Seven three-note cells, three families, one distinctive spine. The identity of this scale lives in b6 and 7 — the augmented-second pair. Everything else is context; those two notes are the sound. Select a cell to isolate it across the neck, then chain cells into runs.
Each card shows the cell's interval geometry to scale — the wide gap is the augmented second. Click to isolate the cell on the fretboard; click again to release. Three families: augmented (the signature), whole-tone (the breather), mixed (the connective tissue).
Zero theory. Six loopable licks, mostly hammer-ons and pull-offs, all inside one shape (frets 5–10 in A) — your hand never has to think. TAB shows two cycles of each loop so you can see the wrap-around join; keep cycling until it's stupid fast, then hit the gold note to land. Start at 60bpm, +5bpm when a cycle is clean four times in a row.
Cells chain on shared notes — the last note of one is the first note of the next. Build runs by deciding where the augmented cells land rhythmically, not just melodically: put the wide interval on the beat and it announces itself; bury it off the beat and it becomes a Henderson-style sting.
Full runs, spelled note for note with TAB beneath. Colour = cell family (augmented · whole-tone · mixed), gold = landing note. The │ marks are beat lines for the suggested rhythm — watch where the rust notes fall relative to them; that placement is the whole art. All fingerings use one consistent two-octave shape (in A: frets 5–10, box 2 into 3) so every run reinforces the same neck geography. TAB transposes with the key selector.