Active Melody

Learn to play blues guitar.

Visualize and use 3 minor scales when improvising lead – EP463

Description

In this week’s guitar lesson, you’ll learn how to play the Natural Minor Scale, Dorian Scale, and the Blues Scale all over a Bluegrass style jam track.

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Comments

  3. Rick M says

    I love this! I’d like to play it with a friend. It would be great to have the tab with video (not necessarily a lesson video) for the 2nd guitar as you’ve done for some other lessons.

  10. Chris H says

    I like all your lessons, Brian, but this one knocked my socks off. Your ability to combine theory with musicality is unmatched on YouTube … I watch a lot of lessons … and there are a lot of good instructors out there … but, in my humble opinion, you and Justin Sandercoe are the two very best. Justin’s lessons are great, but I find he is a little more attuned to the beginner … you are good with beginners too, but I find you a little more skewed to the intermediate to more advanced. Justin has a lot of advanced stuff too … heck, you’re both great … you both have what I consider to be great approaches … positive attitudes and thorough, yet patient explanations … do you know each other? You should. Back to this particular lesson … the musicality of this little piece is just flat excellent … and the theory is extremely insightful. You knocked it out of the park.

  14. mritalian says

    So when your playing the A dorian mode your playing in the key of G, right. I remember this as I Dont Play Like My Aunt Lucy, D Dorian is the second mode from Ionian, so your going back from A to G in the scale . Is that correct?

    • Stuart S says

      Yes I am sure you are spot on. A dorian is the G Major scale but I guess in order for it to actually sound A Dorian and not G Major the resolve , pull or tonic centre if that is the correct technical term must be towards the A note. The problem I have with thinking of the corresonding Ionaian mode (with whch we are all familiar in terms of running our fretting fingers effortlessly up and down the scale) is that that does not of course produce the correspoding modal sound, which necessitates that shift of centre. So I suspect whlst understanding that modes are simply major scales starting from different degrees of the scale is intuitive and grounds our theory, in pratice I suspect the only way of mastering modal playing is to hard wire our brains to recognise the distinctive sound of the interval sequence for that mode. I feel this is something Brian does emhasise in his lessons, recently I think Myxlodian with the flattened 7th interval, which we might usefully link to the dominant 7th sound chord sound.

      • charjo says

        I agree, Stuart. Other than the relative minor/major relationship, I don’t relate modes to the parent major key. I prefer to revise my existing major and minor pentatonic boxes to add the modal colour tones or see the desired intervals around chord shapes. This keeps the target root note intact. Even when playing myxolydian you want to bring the minor 3rd into the mix. This also helps you to see chromatic possibilities more easily.

        • Michael Z says

          To me it’s simpler to think in major key modes rather than knowing which notes to add to the minor scale. All the notes Brian adds to the minor scale in this lesson I think are the the G major diatonic scale. But of course you have to emphasize the A tonal center. Am I missing something?

          • charjo says

            No, just a different way of looking at it. My way requires you to know how each mode is constructed but it’s not that difficult, they are just variations on the pentatonics. My way also requires you to have an understanding of where intervals are located within box shapes rather than just the major scale patterns. I’ve always thought it was important to see intervals anyway.

  19. charjo says

    Light bulb moment for me (theory nerd alert!*). In the key of A minor the D and E7 chords are borrowed from the key of A major. The relationship of Am and D chords is dorian. When you play the A dorian mode you add the major 6, or F# which is the major 3rd of the D chord. The E7 chord brings in an out of key major 3rd G#, which is a major 7 from the root A. This is covered by the A harmonic minor scale. I know this sounds complicated but the theory holds for any key in this type of minor progression and will help find the very appropriate chord tones.

  20. michael f says

    Thinking about playing the chord progression in A minor (mDMmmMM) and wondering why the D and E7 work here because those chords are not in Aminor. Tunes like ST James Infirmary or Hestitation BLues sound much more minor because they go to the minor 5 (Am to Em for example). Your rule about only playing minor pentatonics in a minor key doesn’t work here because you’ve added more 3 more notes.

    • Brian says

      when I said the rule about minor and major pentatonics and using over a major or minor key – i was referring ONLY to the minor and major pentatonic scales, not ALL scales.

  22. Lyn C says

    Wow.. love this one Brian.. can hardly wait to start learning it! Especially like these compositions for acoustic guitar and I really like the bluegrass flavour (Canadian spelling eh?)
    Certainly a great one!

