24 fret guitar.
						5	R					The top note is actually not accessible, but sounds good with a bend.
						6	2	5				Some guitars have more than 24 frets, so they could play the whole thing.
							3	6				This is the flashiest scale in the bunch, and guaranteed to impress when played well.
							4					Five-note patterns work great as a metal super-shredder showoff scale.
								7				They are also great for people with six fingers on a hand.
								R
								2
	If you have a highly developed right-hand tapping technique, six- and even seven- and eigth-note  patterns are possible
			Full fretboard
											A single six string pattern similar to the five string pattern is not possible, but higher note possibilities exist in the category of one-strin scales.
					6	2
			R	4			5	R			R		If you isolate a single string, play the scale going up and down that string.
					7	3
			2	5	R	4	6	2			2		Use a combination of slides or taps depending on your playing style.
			3	6	2	5	7	3			3
			4				R	4			4
				7	3	6
			5	R	4		2	5			5
						7
			6	2	5	R	3	6			6
							4
			7	3	6	2		7			7
			R	4			5	R			R
					7	3
	Scales can also be extended by adding open notes.
			Full Fretboard																																																##
			E	A	D	G	B	E
			F				C	F		First, consider the full fretboard version of a scale, in this example the C scale.
				B	E	A
			G	C	F		D	G		We already saw  how open notes add extenions to second position scales.													###
						B
			A	D	G	C	E	A		Second position extensions							Six-fret Open C alternates
							F			E	A	D	G	B	E		E	A	D	G	B	E
			B	E	A	D		B
			C	F			G	C			B	E	A					B	E	A
					B	E				G	C	F		D	G		G	C	F		D	G
			D	G	C	F	A	D					B							B
										A	D	G	C	E	A		A	D	G	C	E	A
			E	A	D	G	B	E
			F				C	F		This same technique can add to higher position scales also.
				B	E	A				In the 8th position Locrean/CAGED E form, the D, G, B, and E strings contain the same notes as the 10th and 9th stirng form. Many alernate scales are possible.
			G	C	F		D	G
						B				E	A	D	G	B	E				D	G	B	E				D	G						D	G	B	E						B	E
			A	D	G	C	E	A
							F																																							(16 unique possibilities)
			B	E	A	D		B
			C	F			G	C
					B	E
			D	G	C	F	A	D
										B	E	A	D		B									B	E	A	D		B		B	E	A	D		B		B	E	A	D		B
			E	A	D	G	B	E		C	F			G	C									C	F			G	C		C	F			G	C		C	F			G	C
												B	E						B	E						B	E
										D	G	C	F	A	D		D	G								C	F	A	D				C	F	A	D		D	G	C	F	A	D
	Natural harmonics can also substitute as scale tones.
		This map shows the notes of the natural harmonic and their relative notes on the fretboard.																						By comparing the harmonics map to the full versions of scales, find the harmonics that fit into the scales.
		Harmonics map							Notes of Harmonics																						C Major							C Major
													B3	E4										Full Fretboard C Major							Harmonics map							Notes of Harmonics
																								E	A	D	G	B	E													B	E
											E3	A3												F				C	F
													D4	G4											B	E	A													E	A
		<Ab4>	<C#5>	<F#5>	<B5>	<D#6>	<Ab6>	4th				B3		Ab4										G	C	F		D	G													D	G
		<E4>	<A4>	<D5>	<G5>	<B5>	<E6>	5th					E4	A4													B							<B>			4th				B
																								A	D	G	C	E	A		<E>	<A>	<D>	<G>	<B>	<E>	5th					E	A
		<B3>	<E4>	<A4>	<D5>	<F#5>	<B5>	7th		E3	A3	D4		B4														F
													G4											B	E	A	D		B		<B>	<E>	<A>	<D>		<B>	7th		E	A	D		B
		<Ab4>	<C#5>	<F#5>	<B5>	<D#6>	<Ab6>	9th			B3		Ab4	C#5										C	F			G	C													G
												E4	A4	D5												B	E							<B>			9th			B
																								D	G	C	F	A	D												F	A	D
		<E3>	<A3>	<D4>	<G4>	<B4>	<E5>	12th	E3	A3	D4	G4	B4	E5
												Ab4												E	A	D	G	B	E		<E>	<A>	<D>	<G>	<B>	<E>	12th	E	A	D	G	B	E
										B3	E4	A4	C#5	F#5										F				C	F
													D5	G5											B	E	A												B	E	A
		<Ab4>	<C#5>	<F#5>	<B5>	<D#6>	<Ab6>	16th				B4												G	C	F		D	G													D	G
									A3	D4	G4		E5														B							<B>			16th				B
											Ab4	C#5												A	D	G	C	E	A									A	D	G		E
		<B3>	<E4>	<A4>	<D5>	<F#5>	<B5>	19th	B3	E4	A4	D5	F#5	B5														F
													G5											B	E	A	D		B		<B>	<E>	<A>	<D>		<B>	19th	B	E	A	D		B
											B4	E5												C	F			G	C													G
									D4	G4																B	E													B	E
										Ab4	C#5	F#5		D#6										D	G	C	F	A	D									D	G
		<E4>	<A4>	<D5>	<G5>	<B5>	<E6>	24th	E4	A4	D5	G5	B5	E6
		<Ab4>	<C#5>	<F#5>	<B5>	<D#6>	<Ab6>	25th																E	A	D	G	B	E		<E>	<A>	<D>	<G>	<B>	<E>	24th	E	A	D	G	B	E
																																		<B>			25th
														Ab6
	At this point you have all of the scales people typically play and then some.
