I've mapped out all the notes in the C major , C minor, E major and E minor on the guitar fret board. 4 different diagrams. I used some book to get the formula for major and minor scales. W= whole step, H= half step

Major scales formula= W,W,H,W,W,W,H

ex. C, D, E, F, G, A, B, C

Minor scale formula= W, H, W, W, H, W, W

ex . C, D, D#, F, G, G#, A#, C

Now I'm looking at the diagrams going ok how the hell do I apply this what do i do with it. I am using it to memorize the notes on the fretboard and framilarize my self with the notes in differant scales.

I have so many questions about these formula's
Like in C major all the notes on all the open strings are in the scale so if i start by playing open E string and progress down and accross playing e string E, F, G then on A string playing A,B,C then on d string playing D, E,F what does that equate to. Like i said the application of whats in front of me. How do i use it whats the next step????
learn the chord system of the major scale, like the chords that are built on each tone of the scale. I submitted a lesson on here about jazz theory for beginners but it got denied, sorry. Its tough to explain over the internet, just learn all the chords relative to the scale.

The chords pattern is:

i /iim /iiim /iv /v /vim /vii halfdim

so for C it would be

C / Dm / Em / F / G / Am / Bhalfdim

Then you can put the relative sevenths on each one, so it becomes

Imaj7 /iim7 /iiim7 /IVmaj7 /V7 /VIm7 /VIIm-7-5 (otherwise known as halfdiminished7)

So in C that would be

Cmaj7 / Dm7 / Em7 / Fmaj7 / G7 / Am7 / Bhalfdim7

Hope that Helps.
A couple of thoughts:

The spelling for C minor is C, D, Eb, F, G, Ab, Bb. Notice the enharmonic notes and using flats instead of sharps. You need to have one of each of the note letter names in the scale. That means instead of calling the note after D a D#, it needs to be Eb. Same note, but a different name.

You have the right idea for playing the scales on the fretboard with the notes you have found. You can also look up scale diagrams. You will end up with the same patterns of notes.

You can use these patterns to help you play solos, riffs, and melodies. These show you what notes you can play in a key, then you have to decide how to use them.
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Take the notes of these scales and plug them into a solo, riff, or go and take the appropriate scale based chords and make a progression. Or do both. That's how I understand applying scales, but I am not musical theorist, that's for sure.
that's one advantage that old farts like me (pushing 50) had back in the old days (70's), before Eddie Yngwie and Randy made everyone want to start learnign theory in the 80s. It was more shapes-based, riff-based, sure I knew the minor pentatonic scale shape, but no one I knew actually called it that. And modes? We wouldn't have known what a mode was if we fell across it in the dark. However what we were very good at was the lost art of learning by ear. Spending hours with a record player (remember those), slowing it down, doing a lot of listening. Anyway what you wound up with was a bunch of common riffs and licks, the underlying "DNA" so to speak. And eventually you figured out how to move those shapes around to different places on the neck depending on what key you were in. It was like learning a language. Just learning the theory (scales, modes) is like learning the structure of a foreign language in school. You know how it "should" work, but you don't know how to apply it. Vs. learning a language as a child, or in another country, you just start mimicing, and eventually you get pretty good at i....