F# Hungarian Minor Guitar Scale
Guitar scale in Baritone (B Standard) tuning — fretboard diagram
F# Hungarian Minor in Baritone (B Standard) — Notes and Intervals
The F# Hungarian Minor scale, also known as the Gypsy Minor, is famous for its two wide melodic gaps. On Guitar, its notes are F#, G#, A, C, C#, D, F. It sounds powerful, mysterious, and perfectly balanced, frequently appearing in classical masterworks and modern melodic metal. Commonly used in Classical, Metal, Klezmer, Film Scores, Gypsy Jazz. Notable players include Franz Liszt, Yngwie Malmsteen, Marty Friedman, Django Reinhardt. Use over m chords in gypsy jazz and neoclassical metal. Works beautifully over i-V progressions in minor keys.
Notes: F#, G#, A, C, C#, D, F
Intervals: 1P, 2M, 3m, 4A, 5P, 6m, 7M
Degrees: 1 2 b3 #4 5 b6 7
Formula: W-H-WH-H-H-WH-H
Number of notes: 7
Tuning: Baritone (B Standard) (B-E-A-D-F#-B)
About Baritone (B Standard) Tuning
The baritone guitar is tuned a perfect fourth lower than standard guitar (B-E-A-D-F#-B), producing a distinctly beefy tone with serious low-end depth that sits perfectly between guitar and bass. Its rich, dark voice has made it a secret weapon in film scoring, ambient music, and moody songwriting where you need that unmistakable low-end warmth without losing clarity.
Unlike simply tuning a standard guitar down (which causes floppy strings and muddy tone), the baritone guitar uses a longer scale length (typically 27"-30") designed specifically for lower tunings. This gives each note clarity and definition even in the lowest register. Session musicians, film composers, and bedroom producers alike reach for the baritone when they need dark, atmospheric textures, doom-laden riffs, or simply a different sonic palette that standard guitar can't deliver.
Notable artists: Pat Metheny, Nels Cline, Brian Setzer, Baritone session players in Nashville
Best for: Moody songwriting, film scoring, ambient textures, doom metal, and any production that needs low-end depth with clarity
Musical Character
Contains TWO augmented 2nd intervals (b3-#4 and b6-7), giving it an unmistakable double-exotic quality. These 'leaps' are what make it sound simultaneously Eastern European and Middle Eastern.