A Different View Guitar Lesson
A Different View
In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.
Taught by Brad Henecke in Rock Guitar with Brad Henecke seriesLength: 7:00Difficulty: 3.0 of 5
In this lesson, Brad compares several of the minor scales that he has presented previously in this lesson series. Similar to the previous lesson, each scale is presented in fifth position. This means that the first finger typically frets all of the notes played at the fifth fret. In addition, all scales discussed in this lesson are demonstrated in the key of A minor. This key is the easiest choice for comparing various minor scales because it contains no sharps or flats in the key signature.
Review of Relative Minor Keys
For every major key, there is a corresponding relative minor key that shares the same key signature. The relative natural minor scale is built from the sixth scale degree of the major scale. Here is the spelling of the C major scale: C, D, E, F, G, A, B, C. As you can see, A is the sixth scale degree. Therefore, the relative minor key of C major is A minor.
The Natural Minor Scale
The natural minor scale is built from the sixth scale degree of the major scale. This scale is also known as the Aeolian mode. This scale is spelled as follows: A, B, C, D, E, F, G, A. To make effective comparisons between this scale and other minor scales, the notes within the scale must be labeled as scale degrees. From this point, it is much easier to determine how each note or scale degree functions.
A: First Scale Degree
B: Second
C: Third
D: Fourth
E: Fifth
F: Sixth
G: Seventh
The Minor Pentatonic Scale
The minor pentatonic scale is a five tone scale derived from the natural minor scale. Essentially, the minor pentatonic scale eliminates the notes from the natural minor scale that create tension. These notes are B and F. As a result, the A minor pentatonic scale is spelled as follows: A, C, D, E, G, A. Now, analyze these notes in terms of scale degrees relating back to the natural minor scale.
A: First Scale Degree
C: Third
D: Fourth
E: Fifth
G: Seventh
As you can see, the minor pentatonic scale is comprised of the first, third, fourth, fifth, and seventh scale degrees of the natural minor scale.
The pentatonic and natural minor scales are excellent choices when improvising over a minor seventh chord. Compare the spelling of AMI7 to the spelling of both scales.
A minor pentatonic: A, C, D, E, G, A
A natural minor: A, B, C, D, E, F, G, A
AMI7: A, C, E, G
As you can see, all four notes within the AMI7 chord are contained within both scales.
A Dorian Mode
The A Dorian mode is spelled as follows: A, B, C, D, E, F#, G, A. In comparison to the natural minor scale, the Dorian Mode features a raised sixth scale degree. The F of the natural minor scale is raised a half step to make F#. This gives the Dorian mode the following scale degrees:
A: First Scale Degree
B: Second
C: Third
D: Fourth
E: Fifth
F#: Raised Sixth
G: Seventh
The raised sixth scale degree of this mode gives it a fresh new tonal flavor. The Dorian mode is also an ideal choice when playing over minor triads and minor seventh chords. All of the notes that comprise these chords are found within the Dorian mode.
The Phrygian Mode
The A Phrygian mode is spelled as follows: A, Bb, C, D, E, F, G, A. Now, analyze these notes in terms of how they relate back to the natural minor scale.
A: First Scale Degree
Bb: Flatted Second
C: Third
D: Fourth
E: Fifth
F: Sixth
G: Seventh
The second scale degree is the primary difference between the natural minor and Phrygian mode. The Phrygian mode features a flatted second scale degree. The flatted second gives this mode an overall much darker sound. The Phrygian mode is typically used when improvising over the iii chord in a major key. For example, the A Phrygian mode could be used over an Am chord in a chord progression in the key of F major.
Supplemental Learning Material
Rock Guitar with Brad Henecke
Found in our Beginner Lesson SetsIn this Phase 2 series Brad Henecke will school you in the art of rock guitar. You will not only learn how to play some of your favorite songs in this series, but you will also learn how to create your own.
Lesson 1
Basic Rock Guitar
This lesson covers the absolute basics of rock guitar. Learn about the electric guitar, pickups, amplifiers, changing strings, and more.
Length: 52:09 Difficulty: 0.5 Members Only
Learning Chords
The first step of your rock guitar experience is learning some of the more popular chords and that is what this lesson is all about.
