
Photo by Mikkel Bech on Unsplash
There’s way more than blues-rock fodder buried in the crevices of the most overused scale in music.
Beginner
Intermediate
- Explain how chords are generated from scales.
- Create unusual harmonies, chord progressions, bass lines, and melodies using the blues scale.
- Demonstrate how music theory and musical intuition can coalesce to create unique sounds from traditional materials.
Last updated on May 21, 2022
Don't get me wrong, I'm all for blues music, but the blues scale can yield beguiling musical results that bear little resemblance to the traditional blues—particularly if one looks at (and listens to) the scale from a different point of view.
Chord Creation
The idea of harmonization is relatively simple. It means is to play two or more notes together at the same time. Technically speaking, two notes performed at the same time create a dyad, not a chord. It takes three or more notes performed simultaneously to create a chord, although the one exception, the two-note so-called "power chord" in Ex. 1, skews this theory a bit.
So, which two or more notes should you harmonize? Any you want! But, if you desire continuity in your compositions and playing, it's a good idea to harmonize notes from a specific scale.
Most musicians usually start with the major scale, stacking every other note of the scale on top of each other until a triad is created (Ex. 2).
From there you can start adding, or replacing notes, to create variations from these basic triads, as seen in Ex. 3.
I must point out that you can also arpeggiate these chords, playing the notes one at a time (Ex. 4). Since we are emphasizing harmony in this lesson, it helps to let them ring out.
That's the most common way to create chords, but in this lesson we're looking for something unusual. So rather than being so formulaic, let's proceed with the basic idea that playing two or more notes at the same time will work as long as they all come from the blues scale.
The blues scale is just the minor pentatonic scale with one additional note, which gets labeled #4 or a b5 depending on context. Ex. 5 shows the most common "box" pattern for the A blues scale (A–C–D–Eb–E–G). After getting a hold of this scale, I recommend working on it in the key of E and D since many of the notes can be played with open strings.
There are two considerable disparities when it comes to generating chords from the blues scale as compared to the major scale. First, the blues scale only has six notes and second, the intervals between the notes in each scale are significantly different.
This means that the blues scale creates radical changes in chord construction and nomenclature, the theory of which is far beyond the scope of this lesson. For instance, Ex. 6 is a selection of relatively common chords you can generate from the A blues scale. Later on, we will get into more exotic harmonies.
For now, all you really need to understand about the theory is that, the chords, and the melodies I've composed to fit them, all come from harmonizing notes from the A blues scale.
When Theory, Intuition, and Creativity Meet
Once the concept of harmonization is understood, the possibilities are limited only by your imagination. The following examples are just a few of the endless ideas you could generate. I have designed my examples to imitate the styles of well-known composers and guitarists and broken them down into how they are fingered on the fretboard.
Ex. 7 is a particularly fun place to start as this arpeggio is just the A blues scale, but the notes are displaced into different octaves to create chords.
For Ex. 8 I've rearranged the notes ever so slightly to create a slightly more uniform, pseudo-Slayer progression and melody.
Ex. 8
The bent note at the beginning of Ex. 9 immediately made me think of Jimmy Page, so for guitar two, I mimicked Robert Plant's chromatic vocal melody on "Misty Mountain Hop" to create this Led Zeppelin-inspired etude. Note that the first chord is labeled A5(#11) because it contains the D# almost an octave and half higher than the root, making it a #11 in relationship to the A.
Ex. 9
Ex. 10 was a happy accident I discovered while playing around with this lesson's concept. It's unashamedly Nine Inch Nails meets Andy Summers. The second chord in the progression is a little tricky to label, so I went with D5(b9) as it contains Eb an octave and one half-step away from the root, making it the b9.
Ex. 10
Ex. 11 demonstrates the power of playing unexpected, three-note chords over a static bassline, very similar to funk/fusion keyboard players in the 1970s (think Herbie Hancock and Chick Corea). To provide continuity, I've actually harmonized the blues scale using the same method discussed in Ex. 2. The chord labels I've chosen are derived from a combination of the chords and the bass line, though you'll see there are really only two chords: Cm and Asus4, played with different voicings. And take my word for it, the fact that this progression contains both Cm and Am chords is highly unusual and worth more investigation.