  23. Raymond P says

    A beautiful sounding lesson with some cool theory thrown in too. The minus guitar background music very pleasant sounding too and would be great as a lesson or made as a pdf to copy and play.

    Thanks again for the beautiful lessons Brian.

    Ray P

  28. Glenn says

    Brian, I am really, REALLY enjoying this one. I’ve been working on it off and on all day. My girlfriend got her nylon string out for the first time in months when she heard it, so I’m hoping she will want to play the rhythm part to back up my Alvarez. Killer “Dave Rawlings” style riff, by the way. You have really put up some great lessons recently, shorts and Friday lessons both.

  34. guitarzan1 says

    Brian:

    I’ve been a premium member for several years and have always appreciated your attention to detail and the incredible lessons you put together, I recently retired and can now devote the time and PRACTICE that I know must go hand-in-hand to truly progress on the guitar. Looking forward to my new job as one of your many guitar students!

    Thanks so very much,
    Geoff

  35. Thurman M says

    Another great lesson and thank you for sharing your knowledge of the guitar and the music that can be retrieved from it. Your whole presentation if excellent and I can imagine the work you have put into it. The only problem I have is that the printout is too small and to practice with the large chart on the computer is not comfortable. I have been using “Band in A Box” for years and their printouts are large and easy to see. However, I am so pleased to be a member of “Active Melody ” and this is indeed the place to learn. Thank you!

  37. Davie d says

    Brian, love this! Can’t wait to get this down and let it rip! I learn so much from your lessons and I look forward every week for something new! You keep the excitement in learning this challenging instrument! Beyond your excellent teaching, your site is so well put together and very user friendly!!

    From a long – time appreciative member
    Dave Delisio
    Boise, Idaho

  38. Lyle says

    Brian, have you used the Vidami pedal? I have one and love it, keeps my hands on guitar and off of the mouse! I can only pause/start the video with the foot pedal at this point. Thanks

  40. Randy G says

    I’ll echo others when I say this lesson is the perfect blend of theory and musicality. You left no stone unturned in your explanations so I understand exactly where each note comes from. Your lessons have been absolutely on fire capturing the best of both worlds. Thank you!!

  41. Mark H says

    The sharped 6th used when passing through the Dorian mode measure is assertive in a very pleasing way to my ear. I picked up on the subtle contrast / emphasis against the descending blues scale that naturally wants to follows it.

    The lyrical phrasing there adds up to a subtle call and response embedded in the chord melody. It reminded me of Brother Can You Spare a Dime a little bit, an old favorite. This is a great tool to add to my practice sessions so I can better figure out how and where to use it.

    At least now I understand how it works. I hate it when people ask me how something I play works, and I have to say “I dunno, it just sounded good to me”! Thanks for pointing it out and explaining the theory behind it. 🙏🏾

  43. Rich F says

    Good morning all! Hope you are all well.

    This is a brilliant lesson… I have really become interested in the modes after watching several of Brian’s Dorian lessons…. EP375 was a real eye-opener (and ear opener!) for me as Brian went through all the modes, and the different major, minor and weird sounds they produce!

    A real light-bulb moment for me was a JJ Cale Dorian lesson whete Brian said that D Dorian is also the same as C Major, and the same as G myxolydian… so, I realised (I think!) a simple way to play the various modes… as follows:

    A) Choose a Minor pentatonic key… say D and add the Dorian notes in pattern 1, and stick to that pattern

    B) Go down two frets from D on 6th string… ie to 8th fret, which is C

    C) If you now play all the notes from the 8th fret C straight into the D Dorian pattern 1 box you will hear the C major scale. If instead you start on D fret 10 string 6 and play up the box, you have D Dorian, if you start on fret 12 sring 6, you have E phrygian and so on… this helps to get the different modes in your ear…
    D) Now, focus on thinking of this as D Dorian, not C major, and stick in that pattern 1 box….

    E) play a backing track using the various chords out of the C Major family, keep your lead in the D dorian pattern 1 box, and you should get the different modes as the chords pass by… again to emphasise, this came from Brian’s comments in his JJ Cale lesson that D Dorian is the sane as C Major, is the same as G Myxolidian… so I thought, it must be the same as all of the modes in C…

    So, in summary, stay in the same D Dorian box, and let the different backing chords (in the C major family) pass by…

    Here is one that I attempted, and posted on the Showcase, a while back, doing just this…

    https://soundcloud.com/user-314814939/all-the-lead-modes?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

    Sorry ablut the essay, but I am excitrd about the Modes!

