Where to Begin?
Now that we’ve mastered the major scale, pentatonic, arpeggios, and CAGED chords in all five positions, we’re ready to move on to the natural minor scale. If you haven’t finished learning about these concepts, please click here.
Our approach to learning minor won’t be all that different from how we learned major. The key difference is that we’ll now be emphasizing the 6th note of the pattern, turning it into our new root (R). Since we’re shifting our tonic, all of the scale degrees must be redefined in relation to the new root. Here’s how the major scale’s intervals shift in minor:
M6 → R
M7 → M2
R → m̄3
M2 → P4
M3 → P5
P4 → m̄6
P5 → m̄7
We use “m̄” to describe the interval as minor, while “M” is for major. A flat symbol can also be used (ex:♭3).
The reason we call it the “natural” minor scale is because of how it “naturally” falls within its major counterpart. To form the natural minor scale, we use the 6th note of the major scale as our new tonic. In C major, the 6th note is A, so we start from A and play A-B-C-D-E-F-G-A. These two scales use the exact same 7 notes, just starting on different points. A minor is therefore the relative minor of C major. [Figure 1]
Another way we can find the relative minor is by viewing the circle of fifths (click here to learn more).
Figure 1:
Understanding the Diagram
Just like in major, we have five positions of the minor scale. [Figure 2] The difference is that now they’re named based on the new minor scale degrees found on the E strings:
1-2-3
2-3-4
4-5-6
5-6-7
7-1
These names will help you locate any natural minor scale position in any key. For example, in A minor, where 1-2-3 = A-B-C, the position starts on the 5th, 7th, and 8th frets of the low E string.
Since we’re working with the same notes as the relative major scale, the fingering patterns remain the same.
Figure 2:
Learning the Natural Minor Scale Positions
Step 1: Play & Internalize
Pick a key to start—A minor is a great choice because it has no sharps or flats.
Start with the 1-2-3 position [Figure 3] and play it slowly, ascending and descending. [Figure 4]
Use a 40-60 bpm metronome and play in quarter notes.
Try singing along using solfege (Do Re Me...) or numbers (1 2 3...) to reinforce the minor tonality.
Step 2: Recognize Patterns
Each position contains at least one full octave.
Each position has one string with only two notes instead of three (this varies per position). In the 1-2-3, it’s the D string. In the 7-1, it's both E strings.
Think about the actual notes being played in each position. Where are the half steps? Where’s the tonic?
Step 3: Apply & Improvise
Find a backing track (e.g., search "A minor backing track" on YouTube).
Play the scale in rhythm, using quarter or eighth notes.
Experiment with different note combinations—listen for what sounds good in minor!
Try not to accidentally emphasize the minor 3rd (C in A minor). Remember that the new tonic is your new home!
Step 4: Transpose & Change Positions
Same position, different key: Move the 1-2-3 position to another key, like E minor.
Different position, same key: Once comfortable with the 1-2-3, learn the 2-3-4 [Figure 5] in A minor (where 2-3-4 = B-C-D) the same way you learned the previous position. When comfortable, connect the two positions.
Figure 3:
Figure 4:
Figure 5:
Learning the Minor Pentatonic Scale
The patterns for the 5 positions of the minor pentatonic scale will remain the same as in major. However, since the intervals have changed, you’ll now remove the 2nd (M2) and 6th (m̄6) from the full minor scale. You’ll be left with five notes: Root, Minor 3rd, Perfect 4th, Perfect 5th, Minor 7th. [Figure 6]
Follow the same learning process:
Start with the 1-2-3 pentatonic position.
Play it slowly, then improvise with a backing track.
Once comfortable, add back the missing 2nds and 6ths to create the full minor scale.
After you feel confident with the 1-2-3, do the same with the other four positions.
This keeps the pentatonic’s open, bluesy sound, while allowing for more expressive note choices from the full natural minor scale.
Figure 6:
Minor Arpeggios & The CAGED System
Once you know all five natural minor scale positions and their pentatonic variations, the next step is learning minor arpeggios.
Whereas before we were using the same patterns, these minor arpeggios and CAGED shapes will be entirely new.
To build a minor arpeggio, play only the Root (R), Minor 3rd (m̄3), and Perfect 5th (P5) from the minor scale. [Figure 7]
Arpeggio Patterns:
Each position has one string with two chord tones instead of one (this varies per position). In the 1-2-3, it’s both E strings.
Try singing along (e.g., Do Me Sol Do or 1 3 5 1) to reinforce the sound.
Connecting to the CAGED System:
Just like in major, the CAGED system helps visualize the minor tonic chord across the fretboard.
Instead of CAGED major shapes, you now focus on their minor modifications (Cm, Am, Gm, Em, Dm). [Figure 8]
In the 1-2-3 position, the CAGED chord is Em. [Figure 9]
These shapes are a little trickier than the ones you learned in major, because they’re not all based on familiar open chords. Feel free to use different voicings (as we did with the G major CAGED shape)
Figure 8:
Figure 7:
Figure 9:
Using the Major Scale as a Lens (Even in Minor!)
By shifting your perspective from major to minor, you've now unlocked:
✔ Five natural minor scale positions
✔ How to modify them into minor pentatonic scales
✔ How to extract minor arpeggios
✔ How to find minor CAGED chord shapes within them
You can see how all these concepts interconnect:
The minor scale contains all the same notes as it’s relative major, but the intervals have changed
The full minor scale contains all 7 notes.
The pentatonic scale removes 2nds and 6ths.
The arpeggio removes 4ths and 7ths, leaving us with only chord tones.
The CAGED system helps visualize those chord tones as chord shapes within the scale.
Next Steps… Understanding “Modes”
When we think of a song having a key, we typically categorize it as major or minor, but the reality is a bit more complex. The natural minor scale, also known as the Aeolian mode, is actually just one of seven different modes derived from the major scale.
When we play a C major scale that emphasizes C (C-D-E-F-G-A-B-C), we call it C Ionian mode—the first mode of C major.
If we take the same seven notes but emphasize D (D-E-F-G-A-B-C-D), we create a new sequence, forming D Dorian mode—the second mode of C major.
This process continues for all seven notes, giving us seven modes of the major scale. [Figure 10]
In learning to play the minor scale, you learned how to take the five positions of the major scale and “plug” the tonic into a new place, giving you new intervals and a different sound. You can use this same concept to learn to play the other 5 modes!
The more you learn about scales and modes, the more fluid and instinctive your fretboard knowledge will become!
Figure 10:
Lizard CAGED Exercise in C minor
*Challenge: Try to transpose this exercise and play in other keys!
Full Lizard Exercise in G Minor
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*Challenge: Try to transpose this exercise and play in other keys!