	Your scale practice now should concentrate on the other modes besides major. Take a look at the list of modes and become familiar with the Jazz modes and their rotations. (On a separate page).Then experiment with some of the Indian modes listed.
	Several more categories of scales follow, but they are not typical forms. These are not for learning as scales, but more as finger exercises and fretboard knowledge tools.
	Most of the scales presented have shown just the notes or scale degrees and not the fingereing. Fingerings can vary depending on the scale and the chords played around the scale.
	Usually we use the closest fingers for the scale.
			3	①															3	②
			4	②		It makes sens to play this pattern with these fingers													4	③		But there may be times when this fingering is necessay, such as when playing with a slide with some added fretted notes.
			5	④															5	④
	If avoiding hand shifting is the goal, alternate fingerings come in handy.
			When playing a major chord with root on first finger, this scale form requires no position shifting.																					This form is effective coming off this form of the V7 chord )a personal favorite).
																								x					x		x					x
			R				5	R		R	4			5	R		①	①				①						5							①
						3						7	3						②	②						7							②
				5	R					2	5	R	4	6	2		③	③	③	③	③	③			5		4					③		④
										3	6	2	5	7	3		④	④	④	④	④	④
			However, if moving from a Fifth string root chord to the same scale a tritone below (common in jazz), this finger placement requires less shifting.
										R	4			5	R		①	①				①
			5	R				5				7	3						①	①				In practice this finger placement is more common because people tend to prefer to stretch between fingers ① and  ② rather than ③ and ④
										2	5	R	4	6	2		②	②	②	②	②	②		Scales with root on first finger tend to have similar alternate finger placement options.
					5	R	3
										3	6	2	5	7	3		④	④	④	④	④	④
			For major scales starting on finger ③, stretch down or up to whatever form is above or below to avoid position shifting.
			6	2	5	R	3	6		①	①	①	①		①
							4							②
			7	3	6	2		7		②	②	②	②		②
			R	4			5	R		③	③			③	③
					7	3						④	④
			The last category is the least effective, but still possible.
			Say you were playing a chord with the root in the sixth string finger ① and wanted to srtetch up to a scale with a root 4 strings above, and yoou wated to avoid position shifting.
			R				5	R
						3				3	6	2	5	7	3		②	②	②	②	②	②
				5	R					4				R	4						②
											7	3	6				③	③	③	③		③
										5	R	4		2	5		④	④			④	④
			Consider alternate fingerings when the											(Refer to the table below)
			root is in these cells relative to hand position.											First letter			Second letter
			I	MA	DA									I = Ionian			A = Alternate
			IA	M	D				Hand position					D = Dorian
			Lo	L										P = Phrygian
			AA	LA										L = Lydian
			A	P										M = Mixolydian
			LoA	PA										A = Aelian
														Lo =  Locrian
				Modal system																																				CAGED System
				Pattern with alternates							Typical fingering							Alternate fingering							Alt pattern typical fingering							Alt pattern alt fingering								Pattern							Typical fingering
	Ionian			R	4			5	R		①	①				①		①	①				①		①	①			①	①		①	①			①	①			3	6	2	5	7	3		①	①	①	①	①	①
						7	3						①	①						②	②						①	①						②	②				C	4				R	4		②				②	②
