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Boxes Beyond The Blues PDF
Boxes Beyond The Blues PDF
by
J.P. Befumo
This is a work of fiction. Names, characters, places and incidents are either
the product ofthe author’s imagination, or are used fictitiously, and any re-
semblance to any actual persons, living or dead, events, or locales is entirely
coincidental.
Introduction
Like many guitar players, I started out by learning a few chords, and marveling at the way some
people could ‘play up the neck’. At some point, a helpful fellow musician showed me a pentatonic box
pattern that I could use to improvise over a standard blues progression in the key of A (Figure 1). What
a door that opened for me. I was a lead guitarist!
Figure 1
As time went on, I learned a few additional patterns that worked comfortably in the key of A, and
also learned how to slide the entire set of boxes up or down the neck so that I could play in other keys.
By shifting each pattern down three frets, I discovered, I could access the major pentatonic boxes. I got
a lot of mileage from these handy patterns, and indeed, many competent blues players (B.B. King, and
Stevie Ray Vaughan come to mind), made entire careers for themselves without ever straying far from
these humble box patterns.
This approach worked out fine in most situations, but every now and then I’d encounter a pro-
gression against which my best efforts simply sounded . . . wrong. Similarly, as my musical tastes ex-
panded, I’d hear people playing things that I simply couldn’t fathom. What patterns were they using?
Finally, I reached a juncture where I just couldn’t stand listening to myself playing the same familiar
riffs, whether they fit the situation or not, and decided to learn a bit of theory, the essentials of which I
will share with you shortly.
I learned to harmonize scales, picked up the rules of cadence, and discovered the wonder of
arpeggios. The problem, however, was that while I could apply this new knowledge in a controlled
situation, when it came to just jamming, after thirty years of playing the boxes, I simply couldn’t start
thinking in a different way. My choices were simple: Either content myself with playing the same tired
blues for the rest of my life, or expand my by-then ingrained positional approach to fit a wider range of
harmonic environments.
This approach is in no way inferior to any other way of conceptualizing the fret board. It is
simply a way of envisioning theory that is suited to people with certain preferences and certain back-
grounds. Many of the greatest musicians in every genera (except classical) have approached their in-
struments from directions other than that of classical theory. Moreover, by following the approach
J.P. Befumo
presented in this book, you will begin to internalize the most significant aspects of classical theory, in a
thoroughly natural and intuitive manner.
Although this is by no means a theoretical book, we’ll need to start with just a smattering of
theory to establish some fundamentals. Since I’m assuming that most readers are at least somewhat
familiar with the blues, I’ll evolve these theoretical concepts within the context of the blues. This way
you’ll come away not only with some new theory, but a concrete feeling for how it is applied.
A Smattering of Theory
While this is primarily a hands-on book, it will be helpful if we can share some common vocabu-
lary and concepts.
1 2 3 4 5 6 7 8 9 10 11 12
Table 1
Figure 2
J.P. Befumo
Not very musical, is it?
More pleasing results can be produced by omitting some of these notes, and playing only those
that remain.
The first musical theory to which most of us were exposed as children was the familiar do re
mi fa so la ti do. That’s seven notes out of a total of twelve, but which ones? The answer depends on
what key you want your do re me scale to be in. In C, the corresponding notes are: C, D, E, F, G, A,B.
Which ones were omitted? Obviously, C#, Eb, F#, Ab, and Bb, right? (These omitted notes may just as
accurately be named: Db, D#, Gb, G#, and A#. These situations in which one tone has two legitimate
names are referred to as enharmonic spellings. The rules as to which spelling is preferred are somewhat
subtle, and beyond the scope of this book. (See Table 2.)
1 2 3 4 5 6 7
C C# D D# E F F# G G# A A# B
Db Eb Gb Ab Bb
Table 2
Let’s look at this on the fret board and see which notes were included and which were left out:
Figure 3
If the distance between any two circles on the same string is a half step, then we can see that
there are two half steps, or one full step between C and D, another full step between D and E, only a half
step between E and F, a full step between F and G, a full step between G and A, a full step between A and
B, and finally, a half step between B and the C an octave above were we began. This sequence seems to
have an inherent musical quality. This compartmentalization is shown in Table 3:
1 2 3 4 5 6 7
C C# D Eb E F F# G Ab A Bb B
Table 3
Rather than using a big fret board diagram every time we want to illustrate a particular pattern
of half and full steps, suppose we write it like so:
C=D=E-F=G=A=B-C,
where “=” indicates a full step, and “-” denotes a half step. (Looking forward to when we may have oc-
casion to refer to an augmented interval of three half steps, we’ll use the following symbol: “≡”.)
Boxes Beyond The Blues
This pattern of full and half steps is what we refer to as the diatonic major scale, or simply the
Major Scale. (This is not 100% accurate since, as we shall see, any scale which has a major third degree
can technically be referred to as ‘major’.) Another way of referring to this particular sequence of steps
and half-steps is the Ionian Mode.
If you’ve ever sang the Do-Re-Mi song, then you know the sound of the Ionian mode, but just to
make sure, try playing it on your guitar, using the scale pattern shown in Figure 4.
Figure 4
Start and end on a ‘C’ note, at least until you start to get the sound of the scale you’re your ears.
You’ll have to stretch a bit to get that ‘B’ note.
The rest of the C-Major scale notes in this position are shown in Figure 5.
Figure 5
Track 1 on the audio CD presents a simple improvisation over a steady C Major chord. Track 2
contains just the background C-Major jam, so you can play over it yourself. On the data portion of the
CD, Example_1.mid contains the background tracks in General Midi format, and Example_1.pdf is a
transcription (including tablature) of the example solo.
If this seems familiar, it’s because it looks a lot like the pentatonic minor scale in the key of ‘A’,
which was probably the first lead ‘box’ you ever learned (Figure 1).
To understand how this ‘coincidence’ occurs, let’s play the same ‘C’ scale shown in Figure 5, but
this time, play it over an Am6 chord. (This will be tracks 3 and 4 on the audio CD, and Example_2.mid
and Example_2.pdf on the computer partition).
Amazing, huh? You’re playing the same notes as before, but now, played against an Am6 chord
instead of a C-Major, they convey on an entirely different feeling. We’ll be exploring modes in a later
chapter, but for now, we’ll just observe that the key of Am is the relative minor to the key of C Major.
