Masterclass Booklet: Minor Scale Soloing Masterclass Beginner

MASTERCLASS BOOKLET
JamTrackCentral
MINOR SCALE
SOLOING
MASTERCLASS
BEGINNER
INTRODUCTION
Welcome to this JamTrackCentral masterclass!
There are three parts: Beginner, Intermediate and Advanced. You can choose your level,
but also consider working through the whole masterclass. Even if you can play the licks or
exercises from the Intermediate or Advanced parts, you could still learn something new from
the easier parts.
In fact, even in the Beginner section, we’re going to be working on stuff that most pros still
practise. These are some of the most common improvisational skills, so it makes sense that
you should spend the majority of your time practising them!
The format is the same for all three parts. We’ll start by looking at some theoretical concepts
with exercises to develop your technique and fretboard knowledge. Next, we’ll see how those
concepts can be used in a real musical situation with a series of short licks. Finally, we’ll throw
everything together into a cool solo that you can learn or just use for ideas. There’s also a
jamtrack so you can work on your own solos.
WWW.JAMTRACKCENTRAL.COM
MINOR SCALE SOLOING MASTERCLASS
JAMTRACKCENTRAL
MINOR SCALES – THE PROBLEM
You may have seen our other masterclass, “Major Scale Soloing”. We’re going to be following
the same kind of process here, showing the theory behind the scales and finding strategies
for creating interesting solos and improvisations. For best results, we hope you’ll work on both
masterclasses!
The main difference is that “major scale” usually refers to just one scale, whereas “minor scale”
can refer to three or four different scales. We’ll deal with them separately, and show how you
can learn to recognise them.
MAJOR SCALE THEORY – A QUICK REMINDER

Two of our minor scales are easier to understand, because they come from the modal system
related to the major scale. If you’re unfamiliar with any of this theory stuff, please refer back to
the Beginner booklet in our Major Scale Soloing masterclass. The most important thing is how
a scale contains not just single notes but also a set of chords.
Let’s very quickly review the basic themes of major scale theory. We’ll work with the G major
scale (G A B C D E F#)…
B B DB B
B B B B
G A B C D E F# G
4
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Those notes can then be used to generate a set of chords. When you have chords that are
built entirely from the notes of one scale, they’re called “diatonic chords”. This pattern of major,
minor and diminished chords is the same for every major scale.
G major, A minor, B minor, C major, D major, E minor, F# diminished
… and you can expand these to create diatonic 7th chords…
Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, Fm7b5
The scale notes and chords all fit together in a kind of musical family – the key of G major. But
we can also use this same set of notes and chords in other ways. The reason this set of notes
(G A B C D E F#) and chords is working as the “key of G major” is because we decided that the
note G would be the root. This is the tonal centre, or “home”. But what happens if we use other
notes as the root?
Here’s what happens. The notes and chords all stay the same, but each note has a different
function, and a different relationship to the root note. We’ve created MODES!
JAMTRACKCENTRAL
A Dorian (A B C D E F# G)
B Phrygian (B C D E F# G A)
C Lydian (C D E F# G A B)
D Mixolydian (D E F# G A B C)
E Aeolian (E F# G A B C D)
F# Locrian (F# G A B C D E)
Those scales all have the same notes (and diatonic chords) as G major, but they sound very
different, because they have different tonal centres. In G major, the note G is the central point,
and every note is related to that G. But in D Mixolydian, for example, the G is just the 4th, a
note of much less importance.
Two of those scales are very important for this masterclass….
THE AEOLIAN MODE

The Aeolian mode is also called the natural minor, and as you’ll see from the list above, it can
be formed from the 6th note of a “parent” major scale. That gives us E Aeolian (E F# G A B C D)
and we’ll be using that scale for several of the licks and exercises.
B B B B
E F# G A B C D E
4
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Possibly the most distinctive note of the Aeolian is its minor 6th (E->C). Remember, we have
the same diatonic chords as G major, so that means we have a C major chord as well. Also
the major chords built on the 6th and 7th degrees (C major, D major) give a very familiar
sound, especially when they resolve to the tonic chord (E minor). Think of the heavy section of
Stairway to Heaven; it’s in A Aeolian, but it’s the same sound.
THE DORIAN MODE