				2	5	R	4	6	2		②	②	②	②	②	②		③	③	③	③	③	③		②	②	②	②	②	②		③	③	③	③	③	③				7	3	6					③	③	③
																																								5	R	4		2	5		④	④	④		④	④
				3	6	2	5	7	3		④	④	④	④	④	④		④	④	④	④	④	④		④	④	④		④	④		④	④	④		④	④
	Dorian			2	5	R	4	6	2		①	①	①	①	①	①		①	①	①	①	①	①		①	①	①	①		①		①	①	①	①		①				7	3	6					①	①	①
																																							A	5	R	4		2	5		②	②	②		①	①
				3	6	2	5	7	3		②	②	②	②	②	②		③	③	③	③	③	③		②	②	②	②	②	②		③	③	③	③	③	③						7							②
				4				R	4		③				③	③		④				④	④		③				③	③		④				④	④			6	2	5	R	3	6		③	③	③	③	③	③
					7	3	6					④	④						④	④						④	④	④					④	④	④									4							④
	Phrygian			3	6	2	5	7	3		①	①	①	①	①	①		②	②	②	②	②	②		①	①	①	①		①		①	①	①	①		①						7							①
				4				R	4		②				②	②		③				③	③		②				②	②		②				②	②		G	6	2	5	R	3	6		①	①	①	②	①	①
					7	3	6					③	③	③					③	③	③					③	③	③					③	③	③									4							②
				5	R	4		2	5		④	④	④		④	④		④	④	④		④	④		④	④	④		④	④		④	④	④		④	④			7	3	6	2		7		③	③	③	③		③
							7																					④							④					R	4			5	R		④	④			④	④
	Lydian			4				R	4		①					①		①				①	①		①				①	①		①				①	①			7	3	6	2		7		①	①	①	①		①
					7	3	6					①	①	①					①	①	①					①	①	①					①	①	①				E	R	4			5	R		②	②			②	②
				5	R	4		2	5		②	②	②		②	②		②	②	②		②	②		②	②	②		②	②		②	②	②		②	②					7	3						③	③
							7							③							③							③							③					2	5	R	4	6	2		④	④	④	④	④	④
				6	2	5	R	3	6		④	④	④	④	④	④		③	③	③		③	③		④	④	④		④	④		③	③	③		③	③
	Mixolydian			5	R	4		2	5		①	①	①		①	①		①	①	①		①	①		①	①	①			①		①	①	①			①					7	3						①	①
							7							①							②							①							②				D	2	5	R	4	6	2		①	①	②	②	①	①
				6	2	5	R	3	6		②	②	②	②	②	②		③	③	③	③	③	③		②	②	②	②	②	②		③	③	③	③	③	③
								4							③							④							③							④				3	6	2	5	7	3		②	②	③	③	②	②
				7	3	6	2		7		④	④	④			④		④	④	④			④		④	④	④	④		④		④	④	④	④		④			4				R	4		④				④	④
	Aeolian			6	2	5	R	3	6		①	①	①	①	①	①		①	①	①	①	①	①		①	①	①	①		①		①	①	①	①		①
								4							②							②							②							②
				7	3	6	2		7		③	③	③	③		③		②	②	②	②		②		③	③	③	③		③		②	②	②	②		②
				R	4			5	R		④	④			④	④		③	③			③	③		④	④			④	④		③	③			③	③
						7	3						④							④							④	④						④	④
																		(Really Alt Aeolian 2)
	Locrian																				①
				7	3	6	2		7		①	①	①	①		①		②	②	②	②	②	②
				R	4			5	R		②	②			②	②						②
						7	3						③	③				③	③	③	③		③
				2	5	R	4	6	2		④	④	④	④	④	④		④	④			④	④
	The penultimate cagegory is the superstretch chords. I coined that term because I have never seen them explained in a text in detail or on the internet, probably because their fingerings are so awkward, with six-fret stretches.
	Superstretch forms occur when shifting certain CAGED forms or open position scales up one scale degree per string.
	We found three that occur whe shifting CAGED forms up and three when shifting down.
			Superstretch 1							Superstretch 3							Superstretch 4							Superstretch 5							Superstretch 6							Superstretch 7
					6	2												6	2	5							6
			R	4			5	R				R	4				4				R	4		5	R	4		2	5			R	4								R
					7	3												7	3	6							7							7								4
			2	5	R	4	6	2		3	6	2	5	7	3		5	R	4		2	5		6	2	5	R	3	6		6	2	5	R	3	6		7	3	6	2		7
										4				R	4					7								4							4			R	4			5	R
			3				7	3			7	3	6								3			7	3				7		7	3	6	2		7				7	3
										5				2	5																				5			2	5			6	2
			Starting with the 3 CAGED groups with shifts (G, A, and E) and shifting up an octave 7 times on each scale degree yeilds these naturally occuring alternate versions of the superstretch scales.
			These are shown sorted in context in the main document.