More precisely, you’re playing the Aeolian mode, also known as the Natural Minor. Suppose we rear-
range our C scale, keeping the intervals unchanged, but start on ‘A’ instead of ‘C’:
J.P. Befumo
A=B-C=D=E-F=G=A
As you can see, we still have a full step between the first and the second notes, but now our
first half-step falls between note two and note three. The distance from 3 to 4 is now a full step, rather
than a half step. In other words, it appears as if our third note was moved a half step to the left. Thus,
our 3rd. is flatted. This is referred to as a minor third. In fact, the presence of the minor third is what
makes this a minor scale. Moving on, the distance from 4 to 5 is still a full step, but the distance from
5 to 6 is a half step. By inspection, we can see that our 6th. has been flatted as well. Finally, we can see
that our 7th. has also been flatted.
Suppose we compare this to an A major scale, that is, a scale starting and ending on the A note,
which preserves the original step/half-step pattern of the C major scale. This A Major scale contains
the following notes (Table 4):
1 2 3 4 5 6 7
A Maj. scale A B C# D E F# G#
C scale, mode VI A B C D E F G
Result R 2 b3 4 5 b6 b7
Table 4
Ever notice how music written in the key of A has 3 sharps at the left end of every staff? Well,
this is where they come from. On the fret board, this looks like Figure 6:
Figure 6
As you see by comparing Figure 6 with Figure 5, the fingering of the A-Major scale is quite dif-
ferent from the A-minor scale, at least when played from the same fifth-fret root position. If you want
to use a more comfortable fingering for the A Major scale, try the pattern shown in Figure 7.
Figure 6
Boxes Beyond The Blues
This is one of the peculiarities of the guitar—certain positions are more convenient for some
scales than for others.
Looking at this in terms of intervals may help clarify things a bit:
Figure 8
Figure 8 Shows our schizophrenic scale when played in a C Major context.
Figure 9
In Figure 9, on the other hand, we see the intervals as they appear from the perspective of Am.
In other words, the same notes take on different roles depending upon the harmonic context.
When practicing a new scale, I generally know the notes of the scale, so I start out by taking Grid
A (Appendix A), and mark the notes in a single convenient area of the fret board using a highlighting
pen. I then play it against an appropriate chord or progression. Once I’ve internalized the sound, I
transfer the pattern to Grid B, filling in the interval numbers by hand. This allows me to gain an under-
standing of what I’m doing as I practice. Since the intervals will be the same in every key, once I have
the pattern down, and have memorized all of the intervals, it’s a simple matter to transpose to any key,
as well as to other areas on the fret board. This approach will become clearer as work our way through
the examples in this book.
What kind of chord do you suppose this is? Is it a DMaj7? The answer is no, and here’s why: In
order to understand what these notes mean in the context of the chord’s root note (D), we must com-
pare it to a D scale. The notes of the D major scale (remember the position of our intervals) are:
D=E=F#-G=A=B=C#-D
In our mystery chord, we have D, which is clearly the root, but now, instead of an F#, we have an
F. Remember when we said before that a flatted 3rd indicates a minor scale? Well, the same holds true
in chords. The ‘A’ is right out of the D scale, giving us a perfect 5th, however, the ‘C’, in terms of the D
Major scale, is a flatted 7th. This combination of 1,b3,5,b7 is known as a minor seventh chord.
I’ll leave it as an exercise for you to go through the C Major scale, stacking thirds starting on each
degree, and comparing the resulting intervals to the major scale beginning on that same degree. The
results are as follows:
There are, of course, other forms of chords than those listed above, such as:
C+ (augmented),
Cdim7 (diminished 7th),
C7#5b9,
And innumerable other alterations.
By the time we finish this book you should have a pretty good idea how to figure these out on
your own.
The main concept you should take away from this chapter is that so long as you play scale tones
against chords built solely from those scale tones, you will never have to worry about hitting ‘sour’
notes.
Tracks 5 and 6 on the audio CD contain a progression built solely of chord tones in the key of C,
first with an example solo which uses only the C major scale, and then with just the background tracks
so you can improvise on your own. Example_3.mid on the computer partition contains the background
music in MIDI format, which you can also use for practice. Example_3.pdf is a transcription of the
example solo. The progression, by the way, is:
CMaj7-Em7-Am7-Dm7-FMaj7-Bm7b5-G7-CMaj7.
Boxes Beyond The Blues
How did I come up with this particular sequence? Did I just pull it out of the air? Well, in fact,
there are some rules, known as cadence, which deal with combining chords in ways that are most musi-
cal and contribute to moving the tune forward. These rules are quite simple, and will serve you well in
your songwriting career:
I leave it as an exercise to confirm that my sample progression indeed follows these rules.
If you’d like to try this scale in its ‘A’ Natural Minor context, tracks 7 and 8 contain the following
A-minor progression:
Am7-Bm7(b5)-CMaj7-Am7-Dm7-Am7-G7-Am7-FMaj9(#11)-Am7-Em7-Am7
Figure 10
We can see by inspection that it closely resembles our A Aeolian or Natural Minor scale (Figure
5), with a few notes missing. In terms of the A Major scale (A=B=C#-D=E=F#=G#), we can see that
we have a root, a minor 3rd , a 4th (also known as an 11th), a perfect 5th, and a minor 7th (five notes,
hence, pentatonic.) The flatted third, as discussed in the previous chapter, means this is a minor scale.
(In fact, this is only one of many other pentatonic minor scales, but it is the one with which most people
are familiar.)
Going back to our intervallic view, Figure 11 shows us precisely which intervals comprise this
handy scale:
Figure 11
In order to understand why this particular scale always sounds so good in a blues setting, let’s
take a look at the quintessential blues form: the 12-bar blues. This consists, of a I chord, a IV chord, and
a V chord, over a 12-bar repeating progression. There are innumerable variations on the 12-bar blues,
but a typical one looks like this (in the key of A):
Boxes Beyond The Blues 11
Table 5
Tracks 9 and 10 on the audio CD contain this progression, with and without a lead track, respec-
tively. Example_5.mid and Example_5.pdf on the computer partition contain the MIDI background
track and the lead transcription, respectively.
A useful variation on the pentatonic minor is the blues scale, which adds a #4 to the scale, as
shown in Figure 13. That altered tone, known as the tri-tone, gives the blues its characteristically bois-
terous sound.
Figure 12
Let’s have a look at the notes that comprise each chord in the progression, and then compare
them to the notes we’re hearing when we play our pentatonic minor and blues scales.
