G♭ composite blues Scale — Guitar Fretboard Visualization

Low E string: Fb, Gb, Ab, Bbb, Bb, Cb, Dbb, Db, Eb, Fb at frets 0, 2, 4, 5, 6, 7, 8, 9, 11, 12

A string: Bbb, Bb, Cb, Dbb, Db, Eb, Fb, Gb, Ab, Bbb at frets 0, 1, 2, 3, 4, 6, 7, 9, 11, 12

D string: Eb, Fb, Gb, Ab, Bbb, Bb, Cb, Dbb, Db at frets 1, 2, 4, 6, 7, 8, 9, 10, 11

G string: Ab, Bbb, Bb, Cb, Dbb, Db, Eb, Fb, Gb at frets 1, 2, 3, 4, 5, 6, 8, 9, 11

B string: Cb, Dbb, Db, Eb, Fb, Gb, Ab, Bbb, Bb, Cb at frets 0, 1, 2, 4, 5, 7, 9, 10, 11, 12

High E string: Fb, Gb, Ab, Bbb, Bb, Cb, Dbb, Db, Eb, Fb at frets 0, 2, 4, 5, 6, 7, 8, 9, 11, 12

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Gb composite blues

The composite blues scale merges the major and minor blues scales into one nine note super set: root, 2nd, both 3rds, 4th, flat 5th, 5th, 6th, flat 7th. It is less a scale to run than a map of every blues inflection available in one key: major sweetness, minor grit and the blue note all coexist. Blues and jazz players effectively think in it already.

it consists of these notes and degrees:

G♭

I

A♭

II

B𝄫

bIII

B♭

III

C♭

IV

D𝄫

bV

D♭

V

E♭

VI

F♭

bVII

tip
  • Do not run all nine notes: treat Gb composite blues as a map and pick the major-blues subset over I and IV, minor-blues subset over V.
  • Practice switching mid-phrase: answer a line built on II, bIII (A), III, VI with one built on IV, bV (C), V, bVII (E).
  • The double chromatic runs (II-bIII-III and IV-bV-V) are built-in slurs: hammer through them landing on the chord tone.
  • Over a shuffle in Gb, keep strong beats for triad tones and spend all that chromatic wealth on the upbeats.

How to play G♭ composite blues on guitar

Nine flats make this the heaviest spelling on the page, so the fret 2 capo that converts it to E fingerings earns its keep. Both open E strings sound the flat seventh and the open A string the minor third, which means flat-seventh and minor-third drones cost nothing. Roots start at fret 2 on both Es. A-shape playing sits up at fret 9, and the first box wraps at fret 6.

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