			Superstretch 1							Superstretch 1 alt 6							Superstretch 1 alt 3
					6	2							2					3	6	2
			R	4			5	R		R	4			5	R		R	4			5	R
					7	3						7	3						7	3
			2	5	R	4	6	2		2	5	R	4	6	2		2	5	R	4	6	2
			3				7	3		3	6			7	3						7
			Superstretch 2							Superstretch 2 alt 4
											4
						3						7	3
			2	5	R	4	6	2		2	5	R	4	6	2
			3	6	2	5	7	3		3	6	2	5	7	3
			4				R	4						R
				7
			Superstretch 3							Superstretch 3 alt R							Superstretch 3 alt 5
					R	4							4					5	R	4
			3	6	2	5	7	3		3	6	2	5	7	3		3	6	2	5	7	3
			4				R	4		4				R	4		4				R	4
				7	3	6					7	3	6					7	3	6
			5				2	5		5	R			2	5						2
			Superstretch 4							Superstretch 4 alt 6							Superstretch 4 alt 2
				6	2	5						2	5							5
			4				R	4		4				R	4		4				R	4
				7	3	6					7	3	6					7	3	6
			5	R	4		2	5		5	R	4		2	5		5	R	4		2	5
						7							7							7
							3			6				3	6		6	2			3	6
			Superstretch 5							Superstretch 5 alt 3							Superstretch 7 alt 2
						6						3	6
			5	R	4		2	5		5	R	4		2	5
						7							7
			6	2	5	R	3	6		6	2	5	R	3	6			2	5	R
							4							4							4
			7	3				7		7					7		7	3	6	2		7
																	R	4			5	R
																			7	3
																					6
			Superstretch 6							Superstretch 6 alt R
				R	4							4
						7							7
			6	2	5	R	3	6		6	2	5	R	3	6
							4							4
			7	3	6	2		7		7	3	6	2		7
							5			R				5	R
			Superstretch 7							Superstretch 7 alt 5
						R						5	R
							4							4
			7	3	6	2		7		7	3	6	2		7
			R	4			5	R		R	4			5	R
					7	3						7	3
			2	5			6	2		2				6	2
	The last group is a catch all formula for scales that are possible, but are not practically playable, like this one:
								R
										This form and other disjointed forms are so difficult to play that presenting them one by one would not be fruitful.
										However, the goal of this project was to present ALL of the forms, so this last section shows at least how to calculate the remaining forms.
										This section is similar to the section on adding open notes to the moveable scales.
						6				Because of the large number of options, formulas will have to do.
						7
				2	5
			R
			3
			4
	To create a decision tree for calculating all possible scales, start with full scale map. This one has a root on the lowest note, which happens to be E. The map will be adjusted for each key later, but treat this one as generic for now.
			Reference scale							Scale with octaves
			R	4			5	R		R	4			12	15		The rewrite the map to show the differences in octave.
					7	3						7	10
			2	5	R	4	6	2		2	5	8	11	13	16		R an octave up from the lowest root becomes 8, technically called 8va.
																	2 an octave up from the lowest root becomes 9.
			3	6	2	5	7	3		3	6	9	12	14	17		3 an octave up from the lowest root becomes 10.
			4				R	4		4				15	18		…
				7	3	6					7	10	13				7 an octave up from the lowest root becomes 14.
			5	R	4		2	5		5	8	11		16	19		8 an octave up from the lowest root becomes 15.
						7							14
			6	2	5	R	3	6		6	9	12	15	17	20		Notice that 8 an octave up is also R two octaves up.
							4							18			15ma (not va), as it is called in classical writing, is confusing because standard math would seem to indicate that if one octave up is 8, then two octaves up would be 16, not 15.
			7	3	6	2		7		7	10	13	16		21		This quirk in the system, sometimes called "musical math" occurs because Scale Degree 1, the root, would work better mathematically if it were called scale degree 0.
			R	4			5	R		8	11			19	22
					7	3						14	17				Three octaves up is a 22nd.
			2	5	R	4	6	2		9	12	15	18	20	23		Four octaves up is a 29th.
			3	6	2	5	7	3		10	13	16	19	21	24		We are stuck with those notations because of centuries of tradition, so try not to get confused.
			4				R	4		11				22	25		22ma and 29ma are quite rare in actual music notation, but necessary here to make the decision trees work properly.
				7	3	6					14	17	20
			5	R	4		2	5		12	15	18		23	26
						7							21
			6	2	5	R	3	6		13	16	19	22	24	27
							4							25
			7	3	6	2		7		14	17	20	23		28
			R	4			5	R		15	16			26	29
	A decision tree is a mathematical concept for mapping possibilities in combinatorics. The beginning of the tree starts easily enough because no decisions exist for scale degrees 1-3. They must be played in this form.