The I chord is A7. As we saw earlier, the notes of the A Major scale are:
A=B=C#-D=E=F#=G#-A
Since a dominant seventh (e.g., A7) chord consists of the root, major third, perfect fifth, and
minor seventh degrees, our A7 chord is spelled: A,C#,E,G. When we play an A pentatonic minor, we’re
playing A, C, D, E, and G (plus the Eb in the case of the blues scale). Hence, when we’re playing over the
A7 chord we’re playing the root, the 4th/11th, the fifth, and the minor 7th right from the chord. These
are all strong tones. In addition, we’re playing a C (natural) against the chord’s C#, which really makes
the solo’s minor tonality stand out. (Remember, if you played only notes directly from the A7 chord
[i.e., an A7 arpeggio], you’d be creating a major/dominant sound, rather then the tangy blues tones
we’re all familiar with.)
D=E=F#-G=A=B=C#-D
Finally, the V chord is an E7. The E major scale consists of the following notes:
E=F#=G#-A=B=C#=D#-E
The E7 chord is spelled: E, G#, B, D. In terms of this E7 tonality, our A pentatonic minor yields a
4th/11th (A), a minor 6th (C), the minor 7th (D), the root (E), and a minor 3rd (G). Here again we have
some nice pungent tones present: The minor 3rd emphasizes the minor tonality against the G# of the
E chord. The minor 6th, which is not present in the E7 chord, implies a natural minor (Aeolian) scale.
The 11th is a nice strong extension, and the minor 7th strengthens the dominant nature of the E7 chord.
Finally, that Eb from the blues scale is a Major 7th, which makes for a tangy clash with the D (minor
seventh) of the chord.
C C# D Eb E F F# G Ab A Bb B
A7 Chord (b3) 3 (11) (#4) 5 b7 R
D7 Chord b7 R b9 (9) 3 (4) 5
E7 Chord (b6) b7 7 R (b3) 3 (11)
A Pent. Scale b3 4 #4 5 b7 R
Table 6
Intervals shown in parentheses are extensions provided by the solo notes, which are not in the
unextended chords. The italicized degrees are those provided by the blues scale (the tri-tone), and how
they fit into the background chords.
Figure 13
Boxes Beyond The Blues 13
Lets analyze this as we did before, in order to understand why this simple approach sounds good
over a blues progression.
First of all, we can see that our major pentatonic scale includes the notes: A, B, C#, E, and F#.
In terms of the A Major scale, these represent the root, the 2nd/9th, the Major 3rd, the perfect 5th, and
the Major 6th. Hence, against our A7 chord, the root and the 5th tend to solidify the tonal center, while
the 9th and the Major 6th add some interesting extensions. That Major 7th sounds real tangy against
the minor 7th of the dominant chord, which gives you just the right sense of tension.
When played against the D7 chord (D, F#, A, C), our major pentatonic yields a perfect 5th, a
Major 6th, a minor 7th, a 2nd/9th, and a Major 3rd; all chord tones or common extensions. Bear in
mind that when you play an extension over a harmonic background, you are actually creating extended
harmony, in much the same way that experienced jazz players often omit the root from their chords,
secure in the knowledge that the bass is playing the root. The overall harmonic content is the combina-
tion of all these different elements.
Over the E7 (the V) chord of our progression, our major pentatonic scales delivers A (the 4th/
11th), B (the perfect 5th), C# (a Major 6th), E (the root), and F# (the 2nd/9th). Here again, we have
all chord tones or common harmonic extensions. Hence, both the minor pentatonic and the major
pentatonic will always sound good against each chord of a progression consisting of the I7, IV7, and V7
chords. As before, here’s a graphical layout
C C# D Eb E F F# G Ab A Bb B
A7 Chord 3 5 (6) b7 R (9)
D7 Chord b7 (7) R (9) 3 5 (6)
E7 Chord 6 b7 R (9) 3 (11) 5
A Pent. Maj. 3 5 6 R 2/9
Table 7
This approach should be studied and fully internalized, since it can be used to analyze how any
scale will work against any harmonic setting.
Track 11 on the audio CD demonstrates the major pentatonic played over the 12-Bar Blues pro-
gression. Track 12 is the same background without the lead, so you can play your own. Example_6.mid
is the midi version, and Example_6.pdf is tablature for the solo on Track 11.
14 J.P. Befumo
Hearing Modes
Judging by the frequency with which this topic appears and reappears in the various guitar
newsgroups, the topic of modes is one that can be confusing to the developing musician. One of the
difficulties is that, as we shall see, there are two ways of conceptualizing modes, each orthogonal to the
other. Moreover, devotees of one approach or the other frequently espouse their perspectives with the
rancor of any religious zealot. Without making any emotional judgment, I’ll adhere to the position that
whichever view seems most natural to you is the correct one.
In the Chapter 1 we examined two modes of the diatonic major scale: the Ionian (Major), and the
Aeolian (natural minor). We learned that although they shared common notes, their effect was drasti-
cally different due to the harmonic context against which they were played. In this chapter we’ll delve
more deeply into modes (or, more precisely, the modes of the diatonic major scale).
What we concluded in Chapter 1 was that one mode (the Aeolian) existed as a variation of another mode
(the Ionian); that is, it consisted of the exact same notes, only started and ended at a different offset.
(In so doing, the actual starting and ending notes, ‘A’ in this case, became the effective root of the new
scale.)
In order to help you to both hear the sound of the modes, as well as integrate them into familiar
blues territory, we will examine each of the remaining modes in two different ways. First, we will play
them in terms of the C-Major scale, followed by playing the ‘A’ version of each mode so you can see how
it fits into your familiar blues-box regions. This will become clear as we work through the examples.
D=E-F=G=A=B-C=D
D Major Scale D E F# G A B C#
D Dorian Mode D E F G A B C
Result R 2 b3 4 5 6 b7 5
Table 8
Hence, we see that we have a minor 3rd, and a minor 7th. This is clearly a minor scale, which dif-
fers from the Natural Minor (Aeolian) by having a major rather than a minor 6th. To hear the sound of
this mode (which, by the way, is a favorite of the great Carlos Santana), simply play the scale form from
Figure 5 over a Dm7 chord. In terms of the D harmonic setting, the notes now take on yet another set of
identities, as shown in Figure 14.
Track 13 is an example of playing the ‘D’ Dorian mode over Dm7 Harmony. Track 14 is several
bars of the harmony so you can practice the ‘D’ Dorian yourself. Example_7.mid provides the digital
background, and Example_7.pdf presents tablature of the example solo.
