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Learn to play blues guitar.

Learn this BB King zone on the fretboard – B.B. King guitar lesson – EP435

Description

In this week’s guitar lesson, you’ll learn how to play lead guitar in the style of B.B King by learning how to blend the major and minor pentatonic scales in a few zones that he often used on the fretboard.

Part 1 - Free Guitar Lesson

Slow Walkthrough

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Comments

  12. Robert Burlin says

    This should be fun! Hey Brian, how about something really scary for the spooky holiday coming up. Seams like a real scary time we are in these days, so something that makes the hair stand on it’s ends would
    fit right in this year.
    You are right saying this is gold for learning the blues.
    If I only could of learned of these zones and shapes when I was a young

  16. Glenn W says

    You are absolutely right. There are loads of “BB Box” lessons out there but they never explain it sufficiently so I always got a bit confused. But this nails it for me.

    Good to have a bit of blues again.

  17. charjo says

    Theory nerd alert!! Two points I don’t see discussed often. When playing the B.B. box in the key of A , if you consider the G and B strings, you are actually mixing major and minor in the key of D box 1 just like you would do in the key of A box 1. That why it sounds so awesome over the 4 chord. Also, if you look at the intervals in the B.B, box, ie. major 6, root, major 2nd, 4th and 5th, you can recreate a B.B. box in the box 1 major pentatonic on strings 4, 3 and 2. That actually gives you access to a root note on the high E string in addition to the BB notes.
    John

  21. alasdair L says

    BB all-time favourite guitarist, Brian all-time favourite teacher. All good. Just one question, which are bendable notes? My other teacher, Harry, says I bend notes that shouldn’t be bent. Can you help me out? A micro lesson maybe?

    • mike w says

      I was taught to go with the style that best suits you, Playing noted differently is what makes you an individual and unique player, Only my opinion but I see that as useful , Just reading your comment and it seems to me you should play music the way it feels best to you, I hope you don’t mind me replying.

    • mike w says

      I was taught to go with the style that best suits you, Playing notes differently is what makes you an individual and unique player, Only my opinion but I see that as being useful , Just reading your comment and it seems to me you should play music the way it feels best to you, I hope you don’t mind me replying.

  23. Steven F says

    First, this is really a fun lesson. Second, it helped me to visualize mixing pattern 4 of the major pentatonic and pattern 3 of the minor pentatonic. I seem to mostly mix pattern 1 of the minor and pattern 2 of the major. Very helpful.

    • Scott N says

      This is what I’m having trouble understanding. Brian referred to this shape in the video as “pattern 4 of the major pentatonic”, but it really is a variation-all the notes don’t line up. Am I right that another way to look at it would be as the BB box, which mostly includes pattern 4, but also can be looked at as incorporating pattern 3 of the minor pentatonic scale?

  26. wrightclick says

    Hey Brian the Rythm is quite easy to work out and play along , when you play the Bm just before E9 is that the 5 chord of the 5 chord before the 5 chord senario you keep telling us about , and i notice you also chucked in the D sharp diminised 7 before going back to root chord is this to create tension . There is a whole lesson here and as it is quite simple some of the not so advanced players would get plenty of enjoyment and theory out of this and would great to see how you played it choice of chords etc . Love the lead lesson . Thanks Chris

  29. Glenn says

    Excellent lesson. On a recent lesson you encouraged us to suggest interesting guitarists you might not know about. I can’t do that, but I have not come across anything on Frank Zappa in your catalog yet. I’ll also mention Robbie Robertson. And Danny Gatton, tho he is in a different category I guess. Glenn Campbell?

  30. RYAN S says

    Cool lesson. All the major and minor scale mixing seems like it flows much easier over the 6 and 9 chords. Maybe because the major or minor of the backing track is kind of ambiguous?

