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Diatonic Intervals (Guitar Lesson)


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Matt Brown

Diatonic Intervals

Matt Brown demonstrates how to play all seven of the diatonic intervals within the framework of a horizontal major scale.

Taught by Matt Brown in Rock Guitar with Matt Brown seriesLength: 23:01Difficulty: 1.5 of 5
Lesson Overview

This lesson addresses technical and theoretical concepts similar to the concepts discussed in Lesson 15. If you are still confused about any of the information presented in lesson 15, be sure that you write in for extra help. The current lesson is taught with the assumption that you have a firm understanding of the materials presented in this past lesson.

Just like lesson 15, each of the diatonic intervals are played within the framework of the major scale. The scale is first played using ascending and descending diatonic third intervals. Then, the process is repeated with diatonic fourths, fifths, sixths, sevenths, and octaves. In lesson 15, these intervals were played within a vertical major scale pattern. Specifically, the C major scale pattern in seventh position was used. Now however, the exercise is played within the framework of a horizontal major scale.

For the purpose of this lesson, all intervals are played within the C major scale. The key of C is a logical place to start this type of practice since it contains no sharp or flat notes. Consequently, it is slightly less challenging to determine the interval distance between each note.

Lesson Objectives

Practicing scales in diatonic intervals accomplishes several important technical and musical purposes.

-The exercises in this lesson will increase your overall knowledge of the fretboard and your awareness of the relationship between notes on adjacent strings. It is impossible to play through the exercises by using memorized, visual fretboard patterns. Instead, you must have a firm understanding of how each diatonic interval is formed and how to find each interval on the fretboard.

-By practicing wide intervals within a scale, technical issues such as alternate picking, string crossings, and economy of movement are addressed.

-Beginning and intermediate guitarists often avoid large melodic leaps when playing a solo just because they are technically challenging. This is never an acceptable reason not to pursue something.

-In addition, beginners stray from using large intervals since they are difficult to use effectively. This is due to a lack of proper ear training. Playing through the exercises in this lesson will train your ears to identify the sound of each diatonic interval. Ear training skills inevitably improve one's ability to improvise and play solos. Knowing what each interval sounds like will give you more control over how you express yourself, because you will have a solid idea of what a musical idea sounds like before you even physically play it. Simply put, you must be able to recognize what a certain interval sounds like before you play it. Otherwise, you are simply guessing or connecting the dots as you improvise. As you become more comfortable with the exercises in this lesson, train yourself to recognize the sound of each specific interval.

-Many players get locked into playing small intervals such as seconds and thirds in their solos. This greatly limits the melodic possibilities available. Larger intervals occasionally must be used in order to add variety. The exercises in this lesson will get your fingers and ears acquainted with diatonic intervals of all sizes.

Musical Intervals

There are 7 basic types of intervals that occur within a diatonic scale. Each of these seven types are then broken into two sub-categories. Study the interval types and their subcategories listed below.

A. Seconds

1. Minor Second - 1 half step or the distance from one fret to the next.

Within the C major scale, minor seconds occur between the notes E and F as well as B and C.

2. Major Second - 1 whole step or two frets away.

The major second intervals within the C major scale are listed below.

C to D
D to E
F to G
G to A
A to B

B. Thirds

1. Minor Third - 3 half steps or three frets away

D to F
E to G
A to C

2. Major Third - 2 whole steps or four frets away

C to E
F to A
G to B

C. Fourths

1. Perfect Fourth - 2.5 whole steps or five frets away

C to F
D to G
E to A
G to C
A to D
B to E

2. Augmented Fourth - 3 whole steps or six frets away*

F to B

D. Fifths

1. Diminished Fifth - 3 whole steps or six frets away*

F to B
B to F

2. Perfect Fifth - 3.5 whole steps or seven frets away

C to G
D to A
E to B
G to C
A to D

*Notice how the augmented fourth and the diminished fifth span the same distance.

E. Sixths

1. Minor Sixth - 4 whole steps or eight frets away

E to C
A to F
B to G

2. Major Sixth - 4.5 whole steps or nine frets away

C to A
D to B
F to D
G to E

F. Sevenths

1. Minor Seventh - 5 whole steps or ten frets away

D to C
E to D
G to F
A to G
B to A

2. Major Seventh - 5.5 whole steps or 11 frets away

C to B
F to E

G. Octaves

An octave is 6 whole steps or 12 frets away. Unlike the other intervals, there is only one kind of octave. The octave is frequently referred to as a "perfect octave."