Remember, this is the ‘D’ Dorian mode, even though it’s played in what many people think of as
the ‘A’ position. In fact, it consists of exactly the same notes as the ‘A’ Aeolian, as well as the same
Boxes Beyond The Blues 15
Figure 14
notes as the ‘C’ Ionian. How about if we want to play an ‘A’ Dorian? Well, remember earlier when we
observed that the thing that gives a particular scale its individual sound is the unique pattern of inter-
vals? Well, all we have to do is identify the pattern that exists in the Dorian mode, and apply that same
sequence of half-steps and full-steps beginning with ‘A’. The characteristic sequence for the Dorian
mode is: full-half-full-full-full-half-full. In the key of ‘A’, that gives us:
A=B-C=D=E=F#-G=A
Figure 15
In terms of scale degrees, Figure 16 shows how the ‘A’ Dorian maps out into your familiar fifth-
position ‘A’ region.
Figure 16
16 J.P. Befumo
(For the remainder of this chapter, I’ll just demonstrate the modes relative to the ‘C’ Major scale.
In the next chapter we’ll be examining the various modes in a single key, so you can easily add them to
your blues repertoire.)
E-F=G=A=B-C=D=E
Once again, to understand this scale better, we must compare it to a diatonic ‘E’ Major scale:
E Major Scale E F# G# A B C# D#
E Phrygian E F G A B C D
Result R b2 b3 4 5 b6 b7
Table 9
This time we have a root, a b2nd/b9th , a b3rd, a 4th/11th, a 5th, a b6th, and a b7th. Clearly, be-
cause of the minor third, we have a minor scale. The minor 6th is a common alteration. The minor 9th
can be a rather dissonant interval, so it has to be approached with a bit of discretion in most harmonic
settings.
We can really hear the Phrygian mode if we play it over an Em chord,which is precisely what we
do in tracks 15 and 16. Example_8.mid provides the backing tracks in digital format, and Example_
8.pdf is a transcription of the example solo.
Note, also, that we have a new set of intervals that uniquely identify the Phrygian mode/scale:
half-whole-whole-whole-half-whole-whole
It is this combination of intervals that is really responsible for giving the Phrygian mode its unique
sound, and this sequence of intervals can be applied to any key, as we will see in the next chapter.
Figure 17
At first glance, Figure 17 may look the same as the previous figures, but notice that the same
notes have taken on yet another set of identities. For some extra fun, Tracks 17 and 18 contain a minor
progression consisting of Am6, Dm7, Em6, and Em9. You can solo over the entire progression using
our basic C-Major scale pattern. Over the first and second bars (Am6) you’ll be playing Aeolian, over the
third (Dm7), Dorian, and over the fourth and fifth (Em6 & Em9), Phrygian. Neat, huh? Example_9.mid
is the digital background track, and Example_9.pdf is the transcription.
Boxes Beyond The Blues 17
The Lydian Mode
The fourth mode of the diatonic scale is created by playing the major scale starting from its 4th
degree. In the case of the ‘C’ Major scale, this entails starting and ending on ‘F’, as follows:
F=G=A=B-C=D=E-F
As before, we must analyze this scale by comparing it to a diatonic ‘F’ Major scale:
F Major Scale F G A Bb C D E
F Lydian F G A B C D E
Result R 2 3 #4 5 6 7
Table 10
In this case, the Lydian Mode differs from the ‘F’ Major scale only in its raised 4th/11th de-
gree. Clearly, this is a major scale (because it has a major 3rd). The ideal chord to play this over is
an FMaj9(#11). Tracks 19 and 20 contain this harmonic background, with and without a sample solo.
Example_10.mid provides a digital background, and Example_10.pdf is tablature of the solo. Notice
that the tri-tone (#4) is the note that gives the blues its tangy sound. You can expect this to be a very
powerful note that requires some care when soloing.
Here again, we’re playing the same notes as our ‘C’ Major scale, with the notes taking on new
identities relative to this new harmonic setting. This is illustrated in Figure 18,
Figure 18
Notice how that #4 (the tri-tone, which gives the blues scale its poignant sound) lends the
Lydian scale a cool ‘spiky’ kind of tone. Remember, also, that it’s the sequence of intervals (whole-
whole-whole-half-whole-whole-half) that makes this mode sound as it does, and these intervals can
be applied in any key you please.
G=A=B-C=D=E-F=G.
G Major Scale G A B C D E F#
G Mixolydian G A B C D E F
Result R 2 3 4 5 6 b7
Table 11
Comparing the two, we see that the Mixolydian is simply a major scale with a minor seventh.
We can hear the Mixolydian by playing our handy C-Major scale over a G7 chord. This can be heard
in tracks 21 and 22. Example_11.mid provides the digital backup, while Example_11.pdf contains the
tablature for the example solo. Figure 19 shows the identity that each note assumes when played as
a G Mixolydian.
Figure 19
Since we’ve already examined the sixth mode (Aeolian), we can move on to mode seven.
B-C=D=E-F=G=A=B.
B Major Scale B C# D# E F# G# A#
B Locrian B C D E F G A
Result R b2 b3 4 b5 b6 b7
Table 12
Well, this is certainly a hairy one! We have a root, a b2nd, a b3rd, a 4th, a b5th, a b6th, and a
th
b7 . If you think this is going to be wild sounding, you’re right. We could harmonize this scale in a
number of ways. First, from the minor 3rd and minor 7th, we definitely know we’ve got a minor scale
here. The diminished 5th means we also have a half diminished sound (a full diminished chord would
have a bb7th, or a 6th, but the Locrian scale has a minor 6th. The most common chord to use with the
Locrian mode is the Bm7b5. Figure 20 shows the identities our familiar notes take on when played as
a ‘B’ Locrian.
Boxes Beyond The Blues 19
Figure 20
Tracks 23 and 24 should give you an idea of what the Locrian mode sounds like. Example_
12.mid provides a digital background, Example_12.pdf is the solo transcription. Clearly, this isn’t
something you’d want to use for an entire solo, but the next time you a m7b5 coming your way,
grab for the Locrian whose root is the same as that of the chord and you’ll give your solo a really hip
sound.
20 J.P. Befumo
One-Chord Jams
One of the best ways to gain facility with switching from one scale/mode to another is to use a
single-chord jam. Lest you think this no more than a didactic artifice, I’ll point out that The Grateful
Dead and Frank Zappa, among others, used precisely this approach to provide a harmonic environment
against which they could freely explore a variety of scalar forms.
Those last two are common ‘exotic’ scales. (We’ll be looking at several more a little later). The
Dorian b2 is the second mode of the Melodic Minor scale. The Dorian #4, also known as the Romanian
Scale, is mode 4 of the Harmonic Minor scale. All are given in the key of ‘A’.
