Intervallic Guitar - Diatonic & Chromatic Intervals


Lesson Subject Lesson Sample Teacher: Hi everyone. More 'Intervallic Guitar' tonight. Lesson Jam Track Teacher: To recap, we defined intervals as the distance between two notes. We name them using the major scale. C Major Scale - Single String and in Position Teacher: A little Latin flavor for the jam track tonight. Teacher: The progression uses all chords with notes from the C major scale so it will work nicely for our examples. Jam Track Chords Teacher: Here are the chords for the progression Teacher: Fret all five strings from the start. Use the right hand to bring out the different strings. Teacher: So, back to our Major Scale example. Root note to the 2nd tone = 2nd interval. Root note to 3rd tone = 3rd interval. Etc. Teacher: However, there are other intervals within the octave than are named by the Major scale. Teacher: These are Chromatic intervals. By raising or lowering notes of the Major Scale we get these. Teacher: Here are these pairs of notes. Chromatic Intervals - Unison to Octave Ralph: File stated it was corrupt. Played back fine, but on load there was a 'Tab File Corrupt' Error dialog Support: you can ignore it, it still works Teacher: Now we can name all our distances within an octave. As the neck shows, usually we just say flat 5, sharp 4 (b5,#4). Teacher: There are correct terms for these Chromatic intervals. Just as we say last week there are Major and Perfect intervals within the scale. Teacher: These Chromatic intervals are Minor, Diminished and Augmented. They follow a naming convention. Interval Naming Teacher: If a Major intervals is lowered a 1/2 step it is then called Minor. ie: Major 3rd becomes Minor 3rd. Teacher: Perfect and Major intervals raised a 1/2 step become Augmented. ie: Perfect 4th becomed Augmented 4th. Teacher: Perfect or Minor intervals lowered a 1/2 step become Diminished. ie: Perfect 5th becomes Diminised 5th Teacher: These intervals exist within the Major scale. For instance the distance between the 2nd note of the scale and the 4th is a Minor 3rd rather than a Major 3rd. Teacher: This is important to work out as we will try some patterns and licks, trying to keep them 'in key'. Diatonic vs. Parallel Intervals Teacher: Here are two interval approaches with 3rds. The first parent of the tab uses 3rds staying in the parent C major scale. Called 'Diatonic' Teacher: I notice a mistake. 3rd pair in on the 3rd string should be 9th fret Teacher: The second half uses the same interval of a Major 3rd throughout. Notice how this ends up adding notes outside of the scale as a result. Parallel Intervals over Jam Track Teacher: This would be called a Parallel interval approach Teacher: Here are two samples over the jam track. Notice the difference in sound Diatonic Intervals over Jam Track Teacher: The Parallel tend to sound out, Diatonic more smooth and 'inside' or 'in Key' Teacher: Because of this the rest of the example tonight will focus on keep our interval patterns diatonic. Teacher: On a later lesson we will exploit the particular sound of parallel intervals. C Major Scale - 8th Position with scale tones Teacher: Here is a C major scale pattern for most of the licks that follow. C Major Scale - 8th Position Teacher: A very usable and popular sound is that of 3rd intervals. Teacher: Here are melodic 3rd intervals worked ascending through this scale pattern. 3rd Intervals - Ascending Teacher: The idea is starting on the root - play its 3rd interval. Next play the 2nd tone - play its 3rd interval. And so on up the scale. Teacher: Is it clear how we got the pattern? Teacher: Good. Teacher: Here is the same pattern in the descending direction Sound Clip 5 3rd Intervals - Descending Teacher: These two would be the most common. Interval going up as the lick goes up. Interval going down as the lick goes down Teacher: But try these other two as well. Interval going down as the melodic line goes up. Descending Interval - Ascending Line Teacher: And interval going up as the melodic line goes does down Ascending Interval - Desceding Line Teacher: Fourth intervals are particularly challeging to play because so many of the string changes use notes at the same fret as the previous note 4th Intervals - Ascending 4th Intervals Teacher: I will add the videos for all the licks to the archive. Here is one for the fouths Teacher: Try it as I showed with the 3rds. Descending - interval down, line up - interval up, line down Teacher: Also try to work out these patterns 'up the neck' as well as 'across the neck'. '5th's Lick' Ascending Neck Teacher: Here is a lick using 5th intervals going up the neck. Teacher: Notice its mix of ascending and descending 5ths as the line as a whole keeps going up. '5th's Lick' Ascending Neck Teacher: The same lick could be played across the neck, or in position. '5th's Lick' Across Neck Teacher: As the intervals get wider this makes for some interesting and difficult picking patterns. Teacher: Great work if you think you can cruise through your Major scales with the metronome at maximum. '5th's Lick' Across Neck 6th Intervals - Ascending dom: lol, no chance Teacher: All with practice. And the last pattern tonight is in 6th intervals. Teacher: Very melodic to. Notice that a 3rd + a 6th gets you an octave. This relationship names them as inverted intervals Teacher: The will share a similar sound. 4th + 5ths the same. As are 2nd + 7th intervals. 6th Intervals Teacher: Lots of work here. I'll leave to you guys to explore the 7th interval and octave patterns Teacher: Have a great week. Maybe some application of intervals to our chord work and rhythm guitar next time dom: yes, I will review it all again Ron: thanks for the lesson bart: thanks teacher, good lesson Teacher: You're welcome bart: I learned a lot today Stratman: thanks	<< load notation from left
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