Going back to our previous list, you’ll know that it can be generated from the second note of
the parent major scale. However, we want to avoid working with parallel modes (G major = A
Dorian = B Phrygian, etc) too much. When you play G major and then A Dorian, it’s harder to
pull your ears away from that G major sound, because it’s such a powerful and familiar sound.
We’re going to work with parallel modes, using the same root note. We’ve already looked at E
Aeolian, so now we’ll switch to E Dorian (E F# G A B C# D). Do you see the difference? It’s only
one note (C# instead of C) but it has a powerful effect. This is the major 6th, and it’s the -
JAMTRACKCENTRAL
- signature sound of the Dorian mode.
B DB B B
E F# G A B C# D E
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To see what a difference this single note makes, consider the diatonic chords of these two
modes…
E Aeolian: Em, F# dim, G, Am, Bm, C, D
E Dorian: Em, F#m, G, A, Bm, C# dim, D
That A major (or A7) chord is a big part of the E Dorian sound. Alternating Em/A7 gives you a
cool funk sound, or perhaps Santana’s “Oye Como Va” groove.
Let’s look at some more scales…
MINOR PENTATONIC, BLUES SCALE

You might already know the minor pentatonic scale, as it’s probably the single most common
scale in rock, metal and blues. To get from E minor pentatonic (E G A B D) to E blues scale (E G
A Bb B D) it’s simply a matter of adding the Bb note (the tritone). That “blue note” is often only
used as a passing note. It has a very unsettled, dissonant sound, so you have to be careful how
you use it as a melodic note.
E minor pentatonic E blues scale
B A B B A
E G A B D E E G A Bb B D E
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The really cool thing about minor pentatonic is that its notes are in both Aeolian and Dorian
modes.
Pentatonic scales don’t work like regular scales or modes, because they don’t have the
corresponding set of diatonic chords. Their smaller number of notes (penta = five) means that
they’re flexible and can be used in a range of tonalities. For example, you could easily use E
minor pentatonic over a chord progression built from the diatonic chords of E Dorian, E Aeolian
or even E Phrygian. Therefore, you don’t get a “pentatonic tonality”; it’s a melodic sound that
you choose to use within another tonality.
Page 1/1
JAMTRACKCENTRAL
LEARN THIS!
We don’t want you to leave this Beginner section with just a knowledge of four minor scales.
There’s a BIGGER PICTURE here! We want you to understand the difference between these
four minor scales, and to develop the flexibility to move between them, at any fretboard
position.
We’re not going to give you a long list of fretboard diagrams; this is the stuff you can practise
on your own. For now, let’s just take one small area of the fretboard and compare the scales.
This is where it becomes really important to think in terms of the intervals. That C# note in E
Dorian is more than just a note in a lick; it’s the major 6th, it allows for an A7, it means there
can’t be an A minor, etc.
So here’s a selection of small note groups, showing the location of the E minor triad (E G B),
the Em7 arpeggio (E G B D), the minor pentatonic, blues scale, Dorian and Aeolian modes in a
single position…
E minor triad Em7 arpeggio E minor pentatonic
4 5 4 5 4 5
b3 b3 b3
R R b7 R 4 b7
E blues scale E Dorian E Aeolian
4 5 4 2 5 4 2 5
b3 b3 b3 b6
R 4 b7 R 4 b7 R 4 b7
b5
In some musical situations, it will be very clear which scale you need to use, but in some
situations (where there’s a single chord vamp or a simple riff, for example) you’ll be able to use
more than one minor scale. This means you also need to learn to HEAR the differences, so you
can make better choices when you improvise.
That’s the end of the theory lesson. Grab your guitar and get ready for some hard work!
JAMTRACKCENTRAL
BEGINNER EXERCISES
We decided to give you a lot of exercises in this part of the masterclass. Most of these
exercises are about gaining familiarity with the fretboard shapes and especially getting used
to finding shapes ALONG the strings, rather than just staying in box positions. Here’s a quick
summary of what’s happening…
EX1/EX2: E Aeolian, ascending then descending in three-note-per-string shapes.

EX3: Adding a fourth note on a string allows you to move diagonally.
EX4/EX5: E Dorian, ascending then descending in three-note-per-string shapes.
EX6: Adding a fourth note again, in order to move diagonally.
EX7/EX8: E minor pentatonic, ascending and descending in two-note-per-string shapes.
EX9: Two Aeolian exercises, using a four-note sequence (a repeating melodic pattern that
shifts through the scale).
EX10/EX11: Short Dorian exercises, ascending and descending through eight-note sequences.
EX12: Smoothly changing scale in mid-flow. Bars 1-2 are Aeolian, bars 3-4 are Dorian. Then we
switch to minor pentatonic near the start of bar 5, descending through the blues scale in bars
7-8.
EX13: When learning scales all over the fretboard, don’t try to learn all positions in one go.
Build your knowledge gradually, taking simple phrases and playing them on all strings.
EX14/EX15: Gradually ascending and descending through Em7 arpeggios.
EX16: Similar to the previous exercise, but with the added 9th (F#) creating a useful and very
common pattern.
EX17: Ascending in Aeolian, descending in Dorian, using a 3rds pattern.
EX18: Push your fretboard knowledge with this linear pattern. This is Aeolian, but also try with
Dorian, and work on all six strings.
EX19: Legato groups, pulling off to the open string. Again, this is Aeolian, so try applying it to
Dorian and work on all six strings.
BEGINNER SOLO AND LICKS