Ex. 11
Ex. 12 Is a pseudo-power chord riff a la Fugazi or other bands found in the post-punk/emo genres. I've started here with a variation of the A5(#11) chord. Perhaps this is the defining chord of the harmonized blues scale? The rest of the progression seems to alternate between variations of Am and G, but notice that the bass is playing different notes over the chords, providing harmonic variation. Also pay attention that B and C sections are slightly different.
Ex. 12
Comprehend and Create!
I hope by now you've realized that the key to exploiting the harmonized blues scale is to include the #4/b5 in all your progressions. This is the vital element that distinguishes the blues scale from so many others. Make your own progressions, melodies, and songs based on what we've started here. You are only limited by your imagination.
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Blair White, a pedal consultant to the pros and owner of Nashville’s Eastside Music Supply, shares his favorite contemporary pedals for recreating—and reimagining—the gnarliest sounds of the past.
I love fuzz. I am so grateful for fuzz. I don’t know who or where I’d be—at least musically—without it. And whether or not you like using fuzz, you love fuzz, too. You just might not realize it. Fuzz pedals, which are considered loud, rowdy, and unnecessary musical devices by some tonal purists, have changed the world.
From Jimi Hendrix to Jack White, David Gilmour to Billy Corgan, fuzz pedals have not only shaped guitar sounds but shaped the way we think of and experience guitar. Starting in the 1960s, they have steered culture as the musical voice of protest (Hendrix’s “Machine Gun,” anyone?) and the communicator of a generation’s angst . And don’t forget the more recent doom and stoner genres! Also, some tones that you perceive as clean or merely overdriven are actually created by finding the sweet spot between a fuzz pedal and a guitar’s volume dial.
There are tons of different fuzz pedals out there right now, so navigating all of your options can seem like a difficult task. We truly live in the golden era of gear and, as a pedalhead, I’m here for it. But the roots of fuzz run deep to earlier eras. So in that spirit, here are some of my favorite modern fuzz boxes that nail the tones of yesteryear—without the vintage-market price tag. Enjoy! And keep thinking fuzzy!EarthQuaker Devices Hoof ($179 street)
The Hoof is a flagship pedal from this Akron, Ohio-based company, and for good reason. This pedal’s circuit is rooted in a specific tall-font Sovtek Big Muff owned by the Black Keys’ Dan Auerbach. According to Jamie Stillman, owner of EQD, Auerbach’s favorite Big Muff didn’t sound quite like other green Russian Big Muffs he’d played, so he approached Stillman to recreate its hairy goodness. The Hoof is a hybrid of germanium and silicon transistors—a modern variant of the Muff’s legendary, strictly silicon sound. While the original is a 3-knob fuzz (volume, tone, and distortion), the kicker here is a fourth “shift” control that allows you to dial in additional midrange to your liking. Want that doom-y wall of sound? It’s here. Need a bit more string articulation for your riffs? It can do that as well. Built tough, the Hoof is extremely easy to use to get killer vintage fuzz tones and will take a beating on the road.
Way Huge Swollen Pickle ($149 street)
Star designer Jeorge Tripps has had a huge impact in the pedal world for decades. The Swollen Pickle is one of the staples in his creative lineup. What started as a 3-dial Big Muff-style fuzz (See a pattern here?) took on a life of its own with the addition of “filter” and “scoop” controls. Between these two knobs, the sonic landscape is huge... you could even say way huge. The newest version of the Swollen Pickle features additional clipping options under the hood that allow you to tweak further, should you feel the need. But out of the box, this fuzz is a ripper capable of searing leads and wall-of-sound chords. Built like a tank, with a reasonable market price, I’m a big fan of this one. It’s great for guitarists interested in a Big Muff-rooted fuzz without committing to that voice exclusively. Definitely check it out!
Mythos Pedals Golden Fleece ($139 street)
Sometimes simple and stupid is the best approach, and it absolutely works with the Golden Fleece. This single-knob, no-nonsense fuzz from Zach Broyles’ company is a fine-tuned machine with a minimum of options. All the tough decision making has already been done and built into a germanium-and-silicon-based circuit. So, don’t let this pedal’s size and lack of additional controls scare you. It is a monster fuzz pedal.
