Let’s take our fingerboard knowledge to the next level, as we immerse ourselves into the organization of notes on our fingerboards.

INTERVALS

In contemporary music, we won’t hear too many musicians communicating with each other with lines like, “...and when we get to that unison line, we all need to play ‘do- re - mi....’.” Instead, most modern music uses a numeric system based on intervals, which essentially describe/quantify the difference in pitch between any two notes. Memorizing the intervals is one of the most important things we can do to develop our fluency on the instrument, as well as our ability to verbally convey musical ideas to others. Many of you might already be familiar with intervals, but let’s take a moment to ensure that we’re all on the same page.

It’s not uncommon to hear the terms “interval” and “scale degree” used interchangeably, primarily because of the fact that the terms are frequently redundant in practice (the 3rd degree of the major scale is a 3rd relative to the root, the 6th degree of the major scale is a 6th relative to the root, etc.). Just bear in mind that the term “interval” is making specific reference to the relationship between 2 notes, while the term “scale degree” refers to a particular note relative to its scale position.

As we previously covered (Lesson 3), the C major scale is C-D-E-F-G-A-B-(C). In terms of scale degrees, it would be defined as 1-2-3-4-5-6-7-(8). Intervallically, the 2nd degree (D) is a 2nd relative to the root (C), the 3rd degree (E) is a 3rd relative to the root, etc. The interval system is based upon the relationship of notes within the major scale. Deviations from the major scale would be identified as appropriate (e.g., b7, #4, etc.).

For purposes of initially memorizing these intervals, please adhere rigidly to the scale position addressed last issue (C & D played on A string / E, F & G on D string / A, B & C on G string).

EXERCISE 1

Let’s go back to that C major scale again. Play the C (3rd fret, A string), then the G (5th fret, D string). As you can see, that would be the 1st (root) and the 5th, respectively. Take a good look at the relationship between those notes, and memorize it. I refer to that shape as the “5th above” (in a moment, you’ll see why I clarify above vs. below).

You’ll see that on our wonderfully consistent and logically-tuned instruments (guitarists may once again turn green with envy), that shape can be transposed anywhere on the fingerboard. No matter what note the lower note is, the higher note will always be the “5th above”. This is an important point: those interval shapes are not bound exclusively to the C major scale. If we transpose the aforementioned shape of the “5th above” to the A major scale (play the A at the 5th fret of the E string), we’ll find that E (7th fret, A string) is the “5th above” relative to A. Make sense?

Video Exercise 1

 

EXERCISE 2

Go through the C major scale and memorize the shape of the “2nd above”, “3rd above”, etc....all the way through the “7th above”. Transpose each of those shapes all over the fingerboard to help reinforce them in all keys.

Video Exercise 2

 

EXERCISE 3

You’ll find it incredibly helpful to have a couple of different options relative to playing these intervals. It really helps tie the fingerboard together, and consequently helps avert potential train wrecks when you’re playing your favorite pattern down near the nut and suddenly realize that your target note is below the nut! Memorize the following intervallic shapes (now in the key of D).