			R
			2
			3
	Scale degree 4 brances into two possibilities.
			R							R	4
			2							2
			3							3
			4
	Scale degree 5 has two additional possibilities. Each of these choices add to both of the previous branches.
			R							R	4						R	4						R
																															The last two choices are not appealing, but this is a mathematical analysis, not musical.
			2							2	5						2							2	5
			3							3							3							3
			4																					4
			5														5
	The two choces for 6 again double the previous tree.
			R							R	4						R	4						R							R							R	4						R	4						R
			2							2	5						2							2	5						2							2	5						2							2	5
			3							3							3							3							3	6						3	6						3	6						3	6
			4																					4							4																					4
			5														5														5														5
			6							6							6							6
	Scale degree 7 has three possibilities, so the previous branch triples to 24 posssible scales.
			R							R	4						R	4						R							R							R	4						R	4						R																					R	4						R							R							R	4						R	4						R							R							R	4						R	4
																																																																																																																					7							7							7
			2							2	5						2							2	5						2							2	5						2							2	5						R							R	4						2							2	5						2							2	5						2							2	5						2							2	5						2
			3							3							3							3							3	6						3	6						3	6						3	6						2							2	5						3							3							3	6						3	6						3	6						3	6						3							3							3
			4																					4							4																					4																												4							4	7																				4							4
																																																											3							3															7														7							7							7
			5														5														5														5														4														5														5														5														5														5
																																																												7							7
			6							6							6							6																																			5														6							6																																			6							6							6
			7							7							7							7							7							7							7							7							6							6
	Moving into the second octave (8) would triple this row, and similar patterns would continue to branch out.
	Another option occurs with a harmonic on 8.
			5
			6
			7
			<8>						12th
	To creat the scale diagrams, follow the master pattern with all the alternate branches.
			Master Pattern							Example sub patterns
										Aescending from 24th fret R							Aescending from 12t fret R							Descending from 24th fret R							Descending from 12t fret R
			R	4			12	15						5	8									R	4			12			R	4
					7	10							3													7	10						7
			2	5	8	11	13	16					4	6	9							2		2	5	8	11	13			2	5
			3	6	9	12	14	17				2	5	7	10							3		3	6	9	12	14			3	6
			4				15	18						8	11						R	4		4							4
				7	10	13						3	6												7	10	13					7
			5	8	11		16	19				4		9	12						2	5		5	8	11					5
						14							7														14
			6	9	12	15	17	20			2	5	8	10	13						3	6		6	9	12					6
							18							11							4
			7	10	13	16		21				6	9		14					2		7		7	10	13					7
			8	11			19	22	12	R	4			12	15	12					5	8	12	8	11					12	8						12
					14	17						7	10							3						14
			9	12	15	18	20	23		2	5	8	11	13	16					4	6	9		9	12
			10	13	16	19	21	24		3	6	9	12	14	17				2	5	7	10		10	13
			11				22	25		4				15	18						8	11		11
				14	17	20					7	10	13						3	6					14
			12	15	18		23	26		5	8	11		16	19				4		9	12		12
						21							14							7
			13	16	19	22	24	27		6	9	12	15	17	20			2	5	8	10	13		13
							25							18							11
			14	17	20	23		28		7	10	13	16		21			3	6	9		14		14
			15	16			26	29	24	8	11			19	22	24	R	4			12	15	24	15						24							24
	To find the total number, multipy the counts of each of  items in the set.
			Scale degree			1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16	17	18	19	20	21	22	23	24	25	26	27	28	29
			Count			1	1	1	2	2	2	3	3	3	4	4	5	5	5	6	5	5	4	4	4	3	3	3	2	2	2	1	1	1	####	##
	The total here is 895,795,200,000 major scale possibilities with root E on the open sixth string.
	To find the total number, use the following multipliers:
	*12 notes possible root						*42 possible modal grroups							*7 harmonics per string * 6 strings
	This brings the total up to 18,962,192,793,600,000 or about 19 quadrillion. And that is only heptatonic scaqles. Adding pentatonics and other scales increases the number astronomically.
	If we wanted to get more absurd, other multipliers could be:
	Different finger combinations of four fingers  and pick is 5! (4*3*2*1) = 12 Or better, using all 10 fingers, piano style is 11!  Or 3628800
	The grand total is  35,757,277,839,360,000,000 or 3.58E19, or 35.7 septillion+.
	So get practicing!