It’s up to you how you use the full solo. Learn the whole thing, pick out a few licks or just jam
over the backing track! We’ve provided you with a backing track that allows considerable
flexibility with scales. There are extended periods of just E minor, so you can use any of the
scales we discussed above. For the Cmaj7-Am7 passages, you can no longer use Dorian, but
you can still switch between Aeolian and pentatonic/blues.
The twelve licks allow you to work in smaller chunks. Licks 1-5 are mostly minor pentatonic,
adding the blue note (Bb) as a brief ornament. Licks 6-7 demonstrate Aeolian over the Cmaj7
and Am7 chords. Lick 8 is mostly pentatonic/blues, but adds the F# note. Lick 9 is pentatonic/
blues, but with much more use of the flat 5th blue note (Bb). Licks 10-12 are all Dorian, but with
varying amounts of the blue note added.
We hope you enjoy working through this part of the masterclass. Work hard and we’ll see you
in the Intermediate section!
P.S If you scroll down, you’ll find all the TAB/Notation for the exercises, licks and solo!
BEGINNER EXERCISE 1
As recorded by jamtrackcentral.com
(From the 2017 Album MINOR SCALE SOLOING MASTERCLASS: BEGINNER)
P = 80
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JamTrackCentral Ltd 2017

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
BEGINNER EXERCISE 2
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BEGINNER EXERCISE 3
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BEGINNER EXERCISE 4
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BEGINNER EXERCISE 5
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BEGINNER EXERCISE 6
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BEGINNER EXERCISE 8
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BEGINNER EXERCISE 9
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BEGINNER EXERCISE 10
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T
A
B
H P P H P P H P P H P P H P P H P P H P P

BEGINNER LICK 1
D
P = 66 (P P CP P )
g l V V V V V V V `P V
(Em)
I 44
3 3
V V V V V V
3
z V V V V V W
1
3
1/4M
0 3 0
T 3 0
2 4 3 2 0 2 0
A 2 2 0 2
B 2 0
3 0
sl. sl. P

BEGINNER LICK 2
D
P = 66 (P P CP P )
`P
Cmaj7 Am7
1
g4
I 4 j V V V V z V V V V V V V V R
V V P V V V V V V V
3 3
3 5 6 5 3 5 3
T 3 5 5 5 (5) 3 3 3
4 4 2 0 0 2 4
A 2
B
sl. sl. sl. P P sl. P
(Em)
g P c k
3
I z V V V V
T
4 2 0
A 2
B
sl. P

BEGINNER LICK 3
D
g P = 66 (P P CP P )
V
1
I 44 j V V V
0
T 0
A 2 4
B
sl.
g V V V V V V V V V V V V V V V V V V V V V V V `P V V
(Em)
2
I z V V V
1/4 M 1/4 M 1/4 M 1/4M
3 0 0 0 3 0 0 0
T 0 3 0 3 0 0 3 5 5 3 0
2 4 4 2 3 2 0
A 2 0
B 2
g
sl. sl. P sl. sl. H P P
4
I W
T
A 2
B

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BEGINNER LICK 4
D
P = 66 (P P CP P )
V V V V V V V V V V eV V V V V V V fV
(Em) A5 G5
g
1
I 44 j
3
M
3 3
Full
7
T 8 10 (10) 10 10 10 10 (10) 11 10 8 10 8 10
A 7 9 9
B
sl. sl. P
g V
(Em)
V V k
3
I u
1/4M
T 8
A 9 (9)
B
sl.

BEGINNER LICK 5
D
P = 66 (P P CP P )
g V
(Am7)
1
I 44 j V V V V V
M
3 3
1/4
3
T 0 0
A 2 4 4
B
sl.
g V V V V V V V eV c k
(Em)
I V V V V
3 3
V V V V
2
3
V V V V
3 3
0 0
T 0 3 3 0
A 3 2 0
2 0 2 2 (2) (2)
B 2 0
3 0
H P sl. P sl.