Tracks 25 and 26 provide the background, first with me soloing over it, then without, so you can
practice your own leads. In the solo track, I do 6 bars of each scale, in the order listed above. Example_
13.mid provides a digital accompaniment. Example_13.pdf is a transcription of the example solo. (I list
each scale being used on the transcription for your convenience.)
This is the approach I typically use myself when working with one or more new scales. I’ll start
by setting up grids for just one position of each scale, perhaps adding some notes identifying where in
a song, or over which chords they should be used. This allows me to take in the whole picture with a
glance, and improvise freely. Later, when I have the sound in my ears, I’ll start to expand the patterns
to other regions of the fretboard. Finally, once I know the sound well, I’ll start mapping out the inter-
vals. Eventually, I reach the point where I just know which intervals define each particular scale, and
hence, which chords they’ll work with.
Do try to become aware of the intervals you’re playing, and what they sound like. In time, you’ll
stop thinking in terms of these handy little patterns, and start grabbing for a b3rd, or a #4th. Also, use
the grids in the Appendix and start mapping out these scales at other positions on the fret board. Before
you know it, you’ll be able to find any sound, anywhere on the neck.
Boxes Beyond The Blues 21
Figure 21
22 J.P. Befumo
A Major Example
This example will give you six scales you can use over a major vamp. These will be:
As before, all are presented in the key of ‘A’, so you can easily incorporate them into your familiar
patterns. I’ll illustrate them in the second-fret position (with the exception of the Hirojoshi, Mode 6,
which is in the fourth position), but there are lots of other handy locations, so be sure to map them out
on your own using copies of the grid patterns in the Appendix and on disk. Tracks 27 and 28 provide
examples. Example_14.mid provides a digital representation of the background. Example_14.pdf is a
transcription of the sample solo.
Boxes Beyond The Blues 23
Figure 22
24 J.P. Befumo
A Dominant Example
The neat thing about dominants is that the blues is traditionally played with all dominants, so if you find
something sounds good over a dominant chord, you can be pretty sure there’s some way you can use it to spice up
your blues repertoire. This doesn’t mean you can’t employ minor scales and modes. This tension between melodic
and harmonic content is what gives the blues its power and appeal.
As examples, I’ve selected the following scales and modes over a steady A7 chord:
In the interest of mechanics, I’ve slipped the Pelog Mode 3 and the Ahava Raba up to the fifth position,
but I encourage you to pick the scales that appeal to you and map them out all over the fret board, using the grids
in the appendix or those on the digital segment of the CD.
You can, of course, apply any of the previous major and minor scales we’ve looked at thus far in any of the
harmonic settings. Different combinations will introduce different degrees of dissonance, but this isn’t necessarily
a bad thing. It is, in fact, this very dissonance that adds interest and drama to your solos, so experiment, and let
your ears guide you. When you hear something you like, internalize information about the interval that associates
with the sound; i.e.: this is the sound of a minor third played over a dominant harmony. . . .
Tracks 29 and 30 illustrate the dominant examples. Example_15.mid provides digital accompaniment.
Example_15.pdf is a transcription of the sample solo.
Boxes Beyond The Blues 25
Figure 23
26 J.P. Befumo
Some of the scales I like to use over a 12-bar blues to break out of the pentatonic doldrums include:
Figure 24
28 J.P. Befumo
Notice that the ‘A’ Ritusen (Figure 24) is identical to a ‘B’ Pentatonic Minor. This means that
in many circumstances where you’d be reaching that familiar 5th position box, you can just slide up two
frets and you’ll be playing the Ritusen.
Let’s analyze each of these in terms of the three chords of the familiar blues progression: A7, D7,
and E7,
C C# D Eb E F F# G Ab A Bb B
A7 Chord (b3) 3 (11) (#4) 5 b7 R (9)
D7 Chord b7 R b9 (9) 3 (4) 5 (6)
E7 Chord (b6) b7 7 R (b3) 3 (11) 5
A Blues Modified b3 4 b5 bb6 b7 R 2
Table 13
We can see immediately that when we play the Blues Modified scale over an A7 chord, we have
a 1,2,b3,4,b5,bb6, and b7. (The bb6th is equivalent to a 5th, by the way.) The b3 and the b5 are bona
fide blues tones, and the minor seventh is right out of the chord. The 9th (2nd) and the 11th (4th) lend
a jazzy feel, as does the b9 (which can be a somewhat dissonant interval, so handle with care.)
There is, however, yet another way to look at this. Remember when we talked about harmonizing
the major scale, and observed that the chord built on the fifth degree is always a dominant seventh?
We also discovered that while the other chords (with the exception of the m7b5 built on the 7th degree),
could appear in multiple positions, the dominant seventh is unique. The rules of cadence, which are too
complex for our current needs, reveal that the sound of the dominant seventh strongly implies the key
center a perfect fifth below it. In the case of the A7 chord, the implied key center would be ‘E’. The ‘E’
Major scale is spelled:
E=F#=G#-A=B=C#=D#
The relationship of the scale to this temporary key center is the same as to the V chord (E7). In
terms of this (implied) key center, our ‘A’ Blues Modified scale gives us:
A=11th
B=5th
C=b6th
D=b7th
Eb=7th
E=Root
G=b3rd
Here again, we have all very strong, musical tones, so the scale ‘works’ regardless of how you ap-
proach it.
Moving on to the D7 Chord, our ‘A’ takes on the role of a perfect 5th, the ‘B’ is a major 6th, the C
is a minor 7th (right out of the dominant chord), the D is the root, the Eb is a minor 9th, the E is a 2nd,
and the G is the 11th. There is a lot of chromaticism in that R-b9-2 region, so approach it with caution
when playing over the IV (D7) chord.
Boxes Beyond The Blues 29
As before, we can also think of the D7 chord as suggesting a transient key center of ‘A’, but we’ve already
analyzed this scale in terms of A major, so we know it works in that context as well.
Overall, we can conclude that the ‘A’ Blues Modified is a good fit for a dominant blues progression.
A,B,C,D#,E,F,G.
In terms of the A7 Chord, we have the following intervals: R,9,b3,#4,5,b6,b7, as shown in Table 14. Here
again, we have several bluesy notes: the minor 3rd, the tri-tone, the minor 6th and minor 7th.
C C# D Eb E F F# G Ab A Bb B
A7 Chord (b3) 3 (#4) 5 (b6) b7 R (9)
D7 Chord b7 R b9 (2) (b3) 3 (4) 5 (6)
E7 Chord (b6) b7 7 R (b9) (b3) 3 (11) 5
A Hung.Gypsy b3 #4 5 b6 b7 R 2
Table 14
In terms of the implied ‘E’ Major tonal center (and the E7 chord):A=11th, B=5th, C=b6th, D#=7th,
E=Root, F=b9th, G=b3rd.