Length: 42:30 Difficulty: 1.0 Members Only
Barre Chords and More
Brad Henecke introduces common strumming patterns and barre chords.
Length: 42:23 Difficulty: 2.5 Members Only
Your First Song
In this lesson Brad covers some of the more advanced barre chord shapes. He applies these shapes to the song "Hotel California."
Length: 41:31 Difficulty: 2.0 Members Only
Blues and Scales
Rock has its roots in the blues. Brad helps you explore the wonderful world of blues in this lesson. He also covers some chord theory.
Length: 48:14 Difficulty: 2.0 Members Only
Tricks and Lead
This lesson is all about specific techniques used by lead guitarists.
Length: 52:02 Difficulty: 2.5 Members Only
Jammin With Scales
This lesson details how to improvise with the blues scale.
Length: 27:27 Difficulty: 2.5 Members Only
3 Songs
In this fun lesson, Brad Henecke teaches you riffs from 3 classic rock songs.
Length: 28:28 Difficulty: 2.5 Members Only
Power Chords
Power chords help give rock music that "punch you in the face" feel. Learn basic power chords in this lesson.
Length: 13:22 Difficulty: 2.5 Members Only
2 New Songs
Are you ready to learn "Ain't Talking About Love" by Van Halen and "You Shook Me All Night Long" by AC/DC? That's what this lesson is all about.
Length: 27:32 Difficulty: 2.5 Members Only
Pentatonic Scale
In this lesson Brad teaches the first pattern of the minor pentatonic scale and explains how it relates to the blues scale.
Length: 14:30 Difficulty: 2.5 Members Only
Second Position
Brad covers the second pattern for both the minor blues and minor pentatonic scales.
Length: 9:07 Difficulty: 2.5 Members Only
Message in a Bottle
Learn the classic rock song "Message in a Bottle."
Length: 10:22 Difficulty: 3.0 Members Only
Third Position
This great lesson covers the 3rd fretboard pattern of the minor pentatonic and minor blues scales.
Length: 7:19 Difficulty: 2.5 Members Only
Colorful Chord Tension
Brad demonstrates how open strings can be added to chord shapes you are already familiar with.
Length: 9:09 Difficulty: 2.5 Members Only
The 4th Position
Brad covers the 4th pattern of the minor pentatonic and minor blues scales.
Length: 8:28 Difficulty: 2.5 Members Only
Daytripper
In this lesson Brad demonstrates how to play the Beatles song "Daytripper."
Length: 15:21 Difficulty: 3.0 Members Only
The 5th Position
Brad demonstrates the 5th pattern of the minor pentatonic and minor blues scales. He also discusses practicing and memorizing them.
Length: 13:05 Difficulty: 2.5 Members Only
"Brown Eyed Girl"
Learn the classic rock song "Brown Eyed Girl" in this episode of Rock Guitar.
Length: 11:23 Difficulty: 3.0 Members Only
Phrasing
Brad introduces you to the importance of phrasing. Quality phrasing is essential when performing any melodic line.
Length: 14:19 Difficulty: 3.0 Members Only
Basics of Tapping
Tapping is an idiomatic guitar technique that offers a unique sound.
Length: 14:34 Difficulty: 3.0 Members Only
Intro to Modes
Learning the modes is essential to the development of your scale vocabulary.
Length: 31:04 Difficulty: 3.0 Members Only
Understanding Chord Shapes
Brad further explains what chord shapes are and how they relate to barre chords.
Length: 10:15 Difficulty: 2.0 Members Only
Natural Harmonics
Learn the right and left hand mechanics involved in playing harmonics.
Length: 13:16 Difficulty: 3.0 Members Only
Advanced Harmonics
Brad covers more advanced harmonic techniques such as harp harmonics, pinch harmonics and tap harmonics.
Length: 16:10 Difficulty: 3.0 Members Only
The Dorian Mode
Brad moves on in his modal lesson series to explain the Dorian mode. Includes 2 backing tracks.
Length: 22:00 Difficulty: 3.0 Members Only
Phrygian Mode
Brad explains and demonstrates the Phrygian mode.
Length: 13:33 Difficulty: 3.0 Members Only
The Lydian mode
Brad continues his discussion of the modes. You will learn the Lydian mode in this lesson.