With its single “more” knob (the output volume), touch dynamics, the pickup selection on the guitar, and guitar volume and tone settings play a huge role in the results. It cleans up extremely well and can go from light and crunchy to full-on saturated awesomeness. Tone-wise, it lives in a unique vintage-fuzz sweet spot. Muff-y? It kinda can be, but it has much more clarity and string definition. Fuzz Face-y? Yes, but it’s much smoother, while simultaneously more aggressive. You’d think a fuzz pedal with one knob would be easy to explain, but this pedal just does so dang much. I’m a huge fan of the tones that this stomp offers—especially at $139, and with the tiny amount of precious pedalboard real estate required. Mythos calls it, “your gateway pedal to fuzz.” Fair enough!
Analog Man Sun Face ($195 street)
What’s a list of killer vintage-sounding fuzzes without an Analog Man pedal? It’s no secret that Mike “Analog Man” Piera sits high up on the list of vintage-fuzz experts, and his constantly in-demand pedals (you’ve heard of the King of Tone?) are a direct result of his passion and knowledge of old-school dirt. I could write a whole article on his smartly crafted fuzz pedals alone. But the Sun Face, as the name might lead you to believe, is Analog Man’s take on the legendary Dallas Arbiter Fuzz Face—that little round box championed by guitar heavyweights like Hendrix, Stevie Ray Vaughan, Eric Johnson, and Pete Townshend. But Analog Man doesn’t just make a one-size-fits-all Fuzz Face clone. Piera offers a dozen different variations of the pedal, with a multitude of choices. Both silicon and germanium transistors are available, as well as low- and high-gain options, which are a result of Mike carefully hand-selecting transistors that allow us nerds to get very specific about what flavor of Fuzz Face sound we want in our rig. The Sun Face is a top-quality build from a top-quality builder. You really can’t go wrong with any variation if you’re chasing the vintage-fuzz dragon.
Red River Amplification Bonetender ($199 street)
The Bonetender was created out of a love for the classic MkII Tone Bender circuit, which Sola Sound debuted in 1966. This device has two knobs, three transistors (Russia-made NOS MP41A “flying saucer” transistors, for the super-nerdy), and a name that bears its influence on its sleeve. David Britton of Red River Amplification in Nashville has nailed the classic Tone Bender sound. He hand-picks his PNP germanium transistors to craft a warm, round voice, with insane sustain and exceptional clean-up. This straight-to-the-point 2-knob (dirt and volume) fuzz provides instant joy for players of all skill levels and is easily one of my favorite MkII-inspired fuzz pedals.
By the way, since you’ve seen the terms germanium and silicon come up in this article several times by now, I should probably give a quick explanation of what they are, for fuzz novices. Silicon and germanium transistors are semiconductors that amplify or alter electronic signals, like those produced by your guitar that travel through your cable. Silicon transistors are more modern, and were developed in the 1950s. Germanium transistors were developed in the 1940s, and opened the door to solid-state electronics. The earliest germanium fuzz pedal, the Maestro FZ-1 used by Keith Richards on “Satisfaction,” was introduced in 1962. The first silicon pedal appeared in the late '60s. Generally, silicon is less responsive to guitar volume attenuation but more temperature-stable than germanium, which can be fussy in hot or cold weather, but pedals using either germanium or silicon can blow a hole in the side of a barn. Okay?
ZVEX Fuzz Factory ($319 street)
Where to start with this one? Odds are you know about this pedal. It’s a staple on so many rigs. It has inspired thousands of guitar players, as well as other pedal builders. It has been loved and used by fuzz purveyors like Trent Reznor and Billy Gibbons. And it is a modern classic. It started as a Fuzz Face clone, but the Fuzz Factory quickly carved its own path in the pedal world, though it’s a bit divisive among players due to its chaotic nature. The Fuzz Factory, which debuted in 1995, was one of the first pedals that purposely use feedback-loop-style self-oscillation—something that other builders at the time tried to avoid. But this stomp’s self-oscillation can easily be tamed and is part of what makes it so damn versatile. The Fuzz Factory is perhaps one of the most flexible fuzz pedals ever created, capable of nearly any tone you’ve heard on classic records or sounds you hear in your mind. Ripping Velcro-style Jack White vibes, spikey “Satisfaction” leads, or full-blown wall-of-sound fuzz are all here! If you're not scared of fuzz pedals with more than three knobs, the five on this stomp (volume, gate, compression, drive, and stability) allow you to explore fuzz in new, creative ways.