Here you’re implying a minor/Major-7th feeling—very hip. When you play this over the E7 chord (the V
in the I-IV-V progression), that major seventh is going to create some tension with the dominant seventh of the
chord, so let your ears guide you.
As we analyze the IV chord (D7 in the case of a 12-bar blues in A), we find that the A corresponds to the
perfect 5th of the D harmony, the B gives us a major 6th, the C is a minor 7th, the D# is a very tangy b9th, the E
is a 2nd, the F is a minor 3rd, and the G is an 11th. These are definitely not tones you’re going to be hearing out of
every would-be blues god who slings a guitar. On the other hand, they’re not so alien that people will be wonder-
ing whether you’ve just lost track of your key orientation.
C C# D Eb E F F# G Ab A Bb B
A7 Chord (b3) 3 5 (6) b7 R (9)
D7 Chord b7 R (2) 3 5 (6)
E7 Chord (b6) b7 R 2 3 (11) 5
A Kumoi b3 5 6 R 2
Table 15
Against the ‘E’ harmony, which is both the V chord of the progression, as well as the tonal center implied
by A7, these notes take on a different shade of nuance. Our ‘A’ is the 11th, and the ‘B’ is a 5th. The C gives us a
minor 6th, the E yields the root, and the F# is a 9th. Here again, all nice musical tones.
30 J.P. Befumo
Finally, against D7, the A is a perfect 5th, the B a Major 6th, the C is a minor 7th, the D, of course, is the
root, the E gives us a 9th, and the F# gives a Major 3rd. Hence, against the D7, the Kumoi will have a harmonious
dominant tonality.
Just as we did earlier with the diatonic major scale, we are free to play any of these alternative scales from
any of their scale degrees. Just as the different diatonic modes had drastically different sounds, we can expect the
same when we experiment with modes of other scales.
C C# D Eb E F F# G Ab A Bb B
A7 Chord (b3) 3 (11) (b5) 5 b7 R
D7 Chord b7 R (b9) 3 (11) 5
E7 Chord (b6) b7 (7) R (b3) 3 (11) 5
A Kumoi Mode V b3 4 b5 b7 R
Table 16
The Kumoi Mode V contains the Root, b3rd, 4th, b5th, and b7th. Very bluesy! In A this works out to: A,
C, D, Eb, G. Considered against the implied E tonal center (as well as the V chord of the progression—E7), this
works out to: A=11th, C=b6th, D=b7th , Eb=7th, G=b3rd. All nice musical relationships.
Finally, played against the IV chord (D7 in our examples), the A is the perfect 5th, the C is a minor 7th, the
D is the root, the Eb is a minor 9th, and the G gives us the 11th. Expect this to have a sophisticated jazzy sound,
but handle that minor 9th with care, as it can be dissonant.
The Ritusen
This is another useful pentatonic scale you can use to spice up your blues repertoire. It consists of a Root,
9th, 11th, perfect 5th, and a Major 6th. In ‘A’, this is: A,B,D,E,F#.
C C# D Eb E F F# G Ab A Bb B
A7 Chord 3 (11) 5 (6) b7 R (9)
D7 Chord b7 R (9) 3 5 6
E7 Chord b7 R (9) 3 (11) 5
A Ritusen 4 5 6 R 2
Table 17
Against the implied ‘E’ key center, these notes represent the 11th, the perfect 5th, a minor 7th, the Root,
and the 9th. That takes care of both the implied key center of A7, as well as the V chord. Over the D7, the same
notes take on new identities. ‘A’ becomes the perfect 5th,‘B the Major 6th, ‘D’ is the Root, ‘E’ is a major 9th,
and F# is a major 3rd. Hence, we have one more scale that can work over all three chords of the standard blues
progression.
C C# D Eb E F F# G Ab A Bb B
A7 Chord 3 (11) 5 (b6) b7 R (b9)
D7 Chord b7 (7) R (9) (b3) 3 (11) 5 (b6)
E7 Chord b6 b7 R (b9) (b3) 3 (11) b5 5
A Phryg. Major 3 4 5 b6 b7 R b2
Table 18
Tracks 31 and 32 provide examples, first with a sample solo, then without. Example_16.mid is
the MIDI file, and Example_16.pdf is a transcription of the solo.
32 J.P. Befumo
Table 19
We learned earlier that the Mixolydian mode was particularly appropriate for playing over a
dominant seventh chord whose root is the same as that of the scale. Hence, we should be able to play
an A Mixolydian over our A7 chord, a D Mixolydian over our D7 chord, and an E Mixolydian over our
E7 Chord. Of course, you could use the same Mixolydian pattern shown in Figure 19, and simply slide
it up and down the neck for each chord, but that’s an incredibly clumsy approach. Instead, let’s use our
handy fret board grids to map out each of these scales in the same position. That way we can switch
between scales with a minimum of movement. (You should, of course, aspire to be able to do this in any
position, but the best way to start is to fully assimilate one position at a time.)
As we determined earlier, the Mixolydian mode is characterized by the following step/half-step
pattern:
whole-whole-half-whole-whole-half-whole;
that is, it is identical to a major (Ionian) scale, except for the minor seventh. The A Mixolydian, there-
fore, is spelled as follows:
A=B=C#-D=E=F#-G=A.
D=E=F#-G=A=B-C=D.
E=F#=G#-A=B=C#-D=E.
All three patterns are shown in the 5th-fret position in Figure 25.
Boxes Beyond The Blues 33
Figure 25
34 J.P. Befumo
The practice tracks 33 and 34 provide 36 bars of 12-bar blues in ‘A’, first with an example solo,
then background accompaniment only. Use the corresponding digital track (Example_17.mid) to ad-
just the tempo as desired. Example_17.pdf is a transcription of the solo.
You can use a similar approach to learning to solo over any set of chord changes. Notice, how-
ever, that if you are working with a progression using only scale-tone chords (e.g., chords harmonized
from each note of the scale), you will automatically end up playing a single scale. For example, if you’re
playing over a familiar I-V-IV progression in the key of C (CMaj7-G7-FMaj7), and you solo using only
the C Major scale, you’ll be playing the C Ionian over the CMaj7, the G Mixolydian over the G7, and the
F Lydian over the FMaj7. Note, also, that, in the case of the F Lydian, your solo will be suggesting an
FMa7(#11)over that FMaj7. If that #11 sound (the tri-tone) is a bit too spiky for you, you can switch to
the F Ionian instead, as shown in Figure 26 (this is what I do in the example track.)
