Full Minor Scale Guitar Lesson

Chapter 1: (04:06) The Full Minor Scale The Natural Minor Scale (Aeolian Mode)

I. Overview

The natural minor scale is typically one of the first diatonic minor scale that most guitarists learn. This is due to the fact that the major and natural minor scales share the exact same fretboard patterns. Although these scales share the same patterns, they, sound completely different. Music in a minor key is often described as sad or solemn. Compare the sound of an A minor chord to the sound of an A major chord. How would you describe the difference between these two chords?

II. Definition of a Minor Scale

A minor scale in music theory is a diatonic scale whose third scale degree is an interval of a minor third above the tonic and whose fifth is a perfect fifth interval above the root. The fifth interval is included in this definition to exclude modes that imply a diminished tonality such as the Locrian and Locrian Natural Second modes. This definition includes many modes such as the Dorian and Phrygian modes. However, when a musician refers to the 'minor scales' in speech or writing, he or she is typically referring to the natural minor, harmonic minor, and melodic minor scales.

III. Music Theory

The Natural Minor scale is one of three different minor scales. It is the only minor scale that is derived directly from the Major scale. It is called the Natural Minor scale because it contains no accidentals other than what is in the given key signature, giving it a "natural' sound. The other two minor scales, the Harmonic and Melodic minor, contain accidentals in addition to their key signatures.

A. A Scale of Two Names

The natural minor scale is frequently referred to as the Aeolian mode. Both of these names refer to the exact same scale. The name "Aeolian" is used when referring to this mode as one of the seven diatonic modes of the major scale. The names "ancient minor" and "pure minor" scale also refer to the same scale. However, most musicians in the Western world seldom use these terms.

B. Diatonic Scales

A diatonic scale or mode is defined as any stepwise arrangement of seven pitches known as scale degrees. These scale degrees must complete one octave without altering the established order of whole and half steps that defines the key or mode. An eighth note, which is a duplicate of the first, completes the full octave. The two most common diatonic scales are the major and minor scales. Scales such as the pentatonic, whole-tone scales, and blues scales are not diatonic because they do not contain seven distinct scale degrees.


C. Pattern of Whole Steps and Half Steps

The feature that distinguishes the natural minor scale from all other diatonic scales is its distinct pattern of whole and half steps. It should be noted that whole and half steps are also respectively referred to as tones and semitones. A half step is the distance between any two notes in the chromatic scale or any two frets next to one another on the guitar. A whole step is equal to two half steps or two frets on the guitar. The distance between each adjacent pair of notes is measured in these intervals. When this measurement system is applied to the natural minor scale, the following pattern results: is whole, half, whole, whole, half, whole, whole. In this scale, the half steps occur between the second and third notes as well as between the fifth and sixth notes.

D. Scale Degrees and Function

Each scale degree within a scale or mode typically carries out a specific melodic function. The name of each diatonic scale degree is listed below along with its function(s):

1– Tonic (stable scale degree)
2 – Supertonic (resolves to 1 or 3)
3– Mediant (relatively stable)
4– Subdominant (resolves up to 5 or down to 3)
5– Dominant (relatively stable)
6– Submediant (functions as upper neighbor to 5 or passing from 5-6-7-1.
7– Subtonic (typically resolves to 1. It can also function in a descending sequence from 1 to 5. Keep in mind that this descending line must also pass through the sixth scale degree.)

The seven scale degrees may also labeled with roman numerals I-VII.

E. Relative Minor and Major Keys

Every minor key shares a key signature with a "relative" major key. These keys share the same key signature. Even though they share the same key signature and the same notes, a minor key sounds completely different from its major key. This is due to the way in which each note functions within the scale. Relative keys have different tonal centers. For example, the natural minor tonality is structured around a minor tonic triad where as the major scale is structured around a tonic major triad. Music composed in major and minor tonalities consists of harmonic and melodic lines based on each tonality’s individual tonal center.

The relative major to each minor key can be found a minor third (three frets) above the tonic of the minor scale. For example, the key signature of D major has two sharps. The note that is a minor third below D is the note B. Consequently, these keys are relative keys that share the same key signature.

Although these scales contain the same notes, they should sound completely different when played correctly. When playing any scale, one must hear the notes as a succession of resolutions. Any scale in Western music is structured around a basic triad. These notes that comprise the basic triad are the points of resolution within the scale. Take a look at the A natural minor scale to see how this works.

The A natural minor scale is spelled as follows: A, B, C, D, E, F, G, A. The tonal center of any diatonic scale is the tonic triad. In this case, the tonic triad is an A minor chord. This chord is comprised of the notes A, C, and E.