BEGINNER LICK 6
D
P = 66 (P P CP P )
g k d PR V V P V V
(Em)
I 44 V V V V V R
z V V V P V V V V
1
M
1/4
T
A 7
7 9 9 7 5 7 5 2
B 7 7 7 5 7
7 7 5 3 0
sl. sl. P
sl.
Cmaj7 Am7
R V V V V V V V V
8va 8va
g k d P V V V V V V l V V V V V
I V V P z
V V V
3
3
M
3
Full
T 8 10 10 12
10 12
12
10 12 14 15 12 14 12
15 12 15
O
(15) (15) 12
A 9
9 10
B
sl. sl. H P
g V
(Em)
V V P V k j
5
I z V
M
1/4
T
A 12
14 12
B 14 12 10
sl.

BEGINNER LICK 7
D
P = 66 (P P CP P )
Am7 Em
8va
g4 j e VV VV VV VV f VV gVV WW VV k j
1
I 4 VV u
M
Full M
Full M
Full M
Full M
Full M
Full M
Full M
Full
7 8 10 12 14 15 14 12 (12)
T 10 11 13 15 17 18 17 15 (15)
A
B
sl.

BEGINNER LICK 8
D
P = 66 (P P CP P )
V V eV V V P V V V V V
Em
1
g4
I 4 j l l V z V V V
V V
1/4 M 1/4 M
T 15 10 10 11 8 10 11 10 8 8
A 9 9 7 9 7
9
B
sl. sl. H sl. sl.
g V V V V
Cmaj7
3
I V V V k j
u
T 7 8 7 5
A 7 5
B
H P sl.

BEGINNER LICK 9
D
P = 66 (P P CP P )
`P fV V P V V
g
1
I 44 j z z
10
T 11 12 12 10 8
A
B
sl. sl. P
g V V V V V V `P
(Em)
fV V
I z V V V V V V V V
2
M
1/4
T 10 8
A 9 9 7
9 8 7 5 5 7 9 5
B 7 5 7 (7)
sl. P sl.

BEGINNER LICK 10
D
P = 66 (P P CP P )
V V eV fV V eV V V V V V V V V gV V V
(Em)
g4 j
1
I 4
M
1/4 M
1/4 1/2M 1/2 M
5 6 7 5 6 5 5
T 8 8 8 5 5 8 5 7
A 7 6
B
H P

BEGINNER LICK 11
D
P = 66 (P P CP P )
(Em)
g V
I 44 j V
8va
1 V V
M
3
Full
12
T 12 15
A 14
B
P
8va
g gV
3 3
V V V V V
3 3
ck
2
I V V e V f V e V V V V V V V f V V V V V V e V V V V V V
M M M
3 3 3 3 3
Full 1/4 Full
12 15 12
T 12 14 12 12 12 12 15 12 14 12 12
A 15 15 14 12 12 14 14 14 15 14 12 14 12
14 14
B
P P P P P

BEGINNER LICK 12
D
P = 66 (P P CP P )
g l Vu
(Em)
V gV V V V V V V V e V V
1
I 44 j V V V V V
M
3
1/4
T 8 5 5 5 5
A 6 7 4 4
8 7 5 7 5 7
B 7
sl. P
g
Cmaj7
3
I V V W
M
1/2
T
4
O
A 7
B