Benson Amps Stonk Box ($279 street)
Chris Benson quickly went from unknown apprentice at Verellen Amplifiers and repair tech at Old Town Music in Portland, Oregon, to in-demand, consistently backordered boutique amp builder, and for good reason. Also, his contributions to the pedal world have been fantastic—specifically his creation of what he terms “automatic thermal bias technology.” Essentially, he invented a system that regulates and stabilizes the bias of germanium transistors in a pedal, no matter how hot or cold it is outside. This is a big deal! And the Stonk Box? It is a Tone Bender MkI-inspired device that excels in vintage fuzz voices, with tone, volume, filter, and trim controls. It nails the FZ-1, MkI, and Zonk Machine sounds (which are all basically the same thing). It does the sought-after, beautiful, blossoming fuzz sound. And it can surely handle your Keef riffs, but the range of this high-quality build goes well beyond that.
Rude Tech 3MuF-14 Distortion/Fuzz ($255 street)
Jesse Rhew, of Rude Tech in Nashville, really knocked this one out of the park. Taking three well-loved and legendary Sovtek Big Muff circuits—the "Civil War," "Green Russian," and "Black Russian"—and putting them in one enclosure is cool, right? But the modern improvements and additions included in the 3Muf-14 make these classic sounds more usable in any setting. If you’ve played a Big Muff-style circuit, you know it’s very common for your guitar or bass to lose presence as soon as you turn the Muff on in a live-band setting. Because of this, a lot of players run their Muff-style fuzzes into mid-heavy overdrives or EQs, so they don’t get lost in the mix. The 3MuF-14 adds a mid-focused drive circuit with its own footswitch, so your sweet riffs aren't left out of the fun. As you’ve gathered by now, there are lots of killer Big Muff-style circuits out there, but if you’re looking for a gig-able option that offers just enough tweak-ability without menu diving, the 3MuF-14—with volume, tone, and sustain dials, plus toggles for tone and Muff-style selection—should be on your watch list.
But Wait, There’s More!
These are my favorites, but there are dozens more fuzz pedals, at all kinds of price levels and control options, worth investigating. See Ted Drozdowski’s companion story for a rundown of many of these, and, meanwhile, here are a few more pedals that are on my radar right now, and the historic devices or characteristics they emulate.
• JAM Pedals Octaurus (currently sold out): For fans of the Univox Super-Fuzz, Shin-Ei Companion, and Tycobrahe Octavia.
• Seeker Electric Effects SUPA (currently sold out): MkI and MkII Tone Bender
• Yesterday Effects Peach Fuzz ($200 street): Frantone Peach Fuzz
• ThorpyFX Field Marshall ($254 street): Lovetone Big Cheese
• Death By Audio Fuzz War ($180 street): Inspired by the Colorsound Supa Tonebender
• Spaceman Effects Spacerocket (currently sold out): An “intermodulation” fuzzPaul Reed Smith also continues to evolve as a guitarist, and delivered a compelling take on Jeff Beck’s interpretation of “Cause We’ve Ended As Lovers” at the PRS 40th Anniversary Celebration during this year’s NAMM.
After 40 years at the helm of PRS Guitars, our columnist reflects on the nature of evolution in artistry—of all kinds.
Reflecting on four decades in business, I don’t find myself wishing I “knew then what I know now.” Instead, I’m grateful to still have the curiosity and environment to keep learning and to be in an art that has a nonstop learning curve. There’s a quote attributed to artist Kiki Smith that resonates deeply with me: “I can barely control my kitchen sink.” That simple truth has been a guiding principle in my life. We can’t control the timing of knowledge or discovery. If profound learning comes late in life, so be it. The important thing is to remain open to it when it arrives.