  31. David G says

    Brian, thanks *so much* for this lesson. There is a ton of great stuff to be gleaned from it. Exactly what I had in mind a few weeks back when I asked for a lesson on the “BB King box”–but I really like the term “zone” much better. The lesson inspired me to go back and explore that extended triangle created from the D major triad with the 13th fret being brought into play as well on the first and second strings, and it was so helpful to have your tips on which notes are “fully bendable” (or more!). This has sparked some really exploration for me. Thanks again!

  33. madams says

    Great lesson!

    Could you create a fret board diagram like you have for other lessons?

    I think it would be really helpful to see and visualize the major and minor notes.

    Thank you,
    Michael

  35. Terry L says

    Great lesson Brian !! Love BB King . I agree with some of the other comments that adding the boxes will make it easier for us visual lerners .
    If you can edit the video and put them , it will be great
    Thank you for all these great lessons

  43. Rich F says

    Brilliant BB King lesson, Brian! Just working my way through your video. I have just reached 17.22 minutes, and you asked for a comment about the major pentatonic triangle zone at frets 10 / 12 etc … yes: absolutely wonderful… gold-dust indeed! The different bends we can do in that zone to get either major or minor pentatonics. Fantastic!

    The whole lesson is wonderful! The slide from the A minor pentatonic pattern 2 shape up two frets to the A major pentatonic pattern 4 shape is brilliant! I am a visual learner, and you are helping me to see patterns now… Gold-dust! More lessons like this please… particularly BB King!

  44. John P says

    Hi Brian, about 25 years ago I took my 16 year old son to see BB King in concert in Glasgow, Scotland. BB was far better than my already high expectations and it was a great show.
    On the way home (a three hour drive) I asked my son what he thought about the show and while he confirmed it was one of the best things he had ever seen, he turned and asked my why BB seemed to copy a lot of Eric Clapton and Jimi Hendrix guitar playing.
    Once I got over the shock of his question I simply said, how old is BB King and how old are the other two?
    The rest of our journey was very quiet apart from my youngster saying he just didn’t realize, several, several times.
    It did wonders for my credibility of being a cool dad!

  46. Tariq O says

    I’ve been trying very hard to understand going between the major the minor shapes and this didn’t help any. Brian plays the shape 2 ( E shape) “BB King box” of the minor pentatonic. He then moves the whole shape up 2 frets and calls in the Major Pentatonic shape 4. This is not shape 4 but still shape 1 moved up two frets. When first played it’s the bottom part of shape E of A Minor pentatonic. The next one, two frets up is the bottom of the B minor Pentatonic shape 2.

    Can anyone explain this to me?

  47. Max d says

    Wow! Great stuff and easy-to-follow exposure of B.B. King’s style for a us, blues wannabee-aficionados. Also, I know you post your lessons on the Friday (for us in WA), but thanks for the Tuesday reminders, Thank you from Down Under, Max

  50. Rich F says

    Hi Tariq.

    Great question! I have posted a response to your query in the forum section “Blues Guitar Discussions”. The reason that I have posted it there is that I cannot add attachments here.

    There, I have drawn out a fret-board that I find useful for practice. In an early BB King lesson of Brian’s, I was very confused at one time about this sliding up two frets with the same shape from pattern 2 of the A minor pentatonic… it was only when Brian started teaching major pentatonic (which I knew nothing about until I joined Active melody: before that, I only knew of the minor pentatonic) that I understood it!

    If you look at my fretboard diagram in my “Blues Guitar Discussion” post, the solid dots are the A minor pentatonic, so you can see pattern 2 there at frets 8 and 10 on strings 1 and 2, and fret 9 on string 3.

    The circles are the A major pentatonic. If I am playing A major pentatonic, I put my pinky on the 5th fret string 6 as an anchor (instead of first finger) and then think about the pentatonic “going the other way”‘compared to minor pentatonic.

    So you will see in the circles, pattern 4 of the A major pentatonic is two frets up from pattern 2 of the A minor pentatonic, as in Brian’s lesson here. The triangle shape on strings 2 (frets 10 and 12) and string 3 (fret 11) are exactly in A major pentatonic pattern 4. However, what fascinates me, by sliding the exact “house” shape up (I think of it as a house with a pointed roof on string 3!), BB played fret 10, on string 1, which is not in the A major pentatonic shape for pattern 4. It is a minor scale note within pattern 2 of A minor pentatonic ! For pattern 4 of A major pentatonic, It should be fret 9 on string 1!

