Interval Workout Chapter Two (Guitar Lesson)

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Brendan Burns

Interval Workout Chapter Two

Brendan Burns focuses on the fifth interval in chapter two of the interval workout.

Taught by Brendan Burns in Theory & Improv with Brendan Burns seriesLength: 6:58Difficulty: 0.5 of 5

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Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

rtstoddenrtstodden replied

This is a fantastic set of lessons Brendan! I have been trying to get a handle on intervals to help expand my chord vocabulary and improv, and this is a great way to teach it. I understand a minor triad has a flatted 3rd, and that a minor 7th chord has a flatter 3rd and 7th, but this lesson set helps me hear the intervals, as well as visualize them. Great job!

jean3wjean3w replied

Just wondering - when you're moving from octave to octave or octave to fifth, should you be looking at the fretboard or should you just do it by feel?

Brendan.BurnsBrendan.Burns replied

It makes sense if you have to look at first, but try building a trusting relationship with your fingers and fretboard. The shapes never change and your fingers CAN make sense of it. Once your ready, try not looking and "see" what happens. And always listen to what's happening. Your ears are your friend in this process.

ajordanajordan replied

playing a while good way to approach muscle memory aspect and how to start on an root or degree of a chord and play all or part of the arpeggio

mjt28mjt28 replied

Brendan thanks for these lessons matey there class. Just wondering did you ever use an acronym to helo you remember the circle 5? Also what is the importance of learning them in order? Thanks man. Matt

Brendan.BurnsBrendan.Burns replied

I never learned an acronym, I just played it over and over and over and over. This order just happens to very common in pop/jazz/rock/folk music, but the truth is, it's just a pattern for moving through all twelve keys. There are also Cycle 2, Cycle 3, Cycle 4, etc. It's just a device for thoroughness.

sidksidk replied

I am really enjoying this so far. But at the end of it all what will be the overall point of it all. To be quite frank with you I don't understand the circle of fifths and what it does. Could you explain this for me? I hope this makes sense to you. Thanks.

Brendan.BurnsBrendan.Burns replied

When it comes down to it, this a primer for a deeper application of playing anything anywhere on the guitar. The Cycle 5 exercises work to build your understanding of the notes, intervals and shapes on the fretboard. When you have that in shape, you can take ideas (licks, riffs, etc.) and move those around cycle 5. The end result is to play anything anywhere; regardless of key or positioning.

sidksidk replied

I am starting to understand. So once the cirle of fifths is understood how does it relate to lets say for example major scales. Why does the circle go from F to Bflat and then B to Gflat. Thank you.

Brendan.BurnsBrendan.Burns replied

Once you have Cycle 5 under your belt, you can then apply major scales to it. Start on C major scale, then move through F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G. Depending on what you are studying, you can use cycle 5 to make sure your work is thorough.

sidksidk replied

ok. So the circle 5 is just for the major scales?

Brendan.BurnsBrendan.Burns replied

No, I was just using your example. Cycle 5 is commonly used for "licks." Say you like the sound of the b3 going to the major 3rd and resolving on the root. Try playing it Cycle 5 off of every string, and soon you'll have that sound ready for you at any moment. Cycle 5 is just tool.

sidksidk replied

So why are the minor keys in the center and major on the outside of the circle? And what are the differences? The order of the notes seem to be the same. Thanks again.

Brendan.BurnsBrendan.Burns replied

Sorry for missing this post sidk. Dash Rendar is correct, the inner circle is for the relative minors. Don't even worry about that. Cycle 5 in this situation is just used as device to work through all the keys. We are just trying to be thorough.

dash rendardash rendar replied

sidk, the centre of the circle shows the relative minor for every key on the outside. For example, the relative minor for C major is A, the relative minor for G major is E, and so on. The inner circle is therefore just a 'helpful' tool for remembering which minor goes with each major scale. But understanding the theory for how scales are assembled is much more useful than just memorising the circle. E.g. if you take the key of C major... C D E F G A B Now, if you take the fifth note of this scale (G), then write out the same scale STARTING with G, but sharpening the fourth note (F), then you end up with: G A B C D E F# This is the scale for G major. If you do the same again with this scale, i.e. sharpen the 4th note which is C, but start on the fifth note which is D, then you get: D E F# G A B C# So, this is the scale of D major. See how we've just assembled the scales for C, then G, then D? This is where the circle comes from and why it works.

jhenriksenjhenriksen replied

I listened to this lesson several times and still can not tell if you are teaching 5ths to 5ths on separate strings (C to G, G to D, D to A etc.) or teaching one octave to another octave or even worse, are you mixing them up, 5ths then octaves then 5ths etc? Or are you playing C to G on each string, then G to D on each string, etc.? If you're demonstrating 5ths, it would really be helpful if you said the notes so we know what notes you're playing.

