Minor Scale Improvising Guitar Lesson

Chapter 1: (01:38) Lesson Intro Welcome back to the Lead Concepts and Techniques series! Dennis kicks off lesson 2 with a ripping solo in the key of E minor. In the scenes that follow, you will learn how a minor scale is formed as well as some commonly used fretboard patterns in the minor tonality. Similar to the previous lesson, Dennis works through a step-by-step process that will get you acquainted with improvising in a minor key. He has also included a written solo in the "Supplemental Content" section for you to practice. Chapter 2: (08:02) Minor Scale Basics In the previous lesson, Dennis explained how to play a one octave version of the major scale. You learned how to play this scale horizontally across a single string. A transposable, vertical pattern was also discussed. Before he progresses to minor scale theory and fretboard patterns, Dennis demonstrates a two octave pattern for the major scale that can be transposed to any key.

2 Octave C Major Scale

A. Features of the Pattern

This common fretboard pattern is played in ninth position. The first finger must perform several out of position stretches to fret notes played at the 8th fret. Three notes are played on each string throughout this entire pattern. This feature of the pattern makes it conducive to playing rapid triplet licks with hammer-ons and pull-offs.

B. Practicing the Scale

Always ascend and descend when practicing any scale. Dennis ascends from the lowest root note in the pattern up to a C note two octaves higher. Then, he descends the scale back down to the lowest root note.

After you have memorized this pattern, play through it along with a metronome. Begin by playing quarter notes at a slow tempo such as 60 beats per minute. Then, gradually increase the tempo. Once you reach 120 beats per minute, move the metronome back to 60 bpm and play through the scale in eighth notes. Repeat this same process with sixteenth notes. Use strict alternate picking regardless of what rhythm or tempo you are playing with.

Comparison to the Major Scale

The minor different scale can be analyzed from several different angles. Frequently, the minor scale is compared to the major scale in a "parallel" manner.

Parallel keys are major and minor keys that share the same letter name but have different key signatures. For example, C major and C minor are parallel keys. The tonal center of both keys is the note C. However, their key signatures are different by three accidentals. The key of C major has no sharps or flats in the key signature. On the other hand, the key of C minor has three flats in the key signature.

To convert the C major scale into a C minor scale, the third, sixth, and seventh notes must be flatted. The third, sixth, and seventh notes of the C major scale are E, A, and B respectively. Within the C minor scale, these notes become Eb, Ab, and Bb. Compare the spelling of the C major scale and the C minor scale below.

C Major Scale: C, D, E, F, G, A, B, C
C Minor Scale: C, D, Eb, F, G, Ab, Bb, C

2 Octave C Minor Scale

Once you have learned how to convert a major scale into a minor scale, apply this theory knowledge to the fretboard. As you play through the C major scale pattern discussed earlier, remember to flatten the third, sixth, and seventh notes within each octave.

Practicing the Minor Scale

When practicing through the minor pattern, use the left hand fingerings that Dennis demonstrates in the lesson video. Practice in quarter notes with a metronome. Use alternate picking. Begin by playing quarter notes at a slow tempo such as 60 beats per minute. Then, gradually increase the tempo. Once you reach 120 beats per minute, move the metronome back to 60 bpm and play through the scale in eighth notes. Repeat this same process with sixteenth notes. Use strict alternate picking regardless of what rhythm or tempo you are playing with. Consistent daily practice is the key to building speed.

Note: Fretboard diagrams of the C major and C minor scales can be found under the "Supplemental Content" tab.

Play through the C major scale and the C minor scale back to back. How would you describe the differences in sound between these two scales?

Relative Minor and Major Keys

Note: The following information pertaining to relative keys is taken from lesson 10 of Matt Brown's Phase 2 Reading and Rhythm series.

For every major key, there is a relative minor key. Relative major and minor keys are written with the same key signature.

Note: Open "Circle of Fifths" listed under the "Supplemental Content" tab.

Around the outside of the circle, each major key is listed. The key center ascends by a fifth interval each time as you move around the circle in a clockwise direction. Moving inwards towards the center of the circle, the key signature for each key is listed. On the inside of the circle, the relative minor key to each major key is shown. For example, A minor is the relative minor to C major. E minor is the relative major to G major.

If you do not have a circle of fifths diagram handy, you can use a simple shortcut to determine the relative minor of any major key. Simply write out all of the notes within the major scale. To not neglect to add any sharps or flats that may occur in the key. Then, count up to the sixth note of the scale. This note is the root of the relative minor key. Let's use the key of Bb major as an example. This scale features two flats in the key signature. Consequently, this scale is spelled as follows: Bb, C, D, Eb, F, G, A, Bb. The sixth note of the scale is G. G is the relative minor to Bb.

In many musical compositions, the key center modulates from the relative major to the relative minor or vice versa. This happens very frequently in the classical, jazz, rock, and country genres. Switching from major to the relative minor creates a drastic change in emotional quality.

Whole / Half Step Pattern for Minor Scales

In the previous lesson, Dennis explained how a scale is defined by its distinct pattern of whole and half steps. For example, every major scale regardless of key follows this pattern: whole, whole, half, whole, whole, whole, half. Within the minor scale, this pattern changes. The whole and half step pattern for any minor scale regardless of key is whole, half, whole, whole, half, whole, whole.

Horizontal Minor Scales

A horizontal scale pattern can be played on a single string. Begin on any starting pitch. Then, follow the pattern of whole and half steps for the minor scale. Dennis provides an example of this concept by playing through the C minor scale on the second string.