    Incidentally, I am currently also checking a great lesson that complements this one: EP380… where Brian focuses in the key of E) on this major pentatonic triangle for pattern 4 on strings 2 and 3, and adds a square extension (pattern 5). In this lesson’s key of A, this would be 12 and 14 on strings 1 and 2 (and 14 on string 2 is the same as 9 on string 1: so this triangle square method is totally correct for A major oentatonic!)

    Hope this helps!

    • Jere R says

      Thomas; in the first position Brian showed at the 8th and 10th frets you are emphasizing the flat 3rd, flat 7th, 4th and 5th. At the 10 and 12th frets you are using the 1, 2, 4,5 and 6th of the chord which sounds major (because of the 2 and 6) This pattern is similar to the 4th pattern of the minor pentatonic but starts on the 12th fret of the 5th string which is an A. Start with your pinky on that note and continue playing pattern 4 going toward the headstock. Now, put your index finger on the 6th string 12th fret and play pattern 4, this will be the minor pentatonic of A
      Hope this helps

  60. Paul M says

    I feel with this lesson, that I have seen a ray of golden sunshine streaming into my dark box-breaking out of my box through your interpretation of the classic BB box. I’m excited, thank you Brian.

  61. Matthew D says

    Hi Brian, I saw B. B. King at the Golden Bear in Huntington Beach CA. He blew me away. The thing I remember most is his vibrato. He had more talent in his little finger than I would ever have in my entire body if I live to 969 years old. You mentioned doing a lesson on his vibrato.. Please do. I eagerly await it.

  62. Brad S says

    Fabulous ! Like a curtain coming up and revealing solid gold. The boxes and their extensions present possibilities I’ve heard and couldn’t figure out. There are months of happy experimenting packed in this exceptional lesson. It really showcases the value of your original compositions. Thank you yet again. You create much faster than I can absorb. Don’t slow down, though. Thanks again.

  70. Frederick B says

    In the video you said you have it note for note for premium members. It isn’t there. Your constant digression and glossing over the actual lesson makes it impossible for me to follow. I’m a big fan of BBs and thought this lesson would be a big help but it isn’t. How about revisiting it with just the actual tune?

    • Brian says

      what do you mean by “actual tune”? and did you miss the On-Screen tab viewer? It’s the tab on the screen with me playing it – and you can slow down the tempo to however slow you need… you can also loop sections if you need something on repeat.

  72. James C says

    Love this lesson. My favorite so far. At my level of playing this really stretches me. To be able to play like this is why I started playing. The tablature and the video loop really helps.

    Thanks Brian

  74. Kevin C says

    Love the lesson. Just wanted to know why bending 10th fret (high E) A minor and 12th fret (B string) in A Major sound so good. Is it because on the 10th as you bend the D it travels thru the flat 3rd on its way to the 3rd? And in A major the B travels thru the flat 3rd to the C# third?

  75. Richard M says

    Hi Brian, with your help my ‘lightbulb’ has gone off and for the first time in my 71 years, I played a blues lead guitar solo with your jam track and it sounded like the blues. I am just beside myself with joy! I’ve been playing acoustic guitar practically all my life, mainly finger style, but how to play a blues lead has always eluded me, other than learning note for note. I didn’t do that tonight, I improvised with the techniques you showed in this video and in the Ultimate Pentatonic video and it sounded just great!

    You have helped my achieve something I never thought I would so I can’t thank you enough you fabulous man! Onwards!!!!!!!!!

  76. Mike S says

    Loved it, definitely a light bulb moment for me. The last time I watched a BB king box video (years ago), I was trying to memorize the notes and never really absorbed what was going on/why they worked. Makes a whole lot more sense now after watching this, thank you!