Brendan.BurnsBrendan.Burns replied

It's a very simple concept. Know your octaves, and then play every interval through those octaves. In this series we are looking at fifths. Stick with it, and it should open up for you.

jhenriksenjhenriksen replied

Brenden, I somewhat understood the Circle of 5ths in lesson one and playing one octave to another in lesson 2, but it is unclear what you're doing in lesson 3. You seem to be mixing up octaves with 5ths and I'm confused. In this lesson are you playing from one note on the Circle of 5ths to another, C to G, G to D, D to A, A to D etc.?

Brendan.BurnsBrendan.Burns replied

It sounds like you got it! We are playing 5ths in every octave through cycle 5.

dhpdavisdhpdavis replied

Brendan do you do any lesson sets on aural training?

Brendan.BurnsBrendan.Burns replied

I don't have any Ear Training lesson sets up yet, but try some classic exercises by Mick Goodrick in the meantime:

robabrobab replied

Brendan it would help if you can put an example on tab. Thanks. Great lesson.

Theory & Improv with Brendan Burns

Found in our Beginner Lesson Sets

Brendan Burns talks about the circle of fifths, intervals and more to help you in your playing.

Cycle FiveLesson 1

Cycle Five

Brendan Burns explains the circle of fifths and how to navigate it on the neck of the guitar.

Length: 11:22 Difficulty: 0.5 FREE
Interval Workout Chapter OneLesson 2

Interval Workout Chapter One

Brendan Burns demonstrates an exercise that will help you locate and play octaves on the guitar.

Length: 12:35 Difficulty: 0.5 Members Only
Interval Workout Chapter TwoLesson 3

Interval Workout Chapter Two

Brendan Burns focuses on the fifth interval in chapter two of the interval workout.

Length: 6:58 Difficulty: 0.5 Members Only
Interval Workout Chapter ThreeLesson 4

Interval Workout Chapter Three

In the third interval workout chapter, Brendan discusses and demonstrates the perfect fourth interval.

Length: 6:30 Difficulty: 1.5 Members Only
Interval Workout Chapter FourLesson 5

Interval Workout Chapter Four

In chapter four of his interval workout series, Brendan discusses and demonstrates the major third interval.

Length: 3:43 Difficulty: 1.0 Members Only
Interval Workout Chapter FiveLesson 6

Interval Workout Chapter Five

In chapter five of his interval workout, Brendan demonstrates the minor third intervals.

Length: 4:10 Difficulty: 1.0 Members Only
Interval Workout Chapter SixLesson 7

Interval Workout Chapter Six

Brendan Burns demonstrates the tritone intervals.

Length: 3:51 Difficulty: 1.0 Members Only
Interval Workout Chapter SevenLesson 8

Interval Workout Chapter Seven

Brendan Burns demonstrates the major second intervals.

Length: 3:02 Difficulty: 1.0 Members Only
Interval Workout Chapter EightLesson 9

Interval Workout Chapter Eight

Brendan Burns demonstrates the minor second intervals.

Length: 2:42 Difficulty: 0.5 Members Only
Interval Workout Chapter NineLesson 10

Interval Workout Chapter Nine

Brendan Burns demonstrates the major sixth intervals.

Length: 3:15 Difficulty: 1.0 Members Only
Interval Workout Chapter TenLesson 11

Interval Workout Chapter Ten

Brendan Burns demonstrates the minor sixth intervals.

Length: 2:54 Difficulty: 1.0 Members Only
Interval Workout Chapter ElevenLesson 12

Interval Workout Chapter Eleven

Brendan Burns demonstrates the major seventh intervals.

Length: 2:26 Difficulty: 1.0 Members Only
Interval Workout Chapter TwelveLesson 13

Interval Workout Chapter Twelve

The final interval workout from Brendan Burns features the flat seventh or minor seventh interval.

Length: 4:46 Difficulty: 1.0 Members Only
Modal Navigation #1Lesson 14

Modal Navigation #1

Brendan returns to show us how to navigate modes on the guitar using one string up and down the neck.

Length: 29:45 Difficulty: 2.5 Members Only
Modal Navigation #2Lesson 15

Modal Navigation #2

Brendan continues his navigation series by showing us how to play the modes on two strings.