Note: There are a few additional intervals that occur rather infrequently in music. These intervals will be discussed in later lessons.

Diatonic 3rds - C Major Scale

Note:
Tablature and standard notation to all lesson exercises can be found under the "Supplemental Content" tab.

Any horizontal, diatonic scale pattern can be played using a specific interval type. Since minor and major thirds are relatively small intervals, they can be played on each pair of adjacent strings.

Watch and Learn

Watch as Matt plays through the scale in diatonic thirds at 01:05 in Scene 2. When practicing scales in this manner, always begin with the lowest available diatonic third interval. More often than not, each interval exercise will begin with a note other than the root of the scale. This may feel awkward for your fingers and sound awkward to your ears if you are not used to practicing in this manner. Continue to ascend through each set of diatonic thirds until you reach the higher octave of the pair that you started with. You may continue to ascend the scale, or you are free to stop at this point. Finally, descend back down the scale. Always pick the note higher of the two notes in each pair regardless of whether you are ascending or descending through the scale.

Demonstrations

Thirds - Scene 2
Fourths - Scene 3
Fifths - Scene 4
Sixths - Scene 5
Sevenths - Scene 6

Practice Guidelines

1. Practice all exercises at a very slow tempo. Speed is completely irrelevant to these exercises! Playing along with a metronome set to a slow tempo will prevent you from trying to play too quickly.

2. Play the diatonic intervals on all available pairs of strings. For example, play diatonic thirds on the 1st and 2nd strings. Then, repeat the process with the 2nd and 3rd strings, the 3rd and 4th, 4th and 5th, and the 5th and the 6th.

Due to their size, sixths, sevenths, and octaves cannot be played on adjacent strings. For these intervals, a string must be skipped over.

3. Play all exercises using strict alternate picking. Begin the alternating pattern with a downstroke.

4. All technical exercises must be played musically. Play these exercises as though you are performing a beautiful melody. Remember that the way in which you practice scales and other technical exercises has a direct effect on how you perform a piece of music.

Technical Issues

When playing diatonic thirds, fourths, and sevenths, some difficult technical issues arise. These intervals are frequently played on different strings at the same fret. When this occurs, a "finger roll" must be performed.

Note: The following information about finger rolls is taken from Matt's Phase 2 Reading Music and Rhythm Series. For additional information, check out lesson 5 from Dennis Hodges' Phase 2 Lead Concepts & Techniques series.

Finger Rolls

A finger roll must be performed whenever two consecutive notes are played at the same fret but on different strings. The way in which you fret the initial note must change when this technique is applied. When rolling to a lower string, fret the first note more with the fleshy pad of the finger so that the tip can easily roll to the next note. When rolling to a higher string, the opposite approach must be taken. Fret the first note with the very tip of the finger. Then, slightly flatten out the tip joint so that the pad of the finger frets the second note. When performing a roll, the melody must remain smooth and connected. However, both notes should not ring over top of one another.

Additional Practice

Apply the exercises to all of the horizontal diatonic scale patterns that you know. Remember that a diatonic scale is a seven note scale that does not contain any chromatic alternations. At this point in the series, Matt has discussed three different diatonic scales: the major scale, natural minor (Aeolian), and harmonic minor. Practice these exercises in all 12 major and minor keys. If you are a more advanced student and already know the modes of the major scale, play the exercises with the modes as well.

Video Subtitles / Captions


Member Comments about this Lesson

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J.artmanJ.artman replied on March 7th, 2010

This is a great lesson. I really love lessons this topic. Intervals are so important to learn.

mattbrownmattbrown replied on March 10th, 2010

I couldn't agree with you more! Intervals are so important when it comes to technique, learning the fretboard and developing your ears. Glad you dug the lesson!!

Rock Guitar with Matt Brown

Found in our Beginner Lesson Sets

Chuck Berry among others pioneered the style of rock and roll in the 1950's. Today, rock and roll remains the most popular genre of music. Over the years the genre has progressed & spawned many sub-genres: soft rock, classic rock, punk rock, and more. Dive into this Phase 2 set of lessons to become a master of rock.



Lesson 1

Proper Practicing

Learn how to get the most out of your time when practicing.

Length: 29:00 Difficulty: 2.0 Members Only
Lesson 2

Introduction to Lead

Matt Brown discusses some of the fundamentals to playing lead.

Length: 15:41 Difficulty: 1.5 Members Only
Lesson 3

Figuring Out Notes

Matt shows you the basics of figuring out any note on the guitar.

