The diagram below shows the pattern as a single octave beginning on G on the sixth string. The scale begins and ends on G.

Single Octave Stretch-box pattern beginning on G.

The following diagram show this pattern in the abstract. The first note and last note of the scale are indicated with an “R” (for root).

This shows the basic Stretch-box pattern in the abstract

The second octave begins where the first one ended. The last two notes of the pattern shifts up the neck one fret to accommodate the different tuning of the second string relative to the other strings. For the most part, standard guitar tuning tunes each string an interval of a fourth higher than the string below as you go from the 6th string (the lowest) to the 1st string (the highest). An exception occurs between the 3rd and 2nd string. This interval is a major 3rd.

The diagram below shows the Stretch-box pattern as it is played from the 4th to the 2nd string. You can see that the only change in the pattern occurs where the last two notes are concerned.

Major scale Stretch-box pattern from 4th to 2nd string

In the following diagram we can see what the Stretch-box pattern looks like when played for two octaves of a major scale.

Two octaves of the Major scale using the Stretch-box pattern

Fingering this pattern is easy but like anything requires a little practice. The index finger that plays the seventh note of the first octave slides up a fret to end the first octave and begin the second.

This diagram show which fingers play which notes.

Fingering pattern for two octaves beginning on the 6th String

One of the reasons I like this pattern is how well it works throughout the fretboard. It is simple and with only slight variations it can accommodate the shift between the 2nd and 3rd string. It later posts I will show how it can be used to play any scale or mode you can dream of. However, for now, I recommend practicing this pattern until you have it perfected. It will make playing the variations easier.

The Stretch-box is the best fingering pattern I have found for learning the guitar, playing solos, and understanding music theory. It has a logic about it that is easy to remember. Once you know it, you can easily see how other scales relate to it. This pattern has lots of advantages over other patterns and lays a solid framework for understanding the guitar.

The typical fingering pattern of the major scale as it begins on G on the 6th string looks like this:

Standard fingering pattern for G Major scale (one octave)

This pattern is what most people know. It is popular because it is relatively easy to play. It doesn’t stretch the hand and hammer-ons, pull-offs, string bending are also easy. However, when someone who is used to playing this pattern is asked to play a minor scale, say G minor for instance, they switch to a fingering that is totally different. The scale they play bears little resemblence to the original. In fact, beginners are often taught a set of completely different patterns for each scale, for each string, for each key.  It makes for a lot of remembering which can be overwhelming which can lead to burn-out.

In my own learning I found it hard to deal with all of the many ways a scale can be played. I could learn them but when it came to applying them to real-life playing, I would fumble around. I would get lost and not even know what note I was playing or why I was playing it. When I discovered the 3-3-2 pattern, I found it awkward at first but soon I realized that I was hearing melody better. I was getting better at picking out songs by ear. The pattern was actually helping train my ear.

The Stretch-box pattern when applied to a major scale that begins on G on the 6th string looks like this:

Stretch-box fingering pattern for G Major scale (one octave)

The Stretch-box is a little more physically challenging in the beginning but how it simplifies things and gives you mastery of the fretboard makes it well worth the effort.

The Stretch-box pattern has these advantages:
• the scale patterns and its variations being on the same finger, the index
• the scale pattern overlays bar chords well
• you can get two-ocatave runs from the 5th and 6th string
• you can see achieve many different scales through easy-to-remember variations
• it is easy to see and understand interval distance between notes
• it is easy to replicate anywhere on the fretboard
• it standardizes (simplifies) playing arpeggios
• encourages ear sensitivity and tonal discrimination

The disadvantages:
• it can be a stretch for the hand (especially near the nut)
• the hand moves more (risking accuracy)
• hammer-ons, pull-offs, and string bending are harder

Subsequent blog posts will show how knowing this scale pattern can improve your soloing, improve your ear, and give you a new way to look at and master the fretboard. I will show how:
• The pattern crosses the “Great Divide” (between the 2nd and 3rd strings) so you can get an uninterrupted two-octave run.
• Slight variations of this pattern can create every scale you can think of (and some you can’t).
• It works with chord arpeggios
• It unlocks the mysteries of music theory
• It improves your soloing