Length: 9:27 Difficulty: 3.0 Members Only
Mixolydian Mode
Brad explains the Mixolydian mode and its practical applications.
Length: 10:00 Difficulty: 3.0 Members Only
The Aeolian Mode
Continuing with his modal lessons, Brad Henecke teaches the Aeolian mode.
Length: 9:09 Difficulty: 3.0 Members Only
The Locrian Mode
The final lesson in our modal series covers the Locrian mode.
Length: 9:00 Difficulty: 3.0 Members Only
The Ace Zone
Brad teaches some licks inspired by Ace Frehley of KISS. Incorporate these licks into your own solos.
Length: 7:18 Difficulty: 3.0 Members Only
Learn Licks
In this lesson Brad Henecke teaches you some fun licks that can be used in your own guitar solos.
Length: 10:00 Difficulty: 3.0 Members Only
Blues Licks
Brad Henecke demonstrates some cool blues licks.
Length: 17:00 Difficulty: 3.0 Members Only
Modes and Scales
Brad Henecke provides an alternate way of comparing modes and scales.
Length: 8:00 Difficulty: 3.0 Members Only
A Different View
In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.
Length: 7:00 Difficulty: 3.0 Members Only
One String Scales
This lesson is all about 1 string scales. Learning scales on 1 string is essential to your knowledge of the fretboard.
Length: 8:34 Difficulty: 3.0 Members Only
One String Ionian Mode
Brad demonstrates a one string version of the Ionian mode. This lesson demonstrates the importance of horizontal scales.
Length: 7:27 Difficulty: 3.0 Members Only
Aeolian Mode on One String
Brad continues his discussion of single string scales. He explains how to play the Aeolian mode across a single string.
Length: 4:11 Difficulty: 3.0 Members Only
Octave Scales
Brad explains how to locate octaves within scale patterns. He demonstrates a cool lick that involves playing simultaneous octaves.
Length: 7:07 Difficulty: 3.0 Members Only
Using Octaves
Brad explains how to use octaves in the context of an exercise. Octaves can also be used to build effective licks.
Length: 5:18 Difficulty: 3.0 Members Only
Harmonic Minor Scale
Brad introduces the harmonic minor scale. He explains how it can be applied to the solo break in "Sweet Child O' Mine."
Length: 7:00 Difficulty: 3.0 Members Only
Learning by Ear
Brad Henecke provides valuable tips regarding the process of learning songs by ear.
Length: 23:00 Difficulty: 3.5 Members Only
Ear Training Game
Improve your ear training by playing "The Tone Is Right" with Brad Henecke.
Length: 29:00 Difficulty: 3.0 Members Only
Diminished Arpeggio
Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.
Length: 19:00 Difficulty: 3.0 Members Only
Understanding Time Signatures
Brad Henecke addresses time signatures.
Length: 10:00 Difficulty: 2.5 Members Only
Diminished Chords
Brad Henecke explains the construction of diminished seventh chords. He also provides a diminished chord exercise.
Length: 10:30 Difficulty: 2.5 Members Only
Open G Tuning
Brad Henecke introduces open G tuning in this lesson.
Length: 23:50 Difficulty: 2.5 Members Only
Drop D Tuning
Brad Henecke introduces drop D tuning in this lesson. He explains many advantages of this tuning.
Length: 12:57 Difficulty: 2.0 Members Only
G Major Pentatonic
Brad Henecke teaches the G major pentatonic scale. He demonstrates all 5 patterns and explains how they can be transposed to any key.
Length: 22:50 Difficulty: 2.0 Members Only
Changing Scales with Chords
In this lesson Brad Henecke talks about changing the pentatonic/blues scales with each chord in a chord progression.
Length: 11:08 Difficulty: 3.0 Members Only
Mixolydian Scale and Chords
Brad will show how to use the Mixolydian scale with a blues chord progression.
Length: 6:56 Difficulty: 3.0 Members Only
Gear and Effects
This lesson is all about gear and effects. Brad begins his discussion with power conditioning and removing hiss from your amplifier. He progresses to discuss a plethora of effects pedals. Brad explores...
Length: 52:48 Difficulty: 2.5 Members Only
The Wah Pedal
In this lesson, Brad Henecke introduces the wah pedal and demonstrates its many applications.
