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EADGBE guitar scales in the key of "F sharp"
Kafi Theta, Mela Kharaharapriya, Eskimo Heptatonic, Greek Phrygian, Kafi Theta, Medieval Hypomixolydian
Mela Sarasangi
Harmonic Minor, Mohammedan, Mela Kiravani, Maqam Bayat-e-Esfahan
Half Diminished, Greek Hyperdorian, Greek Mixolydian, Half Diminished, Locrian Minor, Medieval Hypophrygian
Kalyan Theta, Mela Mechakalyani, Fourth Plagal Byzantine, Greek Hypolydian, Kalyan Theta, Yaman
Ionian, A Raray, Bilaval Theta, Mela Dhirasankarabharana, 4th Plagal Byzantine, Ghana Heptatonic, Greek Lydian, Medieval Hypolydian
Mela Nasikabhusani, Lydian Sharp Two
Six Nine Chord, Mongolian, Diatonic, Chinese 1, Ghana Pentatonic, Ryosen, Yona Nuki Major, Man Jue, Gong, Raga Bhopali, Bhup, Mohanam, Deskar, Bilahari, Kokila, Jait Kalyan, Peruvian Pentatonic One
Hawaiian, Mela Gaurimanohari, Jazz Minor
Aeolian, Pure Minor, Geez & Ezel, Asavari Theta, Mela Natabhairavi, Greek Hyperphrygian, Medieval Hypodorian
Locrian Sharp Two, Half Diminished Sharp Two, Locrian Natural Two
Minor 7/11, Minor 11 Omit 9, Phrygian Pentatonic, Blues Pentatonic, Abheri, Gu Xian, Jia Zhong, Kyenmyonjo, Raga Dhani, Suddha Dhanyasi, Udhayaravi Chandrika, Qing Shang, Yu, Pyongjo-kyenmyonjo, Minyo
Mela Harikambhoji, Khamaj Theta, Ching, Greek Hypophrygian, Iastian, Khamaj Theta. Medieval Hypoionian
Arezzo Major Diatonic Hexachord, Devarangini, Raga Kambhoji, Schottish Hexatonic
Auxiliary Diminished Blues, Composite, Diminished Inv., Diminished Dominant, Half-Whole Step
Neapolitan Minor Two, Bhairav Theta, Bhairavi Theta, Mela Hanumattodi, Greek Dorian, In, Major Inv., Maqam Kurd, Maqam Shahnaz Kurdi, Mechung, Medieval Hypoaeolian
Standard tuning has evolved to provide a good compromise between simple fingering for many chords and the ability to play common scales with minimal left hand movement. The interval between one string and the next is mostly kept consistent, with the first (e) to second (b) string as well as the third (G), fourth (D), fifth (A) and sixth (E) all being a five-semitone interval (a perfect fourth). This allows notes of the chromatic scale to be played with each of the four fingers of the left hand controlling one of the first four frets (index finger on fret 1 little finger on fret 4 etc.). It also yields a symmetry and intelligibility to fingering patterns. The exception of this is the relation of second string (b) to the third (G), where the interval is only four semitones (a major third). This exception is there to make barre chords possible.