Figure 26
The practice tracks 35 and 36 demonstrate this example. Example_18.cmp and Example_
18.mid provide a digital equivalent.
Boxes Beyond The Blues 35
When we harmonized the diatonic major scale (Ionian mode), we discovered that the most im-
portant chord for establishing the overall tonal center was the dominant seventh chord, which was built
on the fifth degree of the scale. In terms of cadence, the strongest harmonic movement is the transition
from the V chord to the I chord. This is known as perfect cadence.
When we harmonized the Natural Minor (Aeolian) mode, although we didn’t analyze this prop-
erty explicitly, one of the outcomes was that the V chord turned out to be a minor seventh chord, rather
than a dominant seventh. The result is that the power of the perfect cadence is compromised in this
harmonic setting. This shortcoming of the Natural Minor led to the development of the Harmonic Mi-
nor scale.
1 2 3 4 5 6 7
Major C D E F G A B
Natural Minor C D Eb F G Ab Bb
Harmonic Minor C D Eb F G Ab <======> B
Table 20
The Harmonic Minor scale addresses the problem by substituting a major seventh for the minor
seventh of the Natural Minor. he resulting interval pattern is as follows:
C=D-Eb=F=G-Ab≡B
Notice that we have introduced an augmented interval of 3 half-steps between the Ab and the B.
This is what gives the Harmonic Minor scale it’s characteristic exotic sound.
36 J.P. Befumo
Let’s see what emerges when we start stacking thirds in order to harmonize this new scale.
I Chord:
1 2 3 4 5 6 7
C Maj. scale C D E F G A B
Harm.Minor 1st. degree C D Eb F G Ab B
Result R 2 b3 4 5 b6 7
Table 21
Our first chord give us: C,Eb,G,B. In terms of the C-Major scale, these represent the Root, minor
3rd, perfect 5th, and a Major 7th. This is the first time we’re encountering this particular combination
(minor 3rd and Major 7th). The resulting chord, not unexpectedly, is called a Cm/Maj7 (also sometimes
referred to as a Minor Large).
II Chord:
1 2 3 4 5 6 7
D Maj. scale D E F# G A B C#
Harm.Minor 2nd. degree D Eb F G Ab B C
Result R B2 b3 4 b5 6 b7
Table 22
Moving on to our II chord, we have: D, F, Ab, and C. Taken in the context of the D-Major scale,
these intervals are the Root, minor 3rd, diminished 5th, and minor 7th, which gives us the half-dimin-
ished (m7b5) chord that shows up in the VII position of the harmonized diatonic major scale.
III Chord:
1 2 3 4 5 6 7
Eb Maj. scale Eb F G Ab Bb C D
Harm.Minor 3rd. degree Eb F G Ab B C D
Result 1 2 3 4 #5 6 7
Table 23
Our III chord will consist of: Eb, G, B, D. Compared to an Eb-Major scale (Eb=F=G-
Ab=Bb=C=D-Eb), these notes represent the: Root, Major 3rd, augmented 5th, and Major 7th; another
interesting jazzy chord, known as a Maj7(#5).
IV Chord:
1 2 3 4 5 6 7
F Maj. scale F G A Bb C E E
Harm.Minor 4th. degree F G Ab B C D Eb
Result 1 2 b3 #4 5 6 b7
Table 24
Continuing with our IV chord, the notes we’ll be working with are: F, Ab, C, and Eb. In terms of
an F-Major scale, these give us the Root, minor 3rd, perfect 5th, and a minor 7th. The result is a com-
mon minor seventh chord.
Boxes Beyond The Blues 37
V Chord:
1 2 3 4 5 6 7
G Maj. scale G A B C D E F#
Harm.Minor 5th. degree G Ab B C D Eb F
Result 1 b2 3 4 5 b6 b7
Table 25
Next, analyzing the V chord (which was the motivation for this scale’s origin), we have a G, B, D,
F. In terms of G, these are the Root, major 3rd, perfect 5th, and minor 7th. As predicted, this gives us a
dominant seventh chord, right in the V position, where it is needed to restore cadence.
VI Chord:
1 2 3 4 5 6 7
Ab Maj. scale Ab Bb C Db Eb F G
Harm.Minor 6th. degree Ab B C D Eb F G
Result 1 #2 3 #4 5 6 7
Table 26
The VI chord of the harmonized Harmonic Minor scale uses the notes: Ab, C, Eb, G. Compared
to an Ab-Major scale, these represent the Root, Major 3rd, perfect 5th, and Major 7th; an Ab Major 7th
chord. (Note that the #2 can also be treated as a b3, in which case you can use the Ab Harmonic Minor
over an Abm/Maj 7 chord.)
VII Chord:
1 2 3 4 5 6 7
B Maj. scale B C# D# E F# G# A#
Harm.Minor 7th. degree B C D Eb F G Ab
Result 1 b2 b3 b4 b4 b6 bb7 7
Table 27
Finally, our VII chord has the notes: B, D, F, Ab. These represent the Root, minor 3rd, dimin-
ished 5th, and a bb7. This is a diminished 7th chord. Hence, we can generalize all this by observing that
in the harmonized Harmonic Minor scale, in any key,
Since the very reason for devising this scale was to restore the rules of cadence, we can apply
these rules to come up with a progression over which you can solo using only the Harmonic Minor scale.
There are many valid progressions. Here’s the one I use for tracks 37 and 38 (and Example_19.mid and
Example_19.pdf):
Cm/Maj7-Dm7(b5)-Fm7-Cm/Maj7-Fm7-Eb7(#5)-AbMaj7(#11)-Bdim7-G7(b9)-Cm/Maj7.
38 J.P. Befumo
Solo over this using the following pattern (the grid on the left shows the note names, the one on
the right, the scale degrees):
Figure 27
As always, once you are comfortable with this position, use the blank grids to learn the scale all
over the neck. Also, experiment with devising your own progressions in which you can use the Har-
monic Minor scale over just one or two of the chords, and more familiar scales over the others. This will
give your solos a refreshing sense of variety.
There are literary hundreds of scales, along with their associated modes, and that’s only consid-
ering those based on our evenly-tempered 12-tone chromatic scales. If you get into microtonal scales
(which can be played using synthesizers), the number is practically infinite. I’ll present a few scales
that I’ve found useful, showing one fret board pattern, along with an appropriate progression for each.
I encourage you to search the web for more. Using the harmonization technique described earlier, you
should be able to come up with appropriate harmonic backdrops on your own.
