Here's a small excerpt from one of the pages of
LEARNING TO IMPROVISE
We're discussing minors as tone collections for improvising.......
So, let's look at a minor at 2. In the key of G, this would be Ami. We have three scales we can consider as tc's for minor - the major, but played as Dorian, 2 to 2, or as shown here, A to A in the key of G (1,2) the melodic minor (3,4) and the harmonic minor (5,6).
Below is the A melodic minor chord scale. This is a drop 3 chord scale, so no notes appear on the fifth string. They are of course the same as two frets up on the third string. If you don't know the melodic minor scale everywhere it can be played in any key, it's a very good thing to work on. Usually creating scale fingerings around the chords is the most helpful.
Below is the A melodic minor 'whole neck scale with the roots depicted in red.
Below is a linear and fingerstyle treatment of a common chord progression using altered sevenths - there are about 150 notation examples including about 50 of these outlining common progressions in many standards......
Direct Substitution at 2
The following chord progression makes use of a dominant at 2 - essentially it's. 1maj7 - 2dom7 - 2mi7. This is a common progression, usually seen in the opening bars, but is also stated frequently as 6m7 -2dom7 in the last few bars of some songs. We'll have a look at the progression at different positions on the guitar. The motifs generated will be from Fmaj tc at 1 and from D major (as G mixolydian) and D melodic minor. This provides us with a #11 and natural 9th as upper structure to the 2 chord
This progression begins such songs as Girl From Ipanema,
Take The A Train, Exactly Like You, Peg O' My Heart, and many others. In
the 6mi to 2dom7 form, it's in such songs as My Funny Valentine, or bars 11 12
13 14 of All of Me, and in many other places in 
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-Clif