Horizontal Minor Scale Quiz

In the previous lesson, Dennis explained an effective way to test your knowledge of horizontal scales. First, pick a string number at random. Then, pick a fret number. If you are playing an electric, choose between 1 and 7 for the fret number. Pick between 1 and 4 if you are playing an acoustic. Electric guitars allow you to play in a higher range. Once you have chosen a string / fret location at random, play a horizontal minor scale beginning with this note. Simply follow the pattern of whole and half steps for the minor scale until you reach the root note one octave higher. When descending the scale, follow the reverse order of the pattern. Chapter 3: (07:11) E Minor - One Octave Improvisation One Octave Minor Pattern

Dennis demonstrates a vertical, one octave pattern for E minor scale. The pattern begins in 11th position. However, a position shift occurs on the second string. Shift into 12th position once you reach this string. Begin with the root note played at the 14th fret of the fourth string. Then, use the whole and half step pattern discussed in the last scene to determine the notes that comprise this scale. Practice the pattern along with Dennis to ensure that you aren't playing any incorrect notes.

Note: A fretboard diagram of this scale pattern can be found under the "Supplemental Content" tab.

Spelling Minor Chords

A minor triad is formed by taking the first, third, and fifth note from the minor scale. To find the notes that comprise an Em chord, first spell the E minor scale.

E Minor Scale: E, F#, G, A, B, C, D, E

Then, take the first, third, and fifth notes from this scale.

E Minor Chord: E, G, B

Playing the notes from an Em chord individually creates an Em "arpeggio." When improvising over an Em chord, these three notes will always sound consonant.

Practicing Improvisation

In the previous lesson, Dennis explained a step-by-step process designed to improve improvisational skills within a one octave scale pattern. Now, he applies the same process to the E minor scale.

Note: Some of the following information is taken from lesson 1 of this series.

Step 1

As you begin to improvise with this pattern, limit yourself to the three notes that comprise the tonic triad. Refer to the lesson video if you need a review of where these notes are located within the vertical E minor pattern. These three notes will always sound consonant with the backing track, because they are part of the tonic chord. Limiting the number of notes you can use will force you to create interest by applying various rhythms.

Remember the rules of phrasing when improvising with the minor scale. A musical phrase is often compared to a spoken or written sentence. Each lick must express a logical, complete thought. In addition, punctuation or silence must separate a phrase from the next. This can be accomplished by sustaining the last note of the phrase or by not playing at all. In time, you will learn how to use silence musically. This shows maturity, taste, and refinement in a solo. Create musical interest by varying the lengths of phrases.

Feel free to get creative with the rhythm. However, you must have an awareness of what rhythms you are playing. Are you playing quarter notes, eighth notes, or a combination of different rhythmic values? Make a note of the rhythm choices that Dennis uses as he improvises with these three notes. Also, notice how he repeats rhythms that he likes. Repeating these rhythms give his improvised solo a sense of unity.

When playing with the backing track, do not try to blaze a solo. Strive to create simple, catchy ideas. Often, simple, catchy ideas are the most enjoyable to listen to. Remember to crawl before you walk, and walk before you run. Speed will come with time and experience. If you can make a solo sound interesting with one note, just think of the possibilities with three notes! The possibilities are multiplied exponentially when all seven notes of the major scale are thrown into the mix.

Step 2

Next, limit your options to notes one, two, and three from the scale pattern. Now, you have two tones from the tonic chord and one chord that is outside of this chord. Dennis improvises with these three notes at 05:00 in the lesson video. He plays along with a metronome set to 112 beats per minute.

Don't be afraid to add articulation techniques such as bends, hammer-ons, pull-offs, and slides to make your solo sound more expressive. For example, try bending the F# note at the 11th fret up a half step. Also, work on bending the note G at the 14th fret of the third string. Bend this note one whole step. Chapter 4: (06:22) E Minor Improv Cont. Step 3

Repeat this process with the third, fourth, and fifth notes of the scale (G, A, and B). Once again, you have two chord tones and one non-chord tone to work with. Compare how the color of each individual note works along with the backing track.

When working through this step, feel free to bend the notes on the third string up a whole step each. The B note on the second string can be bent up a half step to the note C. C is the next note within the natural minor scale.

Step 4

Now, use the first five notes of the scale when jamming along with the backing track. Dennis provides an example at 02:35. Notice how he uses a few position shifts to accommodate the licks that he plays. Always use the most practical fingering option available when improvising a solo. Chapter 5: (03:03) Solo Example and Wrap Up Dennis has written out a sample solo that can be played over the backing track provided in this lesson. This solo utilizes the one octave E minor scale shape demonstrated in previous scenes. Two extra notes are added in the solo. These notes are F# and G, played on the first string. Dennis plays the written solo along with the backing track. Then, he begins to improvise.

The written solo is played at 150 beats per minute. Do not start with this speed! Begin at around 60 beats per minute or slower. Then, gradually increase the speed of the metronome. Feel free to steal these licks and incorporate them into other solos. Also, transpose them to a variety of keys.

Preview of Next Lesson

Ever wonder how bands like Metallica, Iron Maiden, Megadeth, and Thin Lizzy create harmonized guitar lines? Dennis will explain the music theory behind this compositional technique in the next lesson. You will learn how to play harmonies by yourself as well as with another guitarist . Until then, continue to practice and review the materials presented in this lesson and the previous lesson.

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