Length: 7:00 Difficulty: 2.0 Members Only
Lesson 4

Scales

Learn the basic minor, natural, and major scales. Quite a few techniques & ideas start with scales - they're an essential building block.

Length: 34:15 Difficulty: 3.0 Members Only
Lesson 5

Major Scales

In this lesson, Matt takes you through the major scales & helps you to understand how they can be used.

Length: 20:25 Difficulty: 3.0 Members Only
Lesson 6

Natural Minor Scales

Matt teaches the most common natural minor scale patterns.

Length: 13:24 Difficulty: 3.0 Members Only
Lesson 7

Bending

Learn & master the most popular types of bends.

Length: 27:48 Difficulty: 2.5 Members Only
Lesson 8

Sweep Picking & Rakes

Learn sweep picking and string rakes.

Length: 18:36 Difficulty: 3.0 Members Only
Lesson 9

Solo Techniques

Learn various techniques to use when improvising / soloing.

Length: 12:51 Difficulty: 3.0 Members Only
Lesson 10

Tuning Down

Matt explains the most effective way to tune your guitar down.

Length: 7:18 Difficulty: 2.0 Members Only
Lesson 11

Barre Chords

Learn how to establish finger independence and a few tips and tricks with barre chords.

Length: 37:18 Difficulty: 2.5 Members Only
Lesson 12

Rock Licks

In this lesson, Matt Brown introduces a rock lick and shows how several famous players have modified it.

Length: 19:30 Difficulty: 2.0 Members Only
Lesson 13

Rock Sequences

In this lesson Matt teaches some crucial rock sequences. He also explains how these sequences can be integrated in to your playing.

Length: 34:52 Difficulty: 2.0 Members Only
Lesson 14

String Skipping

Matt Brown focuses on string skipping technique. He provides several exercises designed to improve this aspect of your playing.

Length: 33:09 Difficulty: 2.0 Members Only
Lesson 15

Intervals

Lesson 15 in Matt's rock series is all about intervals.

Length: 34:47 Difficulty: 2.0 Members Only
Lesson 16

Rock Lead Guitar

Matt Brown demonstrates lead guitar techniques using Aerosmith's "Sweet Emotion" as an example.

Length: 29:24 Difficulty: 2.5 Members Only
Lesson 17

Solo Using Diatonic Scales

Matt Brown explains which scales can be used when playing a solo over a diatonic progression in a major key. As an example, he teaches the solo section to Candlebox's song "Far Behind."

Length: 33:02 Difficulty: 2.5 Members Only
Lesson 18

Diatonic Natural Minor

This lesson covers the natural minor scale and diatonic natural minor progressions. Matt uses the solo section to "Stairway to Heaven" as an example.

Length: 24:55 Difficulty: 2.5 Members Only
Lesson 19

Right Hand Technique

In lesson 19 Matt provides instruction on developing right hand skills including string skipping.

Length: 26:38 Difficulty: 2.0 Members Only
Lesson 20

Non-Diatonic Progressions

In lesson 20, Matt discusses chord progressions that don't follow a diatonic tonality.

Length: 29:07 Difficulty: 2.0 Members Only
Lesson 21

Harmonic Minor

Matt begins to discuss and demonstrate the harmonic minor scale.

Length: 29:46 Difficulty: 2.0 Members Only
Lesson 22

Improvising Over Harmonic Minor

In lesson 22, Matt continues his discussion of the harmonic minor tonality.

Length: 14:36 Difficulty: 2.5 Members Only
Lesson 23

Sweet Child O' Mine

In lesson 23, Matt takes a look at the solo section for the song "Sweet Child O' Mine."

Length: 19:43 Difficulty: 2.5 Members Only
Lesson 24

Today

Matt will be taking a look at the solo section from the live version of the Smashing Pumpkins song "Today".

Length: 7:29 Difficulty: 2.5 Members Only
Lesson 25

Back In Black Solo

Matt Brown reviews and discusses the solo section to AC/DC's hit "Back In Black".

Length: 9:34 Difficulty: 2.5 Members Only
Lesson 26

Brother

In lesson 26, Matt covers the solo section from the Alice in Chains song "Brother".

Length: 9:42 Difficulty: 2.5 Members Only
Lesson 27

Matt's Rock Manifesto

Matt Brown discusses lead guitarists, what makes a good solo, and tips for your own lead playing.

Length: 41:06 Difficulty: 0.5 Members Only
Lesson 28

Legato Playing Exercises

Matt Brown teaches a number of exercises aimed at improving your legato playing technique.

