Then there is the other way they teach you scales after showing you the above first. This other way usually has you play your notes on the two bottom strings then has a slide up to the next note then you drop to the third string for two strings and then slide up again for the two highest strings.
This is the difficulty and beauty of the guitar. The guitar is laid out with some major pathways if you know where to look.
Allowing us to make sense out of the complexity offered by there being more than one way to play the same scale notes.
Will also make an attempt to explain the C-A-G-E-D system to us. Which is commendable but I think a guitar reference book should go hand in hand with that even though he has a chart.
I think the least controversial way to learn about scales is simpler and more basic even than the above visually charted out. Start with your C note in its 5 positions and learn all the natural notes on the neck. Even better sing the notes as you play them especially the lowest notes up at the head stock, the so called open position or cowboy position. CDEFGAB has no sharps or flats this is the major scale and it is also the Ionian mode. Its also, if you start it on A (6th), the relative minor scale and the Aeolian mode.
Will is using a tricked out Carolina Blue (with a 'B bender') George & Leo Telecaster. A semi-hollow body with one Florentine F hole. See the cover! The guitar has 6 staggered 3 pole pick ups. Neat! Sounds good too. Will introduces himself and if you read the liner notes which you cant using the image here so I'll tell you. He gives guitar lessons via Skype! Writes for guitar magazines and in general goes to NAAM and hopefully reaps rewards and drinks for free!! He is sure friendly enough.
The good news is that Will only concentrates on the modes that we are likely to use Ionian, Dorian, Mixolydian, Aeolian. The other nice piece of good fortune is that those scale patterns we have been doing and that we talked about above look awfully similar to Wills patterns. If I am reading this right we can take a certain pattern and play it elsewhere on the fret board and all of a sudden be in a mode which still works with our harmonic structures underlying chords. Some times you have to move the pattern with the chord some you leave well alone creating tension.
It does not matter how slowly you go as long as you do not stop. – Confucius