  78. Scott M says

    Absolute gold. Prior to yesterday I didn’t even know the minor and major pentatonic scales could be used together… after watching lesson 436 and then this one I am unlocking things that I have been searching for forever. Thank you so much!

  79. jadm says

    Brian Fantastic video, I wish you would consider doing more of your artist series as it is very valuable for those of us who are looking for our musical voice
    I like the mixture of blues , rock-a billy, swing and country.
    I would like to see a lesson dedicated to a 70’s twangy country ( flat picking or hybrid) I haven’t seen one of those for quite some time
    but once again FANTASTIC LESSON!

  83. Seamus Walter says

    Loads to learn here! It also mixes well with the Cream Clapton- Mayal lesson also in A Key. I am still a very unexperienced player and managed to pull out several licks with the box visualisation and your tips. Great lesson. Thanks

  85. R R says

    When you slide to the C note on the second string to band up a whole step to the D (the 4th) for the minor sound, my question is can’t you stay in the major position and Bend the B on the 12th fret second string up a half step to the C (b3) for that minor sound?

  86. Capt Dan says

    Brian,
    I have been making great gains for (non-pro) living here in Nashville. I am turning that corner melodically marking the chords as they pass using triads, scale notes and arpeggio’s phrasing. A lot of things are coming together the last few months (with the AM premium help along the way). This video is perfect for my M/m mixing and phrasing ideas of B.B. related to the 2 zones and connecter busline. Thank you for sharing in your style of educator.

  89. Steven F says

    I retured to your lessons about mixing maj and min pentatonics (EP 471 and others) to strenghten my lead playing. After spending the past week on this, I came back to this lesson and it really helped me visualize and operationalize the various patterns and how you can mix and use them. I think its because you use BB King style music, which is something I know very well, and through that the mix of the maj and min pentatonics fell into place. Really great lesson.

  90. Harold V says

    Hi Brian: Love this lesson. This was a light bulb moment for me. I really like the way you relate all of these licks to the CAGED System which was my first major light bulb experience. a couple of years ago. When I play to blues backing tracks however, I am still having problems coming up with leads that match the tempo of the backing track.

  91. cip255 says

    I circled back to EP435 as I love this straightforward stuff so much and it was a light bulb moment for me but I’m old so the light bulb burns out a lot. Haha. But all your videos that simplify and “cut to the chase” so well are most appreciated! Thanks Brian! Keep the focus on …

  92. Michael W says

    This is such a great lesson! Pulls together so much of your teaching.

    Much of BB’s sound (and Brian’s) comes from his amazing vibrato and bends. I’d love to see a lesson dedicated to both of those techniques.

    The Bends and Vibrato Lesson!

    Thanks Brian. I learn so much from your teaching.

  93. Michael W says

    Much of BB’s sound (and Brian’s) comes from his amazing vibrato and bends. I’d love to see a lesson dedicated to both of those techniques.

    The Bends and Vibrato Lesson!

    Thanks Brian. I learn so much from your teaching.

  94. Guy C says

    Thats me jamming to Live at The Regal this week, thank you, that was brilliantly explained, I know the BB box but never knew why it works, this makes so sense and now I can apply it without the guesswork!

    Love it 🙂

  96. Jerry M says

    After watching EP436, this is really cool!… And I love the fact you have Nipper in the background of a lot of your Weekly Lessons. The story behind him is amazing and heart warming. 🙂

  97. JULIAN C says

    Brian
    This is a great lesson to reflect on – I love the BB Box and now I am spending a lot more time in the section of the board – helps to create more material coming out of the box and going back in for more. Enjoyable 👍

  98. John M says

    Another great lesson but itneeds two things.
    1. World famous Brian cheat sheet for the BB zone (fret 8-13 in A?)
    2. I’m still confused by where the major patterns are relative to the minor patterns are in a given key. I think I know enough (a little knowledge can be dangerous thing) to work it out for myself but I’m sure Brian can explain it better.

    The second thing might be just me 🙂

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