The Neapolitan Major Scale (1 2 2 2 2 2 1) [these numbers represent the scale’s intervals]
As we can see in Table 28, the Neapolitan Major really isn’t a major scale at all, since it contains
a minor 3rd. It does, however, contain a major seventh, so its basic tonality is a min(Maj7). As Table 28
illustrates, the Neapolitan Major is close in structure to the Melodic Minor scale, and features a minor
second in addition to the Melodic Minor’s minor third.
1 2 3 4 5 6 7
C Maj. scale C D E F G A B
C Melodic Minor C D Eb F G A B
C Neapolitan Major C Db Eb F G A B
Table 28
Boxes Beyond The Blues 39
The ‘C’ scale-tone chords we have to work with from the Neapolitan Major are:
• I=Cm(Maj7)
• II= DbMaj7(#5)
• III=Eb7(#5)
• IV=F7(#11)
• V= G7(#5)
• VI= A7(#5#9)
• VII= B7(#5b9)
Figure 28 shows a convenient pattern for soloing using the Neapolitan Major.
Figure 28
An interesting progression that utilizes all of these chords is:
Cm(Maj7)-A7(#5#9)-F7(#11)-Cm(Maj7)-B7(#5b9)-Cm(Maj7)-G7(#5)-Eb7(#5)-
Cm(Maj7)-DbMaj7(#5)-Cm(Maj7).
The Ahava Raba, which we encountered earlier when playing over a dominant harmony, is an
interesting scale that merits further analysis. It is basically dominant in tonality (Major 3rd and minor
7th), but with the minor 9th and minor 6th of a Phrygian. The result is an ambivalent feel that can cre-
ate terrific tension. You can see a comparison with a major (Ionian) scale in Table 29.
1 2 3 4 5 6 7
C Maj. scale C D E F G A B
C Ahava Raba Scale C Db E F G Ab Bb
Table 29
40 J.P. Befumo
The ‘C’ scale-tone chords we have to work with from the Ahava Raba are:
• I= C7(b9)
• II= DbMaj7(#11)
• III= Edim7
• IV= Fm(Maj7)
• V= Gm7(b5)
• VI= AbMaj7(#5)
• VII= Bbm7
Figure 29 presents one convenient fingering for the C Ahava Raba scale.
Figure 29
Here’s an interesting progression over which you can practice your Ahava Raba scale:
C7(b9)-Edim7-Bbm7-C7(b9)-DbMaj7(#11)-AbMaj7(#5)-C7(b9)-Fm(Maj7)-C7(b9)-
Gm7(b5)-C7(b9).
The Dorian b5 is mode II of the Harmonic Major scale. It contains a minor 3rd and a minor 7th,
making it appropriate for use over a minor 7th harmonic setting. t also contains a b5, the ‘blues note’,
so it can function nicely in a blues environment. It can also be used over a m7(b5) chord whose root is
the same as that of the scale. You can see a comparison with a major (Ionian) scale in Table 30.
1 2 3 4 5 6 7
C Maj. scale C D E F G A B
C Dorian b5 C D Eb F Gb A Bb
Table 30
Boxes Beyond The Blues 41
If we harmonize this scale, we come up with the following scale-tone chords in ‘C’:
• I=Cm7(b5)
• II=D7(#9)
• III=Ebm(Maj7)
• IV=F7(b9)
• V=GbMaj7(#5)
• VI=Adim7
• VII=BbMaj7
Figure 30
Here’s a progression you can use for exploring the Dorian b5 scale:
Cm7(b5)-GbMaj7(#5)-Cm7(b5)-BbMaj7-Cmin7(b5)-D7(#9)-Adim7-F7(b9)-Cm7(b5).
The Byzantine is mode V of the Hungarian Minor scale. It contains a Major 3rd and a Major 7th,
making it appropriate for use over a Major 7th harmony. t also contains a minor 9th, like the Phrygian,
an 11th, a perfect 5th, and a minor 6th, which contribute some minor tones. The Byzantine is compared
to a major (Ionian) scale in Table 31.
1 2 3 4 5 6 7
C Maj. scale C D E F G A B
C Byzantine C Db E F G Ab B
Table 31
42 J.P. Befumo
Notice that the Byzantine differs from the other scales we’ve looked at thus far in that it has
two augmented intervals (one between the b2nd and the 3rd, and another between the b6th and the
7th. If we harmonize this scale, we come up with the following scale-tone chords:
• I=CMaj7
• II=Db7(#9)
• III=Em6
• IV=Fm(Maj7)
• V=G5(b5b9)
• VI=AbMaj7(#5)
• VII=C#Maj7/B
Figure 31
You can use the following progression for getting a handle on the Byzantine scale:
CMaj7-Db7(#9)-AbMaj7(#5)-CMaj7-Fm(Maj7)-DbMaj7/B-Em6-G7(b5b9)-CMaj7.
Tracks 45 and 46 (and Example_23.mid and Example_23.pdf) are recordings of this progres-
sion.
1 2 3 4 5 6 7
C Maj. scale C D E F G A B
C Enigmatic C Db Eb F# G A# B
Table 31
Boxes Beyond The Blues 43
This is another scale with two augmented intervals (one between the b3rd and the #4th, and
another between the perfect 5th and the #6th). If we harmonize this scale, we come up with the fol-
lowing scale-tone chords:
• I= Cmin(Maj7)
• II= Ebm6/Db
• III= Eb7(#5#9)
• IV= F#6
• V= GMaj7(#5)
• VI= Cm7/A#
• VII= BMaj7
Figure 32 shows one convenient pattern for playing the Enigmatic Minor scale.
Figure 32
Here’s a progression you can use for getting your arms around the Enigmatic Minor scale:
Cm(Maj7)-Ebm6/Db-Cm7/Bb-Eb7(#5#9)-F#6-GMaj7(#5)-BMaj7-Cm(Maj7).
Tracks 47 and 48 (and Example_24.mid and Example_24.pdf) are recordings of this progres-
sion.
Conclusion
Regardless of your starting point, I hope that this book has helped you to progress as a guitar-
ist and musician. The approach presented is the one I followed myself on my journey from basic blues
playing into the world of jazz and fusion. Any one or two of the scales presented here are sure to breath
new life into your solos. Pick a few that you like and work on integrating them thoroughly into your
musical thinking. Build upon that basis by gaining an awareness of the identities of each note within its
immediate and overall harmonic contexts. Just let taste be your guide, and you’ll be well on your way to
being the best musician you can be.
44
Grid A
J.P. Befumo
Boxes Beyond The Blues 45
Grid B
46 J.P. Befumo