Length: 37:16 Difficulty: 1.5 Members Only
Lesson 29

Right Hand Exercises

Matt Brown demonstrates a few exercises to build skill and speed in your right hand.

Length: 15:06 Difficulty: 1.5 Members Only
Lesson 30

String Skipping Etude

Matt Brown teaches Heitor Villa-Lobos' 1st Etude as a lesson in string skipping.

Length: 38:47 Difficulty: 3.0 Members Only
Lesson 31

Three Octave Scales

Matt Brown demonstrates how to play three octave versions of the minor pentatonic and the major scales in all 12 keys.

Length: 16:56 Difficulty: 2.0 Members Only
Lesson 32

Diatonic Intervals

Matt Brown demonstrates how to play all seven of the diatonic intervals within the framework of a horizontal major scale.

Length: 23:01 Difficulty: 1.5 Members Only
Lesson 33

Diatonic 7th Arpeggios

Matt Brown discuss diatonic arpeggios as a theory lesson as well as demonstrating the technique.

Length: 9:55 Difficulty: 1.5 Members Only
Lesson 34

Diatonic 7ths Across the Neck

Matt Brown explains how to play the diatonic seventh chords of the major scale. Similar to lesson 32, this lesson takes a horizontal approach to the fretboard.

Length: 10:46 Difficulty: 1.5 Members Only
Lesson 35

Solo Ideas #1

Matt Brown teaches a progression and accompanying solo to demonstrate ideas for creating your own.

Length: 21:34 Difficulty: 2.0 Members Only
Lesson 36

Solo Ideas #2

Matt Brown takes a look at another chord progression and solo.

Length: 17:29 Difficulty: 2.0 Members Only
Lesson 37

Legato Playing Ideas

In lesson 37 of the Rock Series, Matt Brown demonstrates and talks about legato playing ideas.

Length: 21:24 Difficulty: 2.5 Members Only
Lesson 38

Rhythm Concepts

Matt Brown switches gears in lesson 38 to start talking about rhythm concepts for rock playing.

Length: 27:44 Difficulty: 1.5 Members Only
Lesson 39

Compositional Techniques

Matt Brown discusses some often used techniques to build effective rock compositions.

Length: 17:27 Difficulty: 1.5 Members Only
Lesson 40

Creative Chord Voicings

Matt Brown shows off some ways to add some creativity and originality to your rock chord voicings.

Length: 11:59 Difficulty: 1.5 FREE
Lesson 41

Lead Approach

Matt Brown takes another look at his approach to soloing. He demonstrates ideas you can use in your own playing.

Length: 12:10 Difficulty: 2.0 Members Only
Lesson 42

Lead Approach #2

Matt Brown adds practice to his lead approach by giving you another chord progression to solo over.

Length: 7:14 Difficulty: 2.0 Members Only
Lesson 43

Lead Approach #3

Matt Brown has another chord progression and solo exercise to go over in this lesson on lead approach.

Length: 10:25 Difficulty: 2.0 Members Only
Lesson 44

String Skipping Revisited

Matt Brown takes another look at string skipping. He breaks down some key areas of Matteo Carcassi's Allegro as an exercise.

Length: 16:29 Difficulty: 2.5 Members Only

About Matt Brown View Full Biography Matt Brown began playing the guitar at the age of 11. "It was a rule in my family to learn and play an instrument for at least two years. I had been introduced to a lot of great music at the time by friends and their older siblings. I was really into bands like Nirvana, Alice In Chains, and Smashing Pumpkins, so the decision to pick up the guitar came pretty easily."

Matt's musical training has always followed a very structured path. He began studying the guitar with Dayton, Ohio guitar great Danny Voris. I began learning scales, chords, and basic songs like any other guitarist. After breaking his left wrist after playing for only a year, Matt began to study music theory in great detail. I wanted to keep going with my lessons, but I obviously couldn't play at all. Danny basically gave me the equivalent of a freshman year music theory course in the span of two months. These months proved to have a huge impact on Brown's approach to the instrument.

Brown continued his music education at Capital University in Columbus, Ohio. He completed a degree in Classical Guitar Performance in 2002. While at Capital, he also studied jazz guitar and recording techniques in great detail. "I've never had any desire to perform jazz music. Its lack of relevance to modern culture has always turned me off. However, nothing will improve your chops more than studying this music."

Matt Brown currently resides in Dayton, Ohio. He teaches lessons locally as well as at Capital University's Community Music School. Matt's recent projects include writing and recording with his new, as of yet nameless band as well as the formation of a cover band called The Dirty Cunnies.

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