Session 16: The Minor Pentatonic Scale

Duration: 50 minutes

Break: Put the guitar down for 5 minutes at the end of Segment 3. No stretch of playing is then longer than 30 minutes.

The C major scale gave you the notes of melody. Today you learn the scale that gives you the notes of expression — the minor pentatonic. The pentatonic scale is the single most important scale for rock, blues, and metal guitar. It has only five notes (penta = five, tonic = tone), but those five notes can produce powerful solos, expressive melodies, and emotional phrasing. You will also learn two essential techniques: hammer-ons and pull-offs, which make your notes flow together instead of sounding like individual picks. The piece is a four-phrase melody study written for this course, which puts the hammer-on and the pull-off into a tune.

Learning Objectives

By the end of this session you will be able to:

1. Play the A minor pentatonic scale in open position, ascending and descending
2. Perform a hammer-on and a pull-off cleanly
3. Combine scale notes with hammer-ons and pull-offs for expressive phrasing
4. Name the five notes of A minor pentatonic and say which two notes of C major it leaves out
5. Play a four-phrase melody study that uses a hammer-on and a pull-off

Materials Needed

• Your Saga SF-600C-BK guitar
• A guitar pick
• A clip-on tuner or phone tuner app
• A metronome
• A phone that records sound
• Six slips of paper and a pen (for this week’s ear check)
• Handout for this session: Scales Pentatonic (read after the session, 10 minutes)
• Handout for this session: Hindi Film Melodies (optional “Go further” reading, after the session)
• Reference: Scale Diagrams, Chord Chart, Glossary

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Segment 1 — Warm-Up and Stretch (5 minutes)

Hand Warm-Up

Open and close both hands loosely five times. Circle each wrist five times each way. Touch your thumb to each fingertip in turn. Shake the hands out.

Tune Your Guitar

Tune all six strings (EADGBE). Before you look at the tuner, guess: too low, too high or right? Then look.

Warm-Up

Without the pick, play the alternating-thumb pattern (Session 15) on Em and Am, 2 measures each, at 50 BPM, one note per click (quarter notes). Then, with the pick, play the C major scale (Session 14) ascending and descending at 45 BPM, two notes per click (eighth notes), with alternate picking. This activates both your fingerpicking and your flatpicking skills.

Then play “12-Bar in A” (Session 8) once round at 70 BPM, strumming D/U (down on the click, up between clicks).

Spider crawl: frets 3-6, one finger at a time, all six strings, up and down. Stop if it pulls or aches.

Mini-barre. Lay finger 1 across strings 2 and 1 at fret 1. Pluck string 2, then string 1. Release completely. 5 presses. Tuner check: C, then F. This is the top half of next week’s F chord.

Barre work: no more than 5 minutes a day in total. Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE.

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Segment 2 — Technique Focus: Hammer-Ons and Pull-Offs (10 minutes)

Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE.

Hammer-Ons

A hammer-on is when you play a note by tapping a fretting finger down onto a string that is already ringing, instead of picking it. The quick tap of the fingertip produces the sound — your picking hand does nothing.

How to do it:

1. Pick string 1 (high e) open. Let it ring.
2. While it is ringing, bring the fingertip of finger 1 (index) down quickly from just above the string, landing just behind the fret wire of fret 1.
3. The note should change from open E to F without you picking again.

In TAB, a hammer-on is shown with “h”:

e|------0---h1--|
B|--------------|
G|--------------|
D|--------------|
A|--------------|
E|--------------|

This means: pick the open string, then hammer on to fret 1. The h belongs to the number after it: h1 is “hammer onto fret 1”. Written tightly, the same thing is 0h1.

Hammer-On Exercise

At 60 BPM, one note per click (quarter notes):

e|------0---h1--0---h3--|---0---h1--0---h3--|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3   4
Pick:   D       D           D       D

Pick on beats 1 and 3 only. The notes on beats 2 and 4 are hammer-ons.

Finger guide:

• Fret 1: Finger 1 (index)
• Fret 3: Finger 3 (ring)

The hammered note should be clearly audible. On an acoustic guitar it will be a little quieter than a picked note, and that is correct. If it is faint, make the tap quicker and land closer to the fret.

