Re: Learning intervals across the strings

On Jun 4, 5:38 pm, Richard Spross <rcspr...@xxxxxxxxxxx> wrote:
edspyhil...@xxxxxxxxx wrote:
I was at t workshop Saturday and the teacher said we should learn all
the major scale intervals across the strings.

Remember, scales can be played on single strings, adjacent
strings, three adjacent strings and four adjacent strings
to the octave.

I started writing out
the 2nd intervals on adjacent strings in notation. I would like to
get better at recognizing intervals on the paper.

What strategies have worked for you when learning the intervals,
including the 9th, 11th, etc wider intervals?
Ed S.

Sorry I sort of started from the beginning below.
See my comments about knowing the octaves locations and
relative roots to answer the above.



Here's some useful information Ed.
All intervals using adjacent strings have the smallest
intervals to the left side of a fixed point on the fingerboard.

So for example if one fingers b flat on the sixth string fifth
fret, then the smallest interval would be a six string stretch
to play the unison between b flat on the fifth string and
b flat on the sixth string. Now notice how the intervals
advance, b flat to b natural equals a minor second,
b flat to c equals a major second, b flat to d flat equals
a minor third, b flat to d equals a major third, b flat
to e flat equals a Perfect fourth. Okay now you have arrived
at the same fret ( VI ) opposite the b flat. Now everything
to the right of b flat continues the upward range of intervals

So you get b flat to e an augmented fourth, b flat to
f a Perfect fifth, b flat to g flat a minor sixth,
b flat to g natural a major sixth, b flat to a flat which
can now be found on the sixth fret fourth string, a minor
seventh ( usually referred to as dominant seventh ) and
b flat to a, a major seventh and finally b flat to b flat
an octave.

All the higher intervals can be built above the octaves
If one wants to find the intervals to the left of b flat,
but using a four string fingering it is easily worked out.

Where it gets complicated is when one starts with an inversion.
To make that work one needs to be able to identify where
the root of the chord is and then one will be able to locate
where the added embellishing tones can be inserted.

I know I've kind of gone really fast here at the end but it
should keep you occupied for a while.

Regards,
Richard Spross

sort of know this as theory. From playing bass I can find the 5th,
6th, b6th, 7th, b7th. I would like to move on from knowing the
generic patterns to knowing what the intervals look like notated AND
how that relates to the guiyat neck.

I'm going to reread all the responses and work out some initial
exercises.

Thanks,

Ed S.

.

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