F♯ bebop locrian Scale — Guitar Fretboard Visualization

Low E string: E, F#, G, A, B, C, C#, D, E at frets 0, 2, 3, 5, 7, 8, 9, 10, 12

A string: A, B, C, C#, D, E, F#, G, A at frets 0, 2, 3, 4, 5, 7, 9, 10, 12

D string: D, E, F#, G, A, B, C, C#, D at frets 0, 2, 4, 5, 7, 9, 10, 11, 12

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

B string: B, C, C#, D, E, F#, G, A, B at frets 0, 1, 2, 3, 5, 7, 8, 10, 12

High E string: E, F#, G, A, B, C, C#, D, E at frets 0, 2, 3, 5, 7, 8, 9, 10, 12

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F# bebop locrian

The bebop locrian scale adds a natural 5th as a passing tone inside the locrian mode, smoothing the m7b5 sound into an eight note bebop vehicle. The borrowed 5th lets lines glide through half-diminished chords with the same downbeat logic as the other bebop scales. Use it on the ii chord of a minor ii-V-i.

it consists of these notes and degrees:

F♯

I

G

bII

A

bIII

B

IV

C

bV

C♯

V

D

bVI

E

bVII

Same notes, different mode

F# bebop locrian 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.

bebop locrian in all 12 keys, with chords and related scales

tip
  • Use F# bebop locrian over m7b5 chords in eighth-note lines; the borrowed natural 5th (C#) is strictly a passing tone between bV (C) and bVI (D).
  • Anchor on the half-diminished arpeggio (root, bIII (A), bV (C), bVII (E)) and let the scale fill the gaps.
  • It pairs with the dominant bebop scale of the V7b9 that follows: same eighth-note engine through the whole minor ii-V-i.
  • Accent the flat 2nd (G) sparingly; on a m7b5 it adds bite, but resolving it down to the root ends phrases cleanly.

How to play F♯ bebop locrian on guitar

All six open strings are in key, but neither the tonic nor its fifth is among them, so use them as passing colour. Capo at fret 2 reads in E. Lowest root is low E fret 2, doubled at the same fret on top. From fret 6 the next box takes over, meaning the fifth-string barre at fret 9 belongs to that second position.

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