BEGINNER SOLO
Em Cmaj7 Am7 A5 G5
x x x xx x xx
D
P = 66 (P P CP P )
(Em)
g4 j k V V V V eV V V V k j
1
I 4 V V V V V
v eV V V
M
1/4
T
A 7 9
9 7 8 7 5 7 5 5
B 7 7
6 5 3
sl. sl. P
sl.
V
3
I
g l V V V V V V V V V V k Vu V V
1/4 M M
1/4 M
1/4
7
T 8 8 8 8 10
A 7 9 7 9
9 9
B
sl.
g V V V l
5
I } gV V V V V gV V V
V V V
V V
V V V V V V
M
1/4 M P.M.
1/4 M P.M.
1/4 M P.M.
1/4
T 8
A 9 6 6 6 6
x 5 5 5 5 7
B 7 5 7 7 5 7 5 7
7 7
g j j P V V V V P V V V eV V V V fV V
7
I V z z V V V V V V
M M
3
1/4 1/4
T
7 9 (9) 7 7 9 7
A 5 9 7 8 7 5 7 9 5
B 7 5 7 5 (2)
7
H P H sl. sl. P
g
Cmaj7 Am7
k V V V V P V P V V V j V V V V V
V V V V V
3
9
I W z z
3 3 3
T 3 3 3 5 3 5 3
A 2 4 5 4 5 4 5 7 (7) 5 4
4 5
B 3
sl. H H P sl. P sl.
BEGINNER SOLO - jamtrackcentral.com Page 2 of 4
V V V V V V V
(Em)
g j l gV V V V
11
P.M. P.M.
5 7 5 7
T 5 7 8 8
A 6 4 4 6 7
7 9 5 4 5 7 5 7
B 7
sl.
VV V e V V V V f V V V V V Pz V V V V Pz V V
Cmaj7 Am7
g P V V V V V V k `Pz f VV `Pz f VV
13
I z 3
u
7 8 (8) 7 5 6 7 6 7 (7) 5 6 5 5 7 10 10 7 7 10 12 12 10 10 12 14 14
T 8 5 5 (5) 8
A
B
H P P H H H P sl. P sl. sl.
(Em) A5 G5
g V V V V V V V V V V V V V V V k V gV V V V
8va 8va
15
I V V V
u
M M MO M M M
3 3
Full Full 1/2 1/2 1/2 1/4
12 12 12 14 (14) 12 14 15 12
T 15 15 12 12 12 14 12 15 12
A 14 14 12
B
P P
g V V k k V V V V V V V V V V V V V P V
(Em)
17
I u z V
v
M
1/2
T
A 12 12 9 11 11 9 9 7 9
14 (14) 9 9 9 9 7 5
B
sl. sl. sl. P
g k V V V V eV V V V V
I V V V V V V V R
P V V V V V V V V V V
19
V V V
3
M 1/4M
1/4
0
T
A 2 4 2 3 2 0 2 0
7 5 5 2 2 0 2 0
B 7 7 5 7 2 0
7 7 5 3 0 3 0
sl. H P P P
sl.

g c eV V k gV V V V V V l k V
21
I V u v
M M M
3
1/2 1/2 1/2
T
3 6 (6) (6)
O 4 6 6
A 2
B
P
g V V V V V V gV V V V V `P V fV V V
23
I gV V V V V V V Pz z V V V V V
3
T O
(6) (6) 4 6 6 9
0
9 7
0
7 6
0
6 4 2 3 2 0 0 2 4
0
4
A 5 2 0
B
P sl. sl. sl. sl. sl. sl. P P sl.
V
k V V V P V V V
Cmaj7 Am7
g V l V V V V V V V V V V V V
25
I V z
3
M
1/4
7 5 3 3 5 3
T 5 5 3 5
A 5 5 4 5 4 2 2 4
5 5 2
B
H P H
V V V V V V V
(Em)
g k d V V V V P V V V V k l u
27
I W V z u 3 3
1/2 M M
1/2
12 12
T 3 5 5 7 3 5 15 15 12 12
A 4 14
4 4 5
B
sl. sl. P P
Cmaj7 Am7
V V V V V
8va
V V V V
29
I
g V V V V V V V V V V l V V V V V
M
Full M
Full 1/2 M
T
15 15 12
12
12 14 15 12 14
15
12
13 12 13
14 12 14 12 14
12
11
O
A 14 14
B

e V V V eV V V V V V V V
(Em) A5 G5
g V V V V V V V V
I W P V V V PR V PR V V
z
31
M
1/4
T 15
A 12 14 15 14 12 14 12 14 15 14 12 14 12
12 14 14 14 14 12
B 14 12 10 10 12 10 12 10
12
sl. sl. P sl. sl. P sl. P H H
g (Em)
j
33
I V
T
A
B
12
sl.

Masterclass Booklet: Minor Scale Soloing Masterclass Beginner

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Masterclass Booklet: Minor Scale Soloing Masterclass Beginner

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MASTERCLASS BOOKLET

MINOR SCALES – THE PROBLEM

MAJOR SCALE THEORY – A QUICK REMINDER

G major, A minor, B minor, C major, D major, E minor, F# diminished

… and you can expand these to create diatonic 7th chords…

Gmaj7, Am7, Bm7, Cmaj7, D7, Em7, Fm7b5

Two of those scales are very important for this masterclass….

THE AEOLIAN MODE

THE DORIAN MODE

- signature sound of the Dorian mode.

E Aeolian: Em, F# dim, G, Am, Bm, C, D

E Dorian: Em, F#m, G, A, Bm, C# dim, D

Let’s look at some more scales…

MINOR PENTATONIC, BLUES SCALE

E blues scale E Dorian E Aeolian

EX1/EX2: E Aeolian, ascending then descending in three-note-per-string shapes.

BEGINNER SOLO AND LICKS

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

JamTrackCentral Ltd 2017

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

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