STRINGSCALES

C persian Scale — Guitar Fretboard Visualization

Low E string: E, F, Gb, Ab, B, C, Db, E at frets 0, 1, 2, 4, 7, 8, 9, 12

A string: B, C, Db, E, F, Gb, Ab at frets 2, 3, 4, 7, 8, 9, 11

D string: E, F, Gb, Ab, B, C, Db at frets 2, 3, 4, 6, 9, 10, 11

G string: Ab, B, C, Db, E, F, Gb at frets 1, 4, 5, 6, 9, 10, 11

B string: B, C, Db, E, F, Gb, Ab, B at frets 0, 1, 2, 5, 6, 7, 9, 12

High E string: E, F, Gb, Ab, B, C, Db, E at frets 0, 1, 2, 4, 7, 8, 9, 12

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C persian

The persian scale is the double harmonic major scale with a flattened 5th: root, flat 2nd, major 3rd, 4th, flat 5th, flat 6th, major 7th. Three half-step pairs and no perfect 5th make it one of the most tension-saturated named scales. Over a drone it produces an unmistakably Middle Eastern lament; elsewhere use it in small doses.

it consists of these notes and degrees:

C

I

Cmaj♭5
D♭

bII

D♭maj
E

III

Esus2
F

iv

Fm
G♭

bV

G♭sus4
A♭

bVI+

A♭aug
B

VII

D♭7no5/B

Same notes, different mode

C persian uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

F todi raga

persian in all 12 keys, with chords and related scales

tip
  • Three half-step pairs and no perfect 5th: phrase C persian over a root drone, resolving bII (Db) to root and VII to root from both sides.
  • The b5 (Gb) stands where the anchor should be; approach it from the major 3rd (E) below to keep lines singable.
  • Use it in small doses over a metal or cinematic pedal tone; a single ascending run is often more effective than a full solo.
  • Ornament like an oud player: trill between bII (Db) and root, slide III to 4th (F), and let notes decay into the drone.

How to play C persian on guitar

Roots sit at fret 8 on both E strings, with the A string carrying another at fret 3. Three open strings fall inside the scale, though the low E and B give a major third and major seventh above the tonic, so treat them as colour rather than a pedal. Box one off the fret 8 root ends at fret 12, so the handover lands at the octave. Abaug is the bVI+ here. Shape work carries over to F todi raga five semitones up, meaning one fingering covers both.

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