Length: 23:33 Difficulty: 2.5 Members Only
Modal Navigation #3Lesson 16

Modal Navigation #3

Brendan wraps up his Modal Navigation mini-series by showing us how to play the modes on three strings.

Length: 37:14 Difficulty: 2.5 Members Only
Harmonic Pentatonic Improvisation #1Lesson 17

Harmonic Pentatonic Improvisation #1

Brendan teaches us how to improve our improvisation using just the major pentatonic scale.

Length: 27:31 Difficulty: 3.0 Members Only
Harmonic Pentatonic Improvisation #2Lesson 18

Harmonic Pentatonic Improvisation #2

Brendan continues in the Harmonic Pentatonic Improvisation series by showing us some exercises with the minor pentatonic scale.

Length: 11:30 Difficulty: 3.0 Members Only
Harmonic Pentatonic Improvisation #3Lesson 19

Harmonic Pentatonic Improvisation #3

Brendan wraps up his Harmonic Pentatonic Improvisation series by showing us how it all fits together when improvising over diatonic chord progressions.

Length: 16:00 Difficulty: 3.0 Members Only
Chromatic Approaches for Triads #1Lesson 20

Chromatic Approaches for Triads #1

In this new mini-series, Brendan shows us various chromatic ways to approach triads on an arpeggio level. This first lesson deals with approaching the major and minor triads from one half-step below the...

Length: 20:23 Difficulty: 2.5 Members Only
Chromatic Approaches for Triads #2Lesson 21

Chromatic Approaches for Triads #2

Next up in Brendan's mini-series, Chromatic Approaches for Triads, he shows us approaches from one chromatic note above the chord tones. As Brendan would say: "Super fun, super easy, super awesome!"

Length: 14:59 Difficulty: 2.5 Members Only
Chromatic Approaches for Triads #3Lesson 22

Chromatic Approaches for Triads #3

Brendan demonstrates the next chromatic approach in the series: one chromatic note below and one from above the chord tone.

Length: 15:37 Difficulty: 3.0 Members Only
Chromatic Approaches for Triads #4Lesson 23

Chromatic Approaches for Triads #4

Brendan concludes the first half of the Chromatic Approaches to Triads series by reviewing the "one above/one below" approach to the chord tones.

Length: 13:57 Difficulty: 3.0 Members Only
Chromatic Approaches for Triads #5Lesson 24

Chromatic Approaches for Triads #5

In the second half of Brendan's series, he looks at double chromatic approaches to the triad chord tones from below.

Length: 17:02 Difficulty: 3.0 Members Only
Chromatic Approaches for Triads #6Lesson 25

Chromatic Approaches for Triads #6

Brendan continues to explore the cool sounds of chromatic approaches. Here, he looks at double chromatic approaches to the triad chord tones from above.

Length: 15:46 Difficulty: 3.0 Members Only
Chromatic Approaches for Triads #7Lesson 26

Chromatic Approaches for Triads #7

Brendan continues in his Chromatic Approaches series by showing us the double approaches from below and above. There are some great sounds here to integrate into your improv!

Length: 19:51 Difficulty: 3.0 Members Only
Chromatic Approaches for Triads #8Lesson 27

Chromatic Approaches for Triads #8

Brendan concludes this mini-series with a look at the last set of chromatic approaches: two half steps from above and two from below

Length: 17:37 Difficulty: 3.0 Members Only
Brendan Burns

About Brendan Burns View Full Biography Brendan has been passionate about music since childhood. He began his studies on trumpet, in elementary school, and then moved to guitar as a teenager. He holds a Bachelor's Degree from Berklee College of Music, and has studied with Norm Zocher, Joe Stump, Bret Willmott, Bob Pilkington, Jay Weik, Tim Miller, & Charlie Banacos.

While at Berklee, Brendan was a member of the Music Mentoring Program, teaching private lessons to gifted high school students. He is currently teaches, and is chair of the guitar department at Brookline Music School. Brendan also teaches guitar for Tune Foolery & privately at his home in Cambridge, MA.

Along with educating, Brendan plays out often as a Solo Guitarist, performing standards, pop, and classical repertoire. He has recorded and played with the chamber-fusion band Ra Quintent, and as well as Vessela Stoyanova's Eastern Stories Under Western Skies Project. Brendan also performs as a leader, director and sideman for various Boston art-rock projects, and is former member of MIT's Gamelan Galak Tika.

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