Pull-Offs

A pull-off is the reverse: you pluck a fretted note by pulling your fretting finger off the string in a slight downward motion, allowing the open string (or a lower fretted note) to ring.

How to do it:

1. Press finger 1 on string 1, fret 1. Pick the note (F).
2. As you lift the finger, flick it slightly downward, towards the floor, so that it plucks the string. Keep the flick small.
3. The open E should ring — without your picking hand doing anything.

In TAB, a pull-off is shown with “p”:

e|------1---p0--|
B|--------------|
G|--------------|
D|--------------|
A|--------------|
E|--------------|

This means: pick fret 1, then pull off to open. Written tightly, the same thing is 1p0.

Between two fret numbers inside a TAB line, p means pull-off. In a Finger row under the TAB (p i m a), p means the thumb.

Pull-Off Exercise

At 60 BPM, one note per click (quarter notes):

e|------1---p0--3---p0--|---1---p0--3---p0--|
B|----------------------|-------------------|
G|----------------------|-------------------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3   4
Pick:   D       D           D       D

Pick only on beats 1 and 3. The pull-off produces the note on beats 2 and 4.

Combined Exercise — Hammer-On and Pull-Off

e|------0---h1--p0------0---h3--p0------|---0---h1--p0------0---h3--p0------|
B|--------------------------------------|-----------------------------------|
G|--------------------------------------|-----------------------------------|
D|--------------------------------------|-----------------------------------|
A|--------------------------------------|-----------------------------------|
E|--------------------------------------|-----------------------------------|
Count:  1   &   2       3   &   4           1   &   2       3   &   4
Pick:   D               D                   D               D

Pick on beats 1 and 3. Hammer on the “and,” then pull off on the next beat. This produces three notes from one pick stroke.

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Segment 3 — New Learning: The Am Pentatonic Scale (15 minutes)

What Is the Pentatonic Scale?

The C major scale has seven notes. The pentatonic scale has only five — it removes the two notes that create the most tension. The result is a scale that sounds immediately musical and is almost impossible to play “wrong.” Every note sounds good over the right chords.

Am Pentatonic — The Five Notes

The A minor pentatonic scale contains: A - C - D - E - G

Take the C major scale you already know (C, D, E, F, G, A, B), leave out F and B, and start on A: those are the five notes.

These five notes are the skeleton of blues, rock, and metal guitar. Every guitar solo you have ever heard — from Led Zeppelin to Metallica to Slash — uses some form of the pentatonic scale.

Am Pentatonic Scale, Open Position

The first pattern you learn sits in open position (the open strings plus frets 1 to 3):

String	Frets	Notes	Fingers
6	open and 3	E, G	none, 3
5	open and 3	A, C	none, 3
4	open and 2	D, E	none, 2
3	open and 2	G, A	none, 2
2	1 and 3	C, D	1, 3
1	open and 3	E, G	none, 3

The fret number is the finger number: fret 1 = finger 1, fret 2 = finger 2, fret 3 = finger 3. String 2 is never played open in this scale (open string 2 is B, which is not one of the five notes).

Guitar books and videos divide the pentatonic scale into five shapes called boxes. Most of them give the name Box 1 to the shape that starts at fret 5. The open-position pattern in this course is the shape they usually call Box 4, played twelve frets lower.

Full ascending TAB:

A minor pentatonic, open position: ascending (twelve notes)
e|----------------------|-------------------|-----------0---3---|
B|----------------------|-------------------|---1---3-----------|
G|----------------------|-----------0---2---|-------------------|
D|----------------------|---0---2-----------|-------------------|
A|--------------0---3---|-------------------|-------------------|
E|------0---3-----------|-------------------|-------------------|
Count:  1   2   3   4       1   2   3   4       1   2   3   4
Finger: -   3   -   3       -   2   -   2       1   3   -   3
Notes:  E   G   A   C       D   E   G   A       C   D   E   G

In the Finger row, a dash means an open string.