The first note of the scale is A, which is the root note of the tonic A minor chord. The next note is B, a non-chord tone. As a result the B should be played as a passing tone between the chord tones A and C. Consequently the D should be played as a passing tone between C and E. And finally, since they are not chord tones, F and G should be played as passing tones resolving to the tonic, or A.

F. Spelling Natural Minor Scales

To form a natural minor scale, simply start on the sixth scale degree of the relative major scale. The derived Natural Minor scale will contain the same notes as the parent major scale. For example, the relative minor scale of C major is A minor. Both of these scales contain the same notes: C,D,E,F,G,A,B,C and A,B,C,D,E,F,G,A respectively.

Or, a natural minor scale can be spelled by simply beginning on the appropriate root note. Then, follow the pattern of whole and half steps listed above.

IV. Review of Lesson 13

In this past lesson, Dave introduced a one octave pattern of the natural minor scale. At this point, you must have this pattern memorized. You must also be able to play this scale in all 12 keys. Review these scale patterns at this time if necessary. Remember that the E natural minor scale utilizes an alternate fingering when it is played in "open" or first position. Dave expands upon these concepts in the current lesson. Remember that the E natural minor scale utilizes an alternate fingering when it is played in "open" or first position.

V. Two Octave Scales

In the current lesson, Dave demonstrates how the third, second, and first strings are tied into the natural minor scale pattern. The inclusion of these strings produces a scale pattern that spans two full octaves.

A. Movable / Transposable Scale Patterns

The new two octave minor scale pattern can be transposed to any of the 12 minor keys. The root notes within the scale are used as guides when transposing the pattern to a new key center. Each pattern features a root note on the sixth fifth and fourth strings.

B. E Natural Minor Scale

Similar to the one octave pattern that you learned for E minor in lesson 13, the two octave version of this scale uses an alternate fingering when played in "open" position. Within this fretboard position, the first finger frets all notes at the 1st fret. All 2nd fret notes are played by the middle finger. The ring finger plays at the 3rd fret. Finally, the pinkie finger plays all 4th fret notes. This fingering will allow you to play the "open" E minor scale with maximum speed and accuracy.

Dave begins with the new, upper octave of the pattern. The second octave of the scale begins with the root note E at the 2nd fret of the fourth string. Once you have memorized the upper octave of the scale pattern, combine it with the lower octave of the pattern from Lesson 13.

C. Tips for Practicing Scales

-Always play the ascending and descending form of every scale or scale exercise.

-When first learning the scale, play with all downstrokes.

-As you become more comfortable with the scale, apply alternate picking. First, begin the alternating pattern with a downstroke. Then, repeat the alternating pattern beginning with an upstroke.

-Practice scales with a metronome to monitor your rhythm and speed progress. Chapter 2: (01:46) The F Minor Scale When transposing the E natural minor scale to the key of F minor, use the root notes in the scale pattern as reference points. First, play an F minor barre chord in first position. Locate the F root notes within this chord. These same root notes are located within the first position F natural minor scale pattern. Dave provides some help with this process at 00:44 in the lesson video.

Upper Octave

Watch closely as Dave demonstrates the upper octave of the F minor scale in the lesson video. The second note, G, can either be played at the fifth fret of the fourth string, or as an open third string note. Within the key of F minor, Dave chooses to play this note on the third string. In the key of E minor, he plays the second note of the pattern on the fourth string. This adjustment results in a much more practical fingering of the scale.

Once you have memorized the upper octave of the pattern, combine it with the lower octave from Lesson 13. Practice the scale using the guidelines listed under the previous scene. Chapter 3: (00:30) Moving the Scale The E minor and F minor scales are slightly more difficult to remember due to the fingering adjustments mentioned in the previous scene. In the following scene, Dave explains how a single scale pattern and fingering can be used for the remaining minor keys. Chapter 4: (02:37) G Minor Scale In this scene, Dave demonstrates the upper octave of the G natural minor scale. This scale begins with the root note fingered by the pinkie finger on the fourth string. Then, the second note is played on the third string. This feature of the scale is similar to the pattern that you learned for F minor in the previous scene. However, the second note is now a fretted note instead of an open string.

A position shift occurs in the pattern once the second string is reached. The first finger slides up to third position to fret the note D at the 3rd fret. The rest of the pattern remains in this fretboard position.
Chapter 5: (03:16) Moving the Pattern Once you have memorized the upper octave of the G minor scale, combine it with the lower octave that you have already learned. Dave provides a demonstration of this full two octave pattern at the beginning of this scene. Pay careful attention to the fingering that he uses when playing the two octave version. The note G that begins the second octave of the pattern is now fretted with the third finger instead of the pinkie finger.

This two octave pattern can be transposed to the remaining fretboard positions. For example, if this pattern is moved up one fret, a G# minor scale is formed. By sliding the pattern up another fret, an A minor scale is formed. Watch as Dave demonstrates this scale at 00:58.

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