I look at what’s happened at PRS Guitars over the last 40 years with real pride. I love what we’ve built—not just in terms of instruments but in the culture of innovation and craftsmanship that defines our company. The guitar industry as a whole has evolved in extraordinary ways, and I’m fortunate to be part of a world filled with passionate, talented, and good-hearted people.
I love learning. It may sound odd, but there’s something almost spiritual about it. Learning isn’t constant; it comes in stages. Sometimes, there are long dry spells where you can even struggle to hold onto what you already know. Other times, learning is sporadic, with nuggets of understanding appearing here and there that are treasured for their poignancy. And then there are those remarkable moments when the proverbial floodgates open, and the lessons come so fast that you can barely keep up. I’ve heard songwriters and musicians describe this same pattern. Sometimes, no new songs emerge; sometimes, they trickle out one by one; and sometimes, they arrive so quickly it’s impossible to capture them all. I believe it’s the same for all creatives, including athletes, engineers, and everyone invested in their art.
Looking back over 40 years in business and a decade of preparation before that, I recognize these distinct phases of learning. Right now, I’m in one of those high-gain learning periods. I’ve taken on a teacher who is introducing me to concepts I never imagined, ideas I didn’t think anyone could explain—things I wasn’t even sure I was worthy of understanding. But when he calls and says, “Have you thought about this?” I lean in, eager to absorb, not just to learn something new for myself, but because I want him to feel his teaching is appreciated, making it more likely that the teaching continues.
“Learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it.”
Beyond structured teaching, learning also comes through experience, discovery, and problem solving. We recently got our hands on some old, magical guitars, vintage pickups, microphones, and mic preamps. These aren’t just relics; they’re windows into a deeper understanding of how things work and what the engineers who invented them knew. By studying the schematics of tube-mic preamps, we’re uncovering insights that directly influence how we wire guitar pickups and their electronics. It may seem like an unrelated field, but the many parallels in audio engineering are there if you look. Knowledge in one area has a ripple effect, unlocking new possibilities in another.
Even as I continue learning, I recognize that our entire team at PRS is on this journey with me. We have people whose sole job is to push the boundaries of what we understand about pickups, spending every day refining and applying that knowledge so that when you pick up a PRS guitar, it sounds better. More than 400 people work here, each contributing to the collective advancement of our craft. I am grateful to be surrounded by such a dedicated and smart team.
One of my favorite memories at PRS was at a time we were deep into investigating scale lengths on vintage guitars, and some unique pickup characteristics, when one of our engineering leaders walked into my office. He had just uncovered something astonishing and said, “You’re not going to believe this one.” That excitement and back-and-forth exchange of ideas is what keeps this work so rewarding.
As I reflect on my journey, I see that learning isn’t just about accumulating knowledge; it’s about applying it, sharing it, and evolving because of it. I get very excited when something we’ve learned ends up on a new product. Whether lessons come early or late, whether they arrive in waves or trickles, there is always good work to be done. And that is something I just adore.
The country artist and session weapon packed a range of acoustics for some recent studio time.
Charlie Worsham was just wrapping up some tracking down at Sony Studios in Nashville when PG’s John Bohlinger caught up with him for a look at what tools he packs for a recording gig. Worsham had with him some of his most treasured acoustics, electrics, mandolins, banjos, and more, plus a collection of primo picks for all applications. Check out the highlights below.
Brought to you by D’Addario.
Guitar So Nice, He Bought It Twice
This 1963 Martin D-28, gifted to him from his parents, was Worsham’s first serious vintage guitar. Around 12 years ago, he took it into a shop for a refret, and after a freak in-store accident left it in pieces, Worsham accepted a check for the guitar’s value, and walked away.
A while later, he noticed it hanging on the wall of the same store—reassembled and fit for service again. Worsham couldn’t help himself; he bought it back, making it “the guitar so nice, [he] acquired it twice.”
He runs it with D’Addario XS strings and likes bluegrass gauges: mediums for the E, A, and D strings, and lights for the G, B, and high E strings. It’s kitted out with an LR Baggs HiFi pickup. And the scratches around the soundhole and pickguard? Those came courtesy of John Osborne’s heavy picking hand.