Full descending TAB:

A minor pentatonic, open position: descending (eleven notes)
e|------0---------------|-------------------|---------------|
B|----------3---1-------|-------------------|---------------|
G|------------------2---|---0---------------|---------------|
D|----------------------|-------2---0-------|---------------|
A|----------------------|---------------3---|---0-----------|
E|----------------------|-------------------|-------3---0---|
Count:  1   2   3   4       1   2   3   4       1   2   3
Finger: -   3   1   2       -   2   -   3       -   3   -
Notes:  E   D   C   A       G   E   D   C       A   G   E

When you play up and then down without stopping, the top G is played once: after it, carry straight on with the descending TAB, which starts on the open string 1. That is why the descending TAB has eleven notes. The last E lasts two beats.

The count shown is for quarter notes (one note per click).

How to Practise the Pentatonic Scale

Tuner check first: With your tuner in the mode that shows any note (often called chromatic), play the twelve ascending notes slowly, one at a time. The tuner should read E, G, A, C, D, E, G, A, C, D, E, G.

Step 1 — Ascending only, 40 BPM, one note per click (quarter notes): Say the note names as you play: “E, G, A, C, D, E, G, A, C, D, E, G.” Alternate picking throughout.

Step 2 — Ascending and descending, 45 BPM, then 50 BPM, one note per click (quarter notes): Go up and come back down without stopping.

Step 3 — With hammer-ons: On each string, pick the first note and hammer on to the second. On string 2 the first note is fret 1, held by finger 1, not an open string; keep finger 1 down while finger 3 hammers onto fret 3. Try this once or twice now, slowly and without the metronome. From your third practice day it becomes part of your daily scale practice.

A minor pentatonic with hammer-ons, going up
e|----------------------|-------------------|-----------0---h3--|
B|----------------------|-------------------|---1---h3----------|
G|----------------------|-----------0---h2--|-------------------|
D|----------------------|---0---h2----------|-------------------|
A|--------------0---h3--|-------------------|-------------------|
E|------0---h3----------|-------------------|-------------------|
Count:  1   2   3   4       1   2   3   4       1   2   3   4
Pick:   D       D           D       D           D       D
Notes:  E   G   A   C       D   E   G   A       C   D   E   G

Step 4 — With pull-offs (descending): On each string, pick the higher note and pull off to the lower one. On string 2, finger 1 stays down on fret 1 while finger 3 pulls off from fret 3. Here the top G is played, so there are twelve notes. Like Step 3, try it once or twice now and practise it from your third practice day.

A minor pentatonic with pull-offs, coming down
e|------3---p0----------|-------------------|-------------------|
B|--------------3---p1--|-------------------|-------------------|
G|----------------------|---2---p0----------|-------------------|
D|----------------------|-----------2---p0--|-------------------|
A|----------------------|-------------------|---3---p0----------|
E|----------------------|-------------------|-----------3---p0--|
Count:  1   2   3   4       1   2   3   4       1   2   3   4
Pick:   D       D           D       D           D       D
Notes:  G   E   D   C       A   G   E   D       C   A   G   E

Improvisation Introduction

Improvisation means making up melodies on the spot using scale notes. Start with one small task that you can check.

Use only three notes of the scale: A (string 3, fret 2), C (string 2, fret 1) and D (string 2, fret 3). A is the home note of this scale.

1. Set the metronome to 50 BPM. Play one note on each click, or let a note last for two clicks.
2. Make up a question: one measure (four beats) of A, C and D in any order, stopping on C or D.
3. Make up an answer: one more measure, ending on A.
4. Record the two measures on your phone and listen back once.

Tick list:

• I used only A, C and D
• It was two measures long (eight beats)
• The last note was A
• I finished with the click

Here is one example. Yours will be different.

Example: a question (measure 1) and an answer (measure 2)
e|----------------------|-------------------|
B|----------1---3---1---|---3---1-----------|
G|------2---------------|-----------2-------|
D|----------------------|-------------------|
A|----------------------|-------------------|
E|----------------------|-------------------|
Count:  1   2   3   4       1   2   3  (4)
Notes:  A   C   D   C       D   C   A

A number in brackets in the Count row, such as (4), is a beat where you play nothing new: keep counting and let the note ring.

If you like, first record four measures of the Am chord, strummed at 50 BPM, and play your question and answer over the playback. You will do much more improvising in Session 22.

Break: 5 minutes. Guitar down.