  44. Rich F says

    Hi again all,

    To add to this, I have done my own improvisation over the backing track for this lesson, which I am posting in a minute… I am going to add my visual crib sheet that I used there, as I cannot post it here.

    Finally, talking of Justin Sandercoe, here is a brilliant lesson of his on Dorian mode which is very good… he emphasises keeping it simple, thinking in the Dorian key, not the major key, and using it sparingly…

    https://old.justinguitar.com/en/BL-028-DorianApproch.php

  48. Guy S says

    Love it Brian. Thankyou. How long should it take for an early intermediary type player to master a piece like this, or at least play through it so it sounds something like your rendition?

  50. Ingemar S says

    Hello, do you use Guitar Pro for your work? If so, is it possible to get a copy? I use GP7 myself and I have found a way in the software to increase the tab number sizes slightly,,, Yours are a bit too small to be comfortly readable…

    / Ingemar

  54. Austin T. Walden says

    Can anybody help me understand the pattern he plays over the D chord at the 6th measure? I’m trying to visualize the pattern he is playing here. Is it an Am pentatonic lick or is it a D major thing? Thanks!

    • Buster89 says

      Finally got to manage playing the rhythm section. Had to first slow down the play speed to figure out the different rhythm parts. Happy with that ! Can now focus on the solo bit.

  56. Olav S says

    I’m getting so much out of this one lesson. Incredible, Brian. I’ve been a member for about four years and I’ve advanced as a guitar player well beyond any expectations I had going into this. All thanks to you.

  57. Peter H says

    I will say – this was one of the best – nice combo of explanation of scales – esp those mysterious minors – combined with playing over the chords and why the notes work. Great stuff!!! Sure Justin is good – he’s from Tassie 🙂

  59. James K says

    Brian,

    Just love the sound switch from 8th measure to 9th measure, it cranks you up and let’s you know something else is coming your way. Plus this is a great exercise for my cramping fingers.

    Thanks Brian

    Regards,
    Jim

  60. Randy M says

    Hi Brian. I’m a relatively new member and very much enjoy your method of teaching and diversity of content. I have never been one to learn theory, though I have been lately with the way you introduce theory along with the song lesson. Bit by bit I am finally coming to understand the guitar and how music really works.

    A few things I would like to request, from time to time it would be nice if you could connect some of your more popular lessons and build upon the same backing track. The one minute format is great to concisely learn a playable section of music and not get too lost in the theory, but it would be fantastic to have an extended jam with some of your music. Ep 278 is a good example of a track that I would love to continue playing through another round.

    It would also be nice to connect an occasional micro lesson to detail the rhythm behind the weekly lesson or briefly include the backing track rhythm as part of the lessons.

    Thanks for your consideration and for being an amazing and gifted teacher!
    Randy

  61. Brian F says

    I love this lesson this is good for my picking speed as I’m usually fingerstyle love the sound of this great fun riff to plays sounds amazing that’s Brian !!! Brian Ireland 🇮🇪

  65. charjo says

    I have to agree with Jola, this sounds sooo good! Brian, when I go over the lesson I’m impressed by how often the notes follow the chords. When you compose something like this is your ear guiding you or do you naturally go to licks around chord shapes or, maybe a bit of both? Is it also partly experience playing over certain progressions? I sometimes wonder if you even surprise yourself when you go to explain what you did. I want to get to that place!

    • Brian says

      i’d say it’s a combination – i know the shapes and areas of possibility, but then use my ear to determine where to go. it’s definitely from just doing lots and lots and LOTS of it. i can’t tell you how many hours i used to spend every day (in my teens) just trying to play over songs… trying to follow, trying to pick up an idea or two. I’d usually have one phrase that i was trying to really use, and use it over everything – just to see how it fits in different contexts. i still do that to this day. I’ll hear one little lick or phrase and stop and learn it , but always understand why it works and how it relates to the song, so you can use it in other things. you’ll end up forgetting 90% of it… but the concepts and sounds stick with you – and will resurface down the road. So if you’re always pouring that fuel on the fire, the results will keep showing up.

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