B ichikosucho Scale — Guitar Fretboard Visualization

Low E string: E, F, F#, G#, A#, B, C#, D#, E at frets 0, 1, 2, 4, 6, 7, 9, 11, 12

A string: A#, B, C#, D#, E, F, F#, G# at frets 1, 2, 4, 6, 7, 8, 9, 11

D string: D#, E, F, F#, G#, A#, B, C# at frets 1, 2, 3, 4, 6, 8, 9, 11

G string: G#, A#, B, C#, D#, E, F, F# at frets 1, 3, 4, 6, 8, 9, 10, 11

B string: B, C#, D#, E, F, F#, G#, A#, B at frets 0, 2, 4, 5, 6, 7, 9, 11, 12

High E string: E, F, F#, G#, A#, B, C#, D#, E at frets 0, 1, 2, 4, 6, 7, 9, 11, 12

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B ichikosucho

The ichikosucho scale is a major scale with an added flat 5th, eight notes catalogued from Japanese sources. The extra note bridges the 4th and 5th chromatically, letting otherwise plain major lines pivot briefly through a blues-tinged shadow. It behaves like a major scale with a built-in passing tone rather than an exotic mode.

it consists of these notes and degrees:

B

I

C♯

II

D♯

III

E

IV

F

bV

F♯

V

G♯

VI

A♯

VII

Same notes, different mode

B ichikosucho 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.

ichikosucho in all 12 keys, with chords and related scales

tip
  • Play B ichikosucho as a major scale with a built-in blue note: the added flat 5th (F) bridges IV and V chromatically.
  • Use the b5 (F) in passing on upbeats, exactly like the blues scale treats it, while everything else stays diatonic major.
  • Try it over a I-IV change in B: the b5 (F) doubles as the sharp 4th leading into the IV chord's major 3rd... wait for that resolution.
  • Contrast it with plain B major in the same solo; the single extra note is more striking when it is rationed.

How to play B ichikosucho on guitar

Open B string is a root, with both E strings in scale a perfect fourth away, so a pedal is there for the taking. Nearest fretted root: fret 2, A string. Lowest root is fret 7 on the low E, and box one there closes at fret 11. Capo at fret 2 gives A ichikosucho shapes, letting you borrow that fingering wholesale.

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