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Segment 4 — Melody Workshop: Question-and-Answer Study (15 minutes)

About This Piece

Piece: Question-and-Answer Melody Study (with a hammer-on and a pull-off)

Credits: Written for this course.

What it is: A melody exercise written for this course. It is not the tune of any film song. It uses the five notes of A minor pentatonic (A, C, D, E, G) plus the note B. Not yet play-tested.

For listening only: “Zindagi Kaisi Hai Paheli” sung by Manna Dey, from the film Anand (1971). Music: Salil Chowdhury. Lyrics: Yogesh. Listen to how the singer shapes each short phrase and leaves space after it. The study below is not that tune.

Tempo: In the session: slowly, without the metronome. On your practice days, follow the tempo steps in Step 4 below. End-of-week target: 60 BPM, two notes per click (eighth notes).

Picking: Alternate picking: down on the numbers, up on the ”&“s. A hammered or pulled-off note is not picked.

Melody TAB (four phrases)

Phrase 1: the question (measures 1 and 2)
e|------0---0---3---0-------------------|-----------------------------------|
B|----------------------3---1---0-------|-----------------------------------|
G|--------------------------------------|---0-------------------------------|
D|--------------------------------------|-----------------------------------|
A|--------------------------------------|-----------------------------------|
E|--------------------------------------|-----------------------------------|
Count:  1   &   2   &   3   &   4           1      (2)     (3)     (4)
Notes:  E   E   G   E   D   C   B           G

Phrase 2: the answer (measures 3 and 4)
e|--------------------------------------|-----------------------------------|
B|------0---1---3---1---0---------------|-----------------------------------|
G|------------------------------0---2---|---0-------------------------------|
D|--------------------------------------|-----------------------------------|
A|--------------------------------------|-----------------------------------|
E|--------------------------------------|-----------------------------------|
Count:  1   &   2   &   3       4   &       1      (2)     (3)     (4)
Notes:  B   C   D   C   B       G   A       G

Phrase 3: the question again, shorter (measures 5 and 6)
e|------0---0---3---0-------------------|-----------------------------------|
B|----------------------3---0-----------|-----------------------------------|
G|--------------------------------------|-----------------------------------|
D|--------------------------------------|-----------------------------------|
A|--------------------------------------|-----------------------------------|
E|--------------------------------------|-----------------------------------|
Count:  1   &   2   &   3   &  (4)         (1)     (2)     (3)     (4)
Notes:  E   E   G   E   D   B

Phrase 4: the answer, with a hammer-on and a pull-off (measures 7 and 8)
e|------0---h3--0-----------------------|-----------------------------------|
B|----------------------3---p0----------|-----------------------------------|
G|------------------------------0-------|-----------------------------------|
D|--------------------------------------|-----------------------------------|
A|--------------------------------------|-----------------------------------|
E|--------------------------------------|-----------------------------------|
Count:  1   &   2       3   &   4          (1)     (2)     (3)     (4)
Notes:  E   G   E       D   B   G

How to read it:

• A number in brackets in the Count row, such as (2), is a beat where you play nothing new: keep counting and let the last note ring. Measures 6 and 8 have no new notes at all.
• A gap in the Count row (for example after the 2 in Phrase 4) works the same way: play nothing new and keep counting.
• h3 = hammer-on: do not pick; hammer finger 3 onto fret 3.
• p0 = pull-off: do not pick; pull finger 3 off so the open string sounds.

Finger guide:

• String 1: open = E; fret 3 = G, finger 3 (ring).
• String 2: open = B; fret 1 = C, finger 1 (index); fret 3 = D, finger 3 (ring).
• String 3: open = G; fret 2 = A, finger 2 (middle).
• Phrase 4: pick string 1 open, then hammer finger 3 onto fret 3 without picking; lift the finger and pick the open string again; pick string 2 at fret 3 (finger 3), then pull the finger off so the open string sounds; finish on string 3 open.

Structure of the Study

Phrases 1 to 4, two measures each: eight measures in all. Play the eight measures once. The last note (the open string 3 in measure 7) rings to the end of measure 8.

How to Learn This Melody

Step 1 — Phrase by phrase: Learn each phrase separately. Play the notes slowly without a metronome. Say the note names.