Length: 15:53 Difficulty: 1.5 Members Only
About Brad Henecke
View Full Biography
Brad Henecke was born in Cedar Rapids, Iowa on May 5th of 1963. He has been a fan of music for as long as he & his family can remember. You could always find him running around the farm wailing on his cardboard guitar, pretending to be a member of the rock band KISS. Additional inspiration came during his first concert when he got the chance to see Boston & Sammy Hagar in the early 1970's.
This opened up a whole new world of rock and roll music for him; his parents noticed his growing interest in music and enrolled him into guitar lessons when he was 13.
From there he jumped into two years of lessons at a local music store in Cedar Rapids. After discovering Eddie Van Halen, Brad knew that the
guitar would always be a part of his life. He took his love throughout the city as he played as a pit musician & jammed at parties for friends.
This made him thirsty for more. He enrolled classes at Kirkwood Community College & also took lessons from the one & only Craig-Erickson (www.craig-erickson.com).
His love for music landed him a gig opening for Molly Hatchet in Cedar Rapids with a band called "Slap & Tickle". He has also played in the Greeley
Stampede show for quite a few years with "True North".
Brad is currently playing in Greeley, Colorado with a rock band titled "Ragged Doll". They play a wide variety of music with an emphasis on
classic rock from the 60's to present, with Brad playing electric guitar in the five piece lineup.
He currently jams on his all-time favorite guitar: a Paul Reed Smith Custom 24. Beyond guitar, he plays also plays drums & bass guitar. He has
also been known to thrash a banjo from time to time. He is still actively playing & passing his 31 years of playing experience on to others (you!).
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Member Comments about this Lesson
Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.so A minor dorian is the same as C lydian?
can different modes be built from harmonic and melodic minors
Modes can be built for any scale. (Even the Pentatonic scale has modes.) Just use the same principle and play the scale from successfully higher degrees.
mine too. I have a way easier time understanding the modes from the major scales.and minor scales Even though I know the chromatic scale. I learned that a long time ago. This lesson just confussed the you know what out of me. I am gonna wipe it from my brain lol and just concentrate learning modes from the major and minor scales.Not from the chromatic scale Sorry Brad I found a lesson on modes somewere else thanx for trying.
OH thanks a lot! ...the one brain cell i had just packed up :p :)
All the sharps and flats come from the chromatic scale because all the scales are in the same key. This lesson is a little different from the first way I showed you the modes. The first way I showed the modes was to show you how each mode is built from the notes of the major scale. This time all the modes are in the same key. Therefore the sharps and flats that you see in the mode come from the chromatic scale. Major modes are in the key of ( C ) and the minor modes are in the key of (A).When you compare the modes look at the whole step and half step patterns that make up the scale modes and how they differ from one to the other, for example in the C major scale the step pattern is two (2) whole steps one (1) half step, and three (3) whole steps one (1) half step. There are no sharps or flats in the C major scale when you build it from the Chromatic scale. In the C Lydian mode the step pattern goes three (3) whole steps one (1) half step two (2) whole steps and one (1) half step. Take the Chromatic scale and build the C Lydian mode using the same steps pattern that I just showed you that the Lydian mode has and you will see where the sharp comes from. It’s all in the chromatic scale and the step pattern of the scale you are building. If you are not sure of the notes in the chromatic scale, Steve Eulberg has a lesson on the Chromatic scale .The scale we make all music from. Don’t worry its easy to get confused I still do some at times.
Brad I have a question when you are showing a different way of looking at modes ,were do you get the sharps and flats on the c major scale. A minor is 6th mode of c major and the dorian should be starting with the D still no sharps or flats and the Phygerian mode is E still no sharps or flats right, all the modes share the same notes as the scale your getting the modes from. So if C major is natural no sharps or flats were are you getting them from. Are you comparing c major dorian which is starting on D with D major and phygeran however that is spelled with E major. It doesnt seem that your comparing them too C major were the modes for the lesson come from. Pleas help .I am a little confussed. becuz if your comparing them to the other modes of the same scale. wouldnt it be c major cdefgabc Dorian defgabcd and phygeran efgabcde. Thanx forgive the spelling please.....