STRINGSCALES

G persian Scale — Guitar Fretboard Visualization

Low E string: F#, G, Ab, B, C, Db, Eb at frets 2, 3, 4, 7, 8, 9, 11

A string: B, C, Db, Eb, F#, G, Ab at frets 2, 3, 4, 6, 9, 10, 11

D string: Eb, F#, G, Ab, B, C, Db at frets 1, 4, 5, 6, 9, 10, 11

G string: G, Ab, B, C, Db, Eb, F#, G at frets 0, 1, 4, 5, 6, 8, 11, 12

B string: B, C, Db, Eb, F#, G, Ab, B at frets 0, 1, 2, 4, 7, 8, 9, 12

High E string: F#, G, Ab, B, C, Db, Eb at frets 2, 3, 4, 7, 8, 9, 11

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G 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:

G

I

Gmaj♭5
A♭

bII

A♭maj
B

III

Bsus2
C

iv

Cm
D♭

bV

D♭sus4
E♭

bVI+

E♭aug
F♯

VII

A♭7no5/F#

Same notes, different mode

G 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.

C todi raga

persian in all 12 keys, with chords and related scales

tip
  • Three half-step pairs and no perfect 5th: phrase G persian over a root drone, resolving bII (Ab) to root and VII to root from both sides.
  • The b5 (Db) stands where the anchor should be; approach it from the major 3rd (B) 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 (Ab) and root, slide III to 4th (C), and let notes decay into the drone.

How to play G persian on guitar

Open G is the tonic itself, which lets you drone it under fretted phrases anywhere up the neck. Open B adds the major third on top. Roots repeat at fret 3 on the two E strings, with fret 10 on the A string, so an e-shape barre at fret 3 covers the same ground. Box one off that low E root ends at fret 7, meaning the shift happens mid-neck. Cm sits at the iv and Ebaug at the bVI+, with three flats in the signature.

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