Step 2 — Connect the phrases: Play Phrase 1 → Phrase 2 without stopping. Then add Phrase 3. Then Phrase 4. Build up gradually.

Step 3 — Add the hammer-on and the pull-off: Phrase 4 includes a hammer-on (0h3 on string 1) and a pull-off (3p0 on string 2). With them the melody flows instead of sounding choppy.

Step 4 — Build the tempo on your practice days: Start with the metronome at 60 BPM and play one note on every click, so that each click is one eighth note of the TAB. At this stage every measure is eight clicks: each number in the Count row is the first of two clicks, and an ”&” is the second. Where a number has no ”&” after it, let the second click go by. On a number in brackets, play nothing new on either of its two clicks. Go up to 100 BPM in fives. Then set the metronome to 50 BPM and play two notes per click (eighth notes), counting “1 & 2 & 3 & 4 &”: this is exactly the same speed as one note per click at 100. Then 55 BPM, then the end-of-week target: 60 BPM, two notes per click, all eight measures without stopping. Keep counting through the quiet measure at the end of each phrase.

What it should sound like: Two questions and two answers, each followed by a measure of space. Check it three ways. Count check: all eight measures, twice in a row, without stopping. Click check: you finish with the click. Recording check: record it once and listen for one thing, that the hammered G and the pulled-off B in Phrase 4 can both be heard. They will be a little quieter than the picked notes, and that is correct.

Performance Notes

• The hammer-on in Phrase 4 should sound smooth and connected — the note flows from open E into G without a harsh attack.
• Play each phrase slowly first, then sing or hum it, then play it again.
• The study uses E, G, D, C and A from the Am pentatonic scale, plus B, which is not in it.

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Segment 5 — Review and Practice Plan (5 minutes)

This session has more new material than most. If your end-of-week check is not all ‘yes’ after one week, take a second week on this session before you move on. The course then takes a week longer, which is normal.

What You Learned Today

• Hammer-ons and pull-offs — legato techniques for smooth, connected playing
• The A minor pentatonic scale in open position: A, C, D, E, G
• Why the pentatonic scale is essential for rock, blues, and melodic playing
• A first improvising task with three notes of the scale
• A four-phrase melody study with a hammer-on and a pull-off

Common Mistakes

1. Weak hammer-ons — The hammered note should be clearly audible. On an acoustic guitar it will be a little quieter than a picked note, and that is correct. If it is faint, make the tap quicker and land closer to the fret.
2. Pull-offs that sound dead — You must flick your finger slightly downward (towards the floor) as you lift it, plucking the string. Simply lifting your finger produces a very quiet note.
3. Confusing Am pentatonic with C major scale — The Am pentatonic has only 5 notes (A, C, D, E, G). The C major scale has 7 (C, D, E, F, G, A, B). The pentatonic is a subset — it removes F and B.
4. Rushing through the pentatonic scale — Use a metronome. Every note should be even. Speed comes from accuracy, not from rushing.
5. Not humming the phrase — Play each phrase slowly first, then sing or hum it, then play it again.

Self-Check Questions

1. Can you play the A minor pentatonic scale in open position, ascending and descending, at 55 BPM, one note per click (quarter notes)? Check: three times in a row with no wrong note and no stop. If not: go back to 50 BPM for two days, then try again.
2. Can you play a hammer-on from open to fret 3 on string 1 that is loud enough to hear clearly? Check: five in a row. If not: repeat the Hammer-On Exercise, tapping quicker and closer to the fret, and try again the next day.
3. Can you play a pull-off from fret 3 to open on string 1 that is loud enough to hear clearly? Check: five in a row. If not: repeat the Pull-Off Exercise with a small flick towards the floor, and try again the next day.
4. Can you name the five notes of A minor pentatonic and say which two notes of C major it leaves out? (A, C, D, E, G; it leaves out F and B.) If not: read “Am Pentatonic — The Five Notes” in Segment 3 again and try again the next day.
5. Can you play all four phrases of the melody study (eight measures) at 60 BPM, two notes per click (eighth notes), with the hammer-on and the pull-off sounding clearly? Check: twice in a row without stopping, finishing with the click. Recording check: record one run and listen for one thing. Can the hammered G and the pulled-off B in Phrase 4 both be heard? If not: go back to 50 BPM, two notes per click, for two days, then try again.

