In the lesson on guitar
interval basics, we were introduced to
the primary building blocks of music - half steps and whole steps.
These are the smallest intervals on guitar, and they give us the
formula around which scales are constructed.
We're now going to look at larger
intervals - groups of half and whole
steps that create larger distances between two notes.
So we have a
starting note > interval > target note.
These larger intervals are referenced in both chords and scales, so
understanding them will help you connect these two elements - important
for improvisation and reducing the amount of unnecessary "trial and
error" time spent creating meaningful music. Plus, as you'll discover, it'll help tremendously with learning music by ear.
Deriving Intervals From The Chromatic Scale
The chromatic scale consists of the twelve
notes of the musical
alphabet, and therefore the entire twelve notes on the guitar.
While these 12 notes can be given alphabetical names
(e.g. A - G) they can also
be assigned a numerical
interval value, depending on their position in the scale...
Each interval represents a degree
in the chromatic scale, starting with
We can start the chromatic scale on any of the 12 alphabetical notes
interval sequence continues from that note in a consecutive series of half steps
(three starting note examples are given in the table below -
C, D and E)...
Chromatic Scale Intervals
Don't worry about whether you use a sharp (♯) or flat (♭) on a
given degree. This becomes clearer when you start to learn scales. Just
be aware that, in the twelve-tone scale, we have seven "natural" degrees
(1, 2, 3, 4, 5, 6, 7) and five sharp/flat degrees (those in between
this chromatic scale, no matter which note you start from, cycles
through every note we will ever use on guitar.
It's the countless combinations of movement between these notes that build
chords and scales and dictate how our music sounds.
Even chord changes can be thought of as moving in intervals. For example, the movement from C major to E minor can be heard as a major 3rd movement, because the bass notes of C - E are a major 3rd apart.
Also in the table below, you can use the audio player to hear how each interval sounds in relation to
starting note, first as two cleanly separate notes, then overlapped.
This will help train your ear to the interval sounds.
need to hear the "perfect unison" interval as the starting and target
note are the same! It's not strictly an interval in that sense.)
Half/Whole Step Space
Augmented Second Minor Third
W W H
Augmented Fourth Diminished Fifth
W W W
W W W H
Augmented Fifth Minor Sixth
W W W W
W W W W H
Augmented Sixth Minor Seventh
W W W W W
W W W W W H
You'll notice some of the names are inconsistent. For example, there's
no such thing as a "minor 5th". We instead call it a "diminished 5th".
Don't worry about why this is for now. Just
learn to associate the interval name with its symbol and sound.
You'll also notice that some degrees share the same interval formula.
Namely ♯2/♭3, ♯4/♭5, ♯5/♭6 and ♯6/♭7. These are known as enharmonic pitches,
meaning they produce the same
sound. But they are given different names
depending on how they fall in a scale or key, i.e. the context in which
Again, not something you need to concern yourself with right now! Just
know that there are seven natural intervals and
five sharp/flat intervals and internalize their sound.
Visualizing Intervals On The Guitar
While the above is useful for understanding intervals in a pure musical
sense (regardless of instrument), we need to be able to transfer this
knowledge on to the guitar fretboard.
The easiest way to do this is to start with a single string on your
guitar. Let's start with the low E, 6th string.
So our starting note (1)
will be E
and each fret will represent a
degree of the 12-tone chromatic scale, and therefore an interval in
So from the open string to 12th fret octave, we have the twelve intervals from earlier laid out in sequence
We could do exactly the same starting from the open A,
or high e
strings. The interval sequence would be exactly the same, but each
interval would be voiced in relation to a different root (1) note.
In other words, intervals
are relative to the root/starting note. This is known as relative pitch - an ear skill you will develop over time.
You can use this single string visualization to further aid your ear
training exercises. Choose a random interval in your head and see if you
can play it at the correct fret.
For example: 1 - ♭3, 1 - 3, 1 - ♯4, 1 - 6 etc.
The more you test yourself, the more you'll internalize this knowledge.
The benefits of being able to identify intervals by ear and fret will
be fully realized when you start to learn chords and scales. Even chord
progressions in a song can be thought of as moving in intervals.
Aim to get to the stage where you can hear these
your head and you'll open the door to some powerful skills on
In the next part, we'll look at visualizing intervals across more than
one string - the logical next step towards seeing patterns across the entire fretboard.
Think of this as a head start that will make learning other elements
(chords, scales, arpeggios) so much easier.
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