In one sentence: E natural minor uses E-F#-G-A-B-C-D: the same notes as G major, organised around E.

The scale map

Formula: W-H-W-W-H-W-W · Degrees: 1-2-b3-4-5-b6-b7

• Key signature: one sharp, F#
• Relative major: G major
• Natural chords: Em, F#dim, G, Am, Bm, C, D

How to play it

Right hand

• Up, 1 octave: 1-2-3-1-2-3-4-5
• Down, 1 octave: 5-4-3-2-1-3-2-1
• Up, 2 octaves: 1-2-3-1-2-3-4-1-2-3-1-2-3-4-5
• Down, 2 octaves: 5-4-3-2-1-3-2-1-4-3-2-1-3-2-1

Left hand

• Up, 1 octave: 5-4-3-2-1-3-2-1
• Down, 1 octave: 1-2-3-1-2-3-4-5
• Up, 2 octaves: 5-4-3-2-1-3-2-1-4-3-2-1-3-2-1
• Down, 2 octaves: 1-2-3-1-2-3-4-1-2-3-1-2-3-4-5

Locate F# before starting. At the end, hold E or play E-G-B to establish the center.

Same notes, different home

Try Em-C-G-D. To remain entirely inside the natural scale, you can also use Em-Am-Bm-Em.

If B7 appears, you will hear D#. That note does not belong to E natural minor; it raises the seventh to strengthen the return to E.

Listening and context

The opening arpeggio of Metallica’s Nothing Else Matters begins in E minor. Hear it as a texture reference: a natural minor scale can sound intimate or expansive depending on register and arrangement.

Common mistakes

• Playing F natural: E natural minor uses F#.
• Resolving to G by habit: end on E and confirm it with Em.
• Confusing Bm with B7: Bm is natural; B7 introduces D#.
• Only playing a chord loop: use scale fragments to create melodies as well.
• Forcing one fixed emotion: the same key changes greatly with rhythm, register, and texture.

Quick check

• I can find E-F#-G-A-B-C-D
• I can play one octave with each hand
• I recognise G as the minor third
• I can alternate G major and E minor without changing notes
• I distinguish natural Bm from B7 with D#

Keep this: sharing notes does not mean sharing a center; E minor emerges when your phrases return to E.