Practice Plan for Week 16 (each practice day, 30 minutes)

Block	Time	Activity
Warm-Up	3 min	The warm-up from this session’s Segment 1, then tune. On practice days that means the hand movements, “12-Bar in A” once round and the spider crawl; the other warm-up items have their own rows below
Mini-Barre	1 min	Mini-barre: 5 presses. Finger 1 across strings 2 and 1 at fret 1; pluck string 2, then string 1; release completely
Hammer-On/Pull-Off Drill	4 min	On strings 6, 5 and 1: 0h3 and 3p0. On strings 4 and 3: 0h2 and 2p0. Leave string 2 out of this drill: in the scale it is never played open. 4 reps each. Aim for a quick tap close to the fret and a clear second note, not for force. Repeat until the time is up
Am Pentatonic Scale	6 min	Ascending and descending at 50 BPM, then 55 BPM, one note per click (quarter notes). 4 times at each tempo. From the third practice day, add hammer-ons ascending and pull-offs descending at 50 BPM, 4 times
Melody Study	7 min	Phrase 4 alone, 5 times. Then all eight measures, following the tempo steps in Segment 4 (Step 4) toward 60 BPM, two notes per click (eighth notes). Repeat until the time is up
C Major Scale Maintenance	3 min	Ascending and descending at 45 BPM, then 50 BPM, two notes per click (eighth notes). Keep both scales in your fingers. Repeat until the time is up
Fingerpicking Maintenance	2 min	Alternating-thumb pattern on Em and Am, 4 measures each at 50 BPM. Repeat until the time is up
Strumming Maintenance	2 min	Syncopated pattern (Session 13) on G, Em, C, D, one measure each, at 65 BPM, twice round. Repeat until the time is up
Improvising Task	2 min	The question-and-answer task from Segment 3 at 50 BPM: make up a new question and answer, record it, and tick the four points. From the third practice day, add E (string 1, open) as a fourth note

Barre work: no more than 5 minutes a day in total. Pain rule: tender fingertips are normal. Pain in the wrist, forearm, thumb joint or knuckles, numbness or tingling, any sharp pain, or pain that lasts into the next day means stop. The full rule is in START HERE. The Mini-Barre row is your barre work for the day.

This is your plan for the whole week. The end-of-week check is in Weekly Plans Phase 3 4, Week 16.

Guitar Tip — Saga SF-600C-BK

Hammer-ons and pull-offs require the string to sustain (ring) long enough for the second note to sound. Your Saga’s dreadnought body helps here — the large resonating chamber gives steel strings excellent sustain, meaning notes ring longer than on a smaller guitar. This makes hammer-ons easier because the string is still vibrating when your finger arrives. If you notice that some hammer-ons sound faint, the answer is a quicker tap that lands closer to the fret wire, not more force.

After the session (not part of the 50 minutes)

• Read: Scales Pentatonic, the sections “What You’ll Learn” and “The Concept Explained”, then answer the Quick Quiz. The last part of “The Concept Explained”, headed “Going Further: Why It Is Called “Minor” (Optional)”, can wait. Do this today or before your first practice day; it does not come out of your practice minutes. (10 minutes)
• Record: this week’s ear check. Mark it on any later practice day. Use the recorded card test (Session 6), Test 3, play it back. Write six slips, each with a three-note phrase of your own on strings 1 and 2, using only E (string 1 open), F (string 1 fret 1), G (string 1 fret 3), B (string 2 open), C (string 2 fret 1) and D (string 2 fret 3). Play each phrase twice, slowly. Next day: listen to both playings, then play the phrase; turn the slip and compare the strings and frets you played with the slip. Right only if every note matched. Pass: 4 of 6. (3 minutes)
• Optional: Hindi Film Melodies, the three melody patterns under “Essential Patterns” and the two pieces you already know, “Arrangement 1 — “Mere Sapno Ki Rani”: opening lines (simplified, in A minor)” and “Study 1 — Question-and-Answer Melody Study”. Leave “Study 2 (From Session 21) — Showcase Study in A minor (melody)”: it uses slides, which are taught in Session 21. It is not part of the practice plan. (15 minutes)