Check, Please
Worsham reckons he’s probably played this treasured Gibson J-50 on more records than any other guitar he owns. After he took the check from the busted Martin D-28, he used it to buy this one.
Family Jewel
This Parker mando used to belong to John Osborne, Worsham’s former bandmate. Worsham was always borrowing this mandolin, so when Osborne decided to sell it, Worsham picked it up to keep it in the family.
Burkett from ’Bama
This mini Burkett was built by luthier James Burkett in Alabama. Its nut is equivalent to a capo on the third fret of a regular acoustic.
Tune in to the full video to see Worsham’s Ohm open-back banjo, P-90-equipped Gibson mandolin, an Osborne-owned Strat, and a super-special wedding-gift ES-335 from Vince Gill.
Tweed Fit for a Prince(ton)
Worsham took Tom Bukovac’s wisdom and got himself a Fender Princeton Reverb, which he still loves, and he runs it alongside a Nashville Amp Works clone of a golden-era tweed Fender Deluxe.
Charlie Worsham’s Pedalboard
At his feet, Worsham runs a pedalboard with a Sonic Research ST-300 tuner, Browne Amplification Protein, Mythos Mjolnir, Guyatone ST2, Electro-Harmonix Canyon, Neunaber Immerse, Strymon El Capistan, and Chase Bliss Warped Vinyl HiFi.
PG contributor Tom Butwin demos seven direct boxes — active and passive — showing off sound samples, features, and real-world advice. Options from Radial, Telefunken, Hosa, Grace Design, and Palmer offer solutions for any input, setting, and budget.
Grace Design m303 Active Truly Isolated Direct Box
The Grace Design m303 is an active, fully isolated DI box, delivering gorgeous audio performance for the stage and studio. Our advanced power supply design provides unbeatable headroom and dynamic range, while the premium Lundahl transformer delivers amazing low-end clarity and high frequency detail. True elegance, built to last.
Rupert Neve Designs RNDI-M Active Transformer Direct Interface
Compact design, giant tone. The RNDI-M brings the stunning tone & clarity of its award-winning counterparts to an even more compact and pedalboard-friendly format, with the exact same custom Rupert Neve Designs transformers and discrete FET input stage as the best-selling RNDI, RNDI-S and RNDI-8.
Telefunken TDA-1 1-channel Active Instrument Direct Box
The TDA-1 phantom powered direct box uses high-quality components and classic circuitry for rich, natural sound. With discrete Class-A FET, a European-made transformer, and a rugged metal enclosure, it delivers low distortion and a broad frequency response. Assembled and tested in Connecticut, USA, for reliable performance and superior sound.
Hosa SideKick Active Direct Box
The Hosa SideKick DIB-445 Active DI delivers clear, strong signals for live and studio use. Ideal for guitars, basses, and keyboards, it minimizes interference over long runs. Features include a pad switch, ground lift, and polarity flip. With a flat frequency response and low noise, it ensures pristine audio.
Radial JDI Jensen-equipped 1-channel Passive Instrument Direct Box
The Radial JDI preserves your instrument’s natural tone with absolute clarity and zero distortion. Its Jensen transformer delivers warm, vintage sound, while its passive design eliminates hum and buzz. With a ruler-flat response (10Hz–40kHz) and no phase shift, the JDI ensures pristine sound in any setup.
Radial J48 1-channel Active 48v Direct Box
The Radial J48 delivers exceptional clarity and dynamic range, making it the go-to active DI for professionals. Its 48V phantom-powered design ensures clean, powerful signal handling without distortion. With high headroom, low noise, and innovative power optimization, the J48 captures your instrument’s true tone—perfect for studio and stage.
Palmer River Series - Ilm
The Palmer ilm, an upgraded version of the legendary Palmer The Junction, delivers studio-quality, consistent guitar tones anywhere. This passive DI box features three analog speaker simulations, ensuring authentic sound reproduction. Its advanced filter switching mimics real guitar speaker behavior, making it perfect for stage, home, or studio recording sessions.