We now need to firmly cement and internalise this knowledge so that
moving between intervals becomes almost second nature.
This will have a profound effect on your ability to move fluidly over
the guitar neck and instantly connect elements such as chords,
arpeggios and scales.
By spending time on this stuff, you'll already know more than 90%
(probably higher) of guitarists out there.
Following the guitar interval practice techniques in this lesson will
prepare you in the best possible way for learning other elements of
Practicing composite guitar intervals
In previous lessons, we've been moving between two notes - a
starting note followed by an interval degree.
Once you're confident with moving between two notes like this, the next
logical step is to create sequences of two or three intervals
and move between them.
So instead of 1
- b3 ...
We could play 1
- b3 - 5 or
- b3 - b7
What this does is train your eyes and ears to see and hear intervals in
relation to other neighbouring
intervals related to the same root/starting note.
For these examples, I'm going to use the starting note of A.
But remember, just as with the charts in the previous lessons, these
interval units/clusters are movable
in their fixed formation and relative
to your chosen starting (1)
What I find useful is to complete each cluster both by ending on the
2nd interval and ending on the octave of the starting note. This helps
train your ear to hear unresolved and resolved sequences (the resolved
being that which ends on the root).
Simply click the
interval sequences from the list below to see
them appear on the
browsers support it).
every combination is covered there, but you get the idea. Take two
intervals in relation to starting note and try moving between them,
observing how each interval relates to the position of the other across
An awkward inconsistency is the relationship between the G and B
strings, as they are tuned differently to the E-A, A-D, D-G and B-e
strings. So while you may see reoccurring patterns on the latter
strings, the G and B relationships can be seen as one fret difference.
Don't just play from the 1 note either, try moving from the highest
interval ending on the root. You could call this a descending interval
Try different root notes. The above examples started on A.
Even though the interval relationships are exactly the same no matter
where you start, being able to see them in different positions of the
fretboard will avoid any confusion in sharp or flat keys.
Try adding another interval to the sequence. For example 1 - b3 - #4 -
The more you play around with different combinations, the more you will
be able to pick up these relationships in music by ear. This leads to
anything from knowing which notes to use in a solo to being able to
play chord progressions in different keys.
Intervals between composite intervals
This knowledge is not as important, but useful to at least be aware of!
If you take two intervals, you can see them as intervals in relation to
a root, but you can also see them as intervals in relation to each other. The most
commonly referenced intervals between two notes are minor 3rds and
major 3rds (two intervals you should know pretty well by now!)
b2 - 3
b2 - 4
2 - 4
2 - #4
b3 - b5
b3 - 5
3 - 5
3 - #5
So if we saw the relationship 1 - b3 - b5 we'd know it's a
sequence of two minor
Similarly, 1 - 3 - #5 is a sequence of two major 3rds.
1 - b3 - 5 = Minor 3rd + Major 3rd
1 - 3 - 5 = Major 3rd + Minor 3rd
Incidentally, those four relationships make up the four types of triad,
which we'll explore in later lessons.
So return to the diagram from earlier and you have yet another way to
your knowledge of these interval sequences.
That's it for the series! If you've followed the lessons closely and
spent time practicing what you've learned, you will have laid the solid
foundations for becoming a confident, unrestricted and intuitive
guitarist. These three qualities stem from a good knowledge of