Fretboard Evolution Vol. I - Steve Rieck

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augmented), the most important concept to begin with is that an interval is first and foremost a simple measurment based on the number of letters between any two pitches. For example, if we started with a “C” and counted up to the “G” immediately above it, we would count five actual letters (C D E F G) and this interval would therefore be a “5 th ”. If we counted from the same C to the E immediately above it (C D E) the interval would be a 3 rd . It’s important to remember to begin this count from the number 1 on the note you are actually starting with (C in this case) NOT the D which is your first step forward in the count. This concept does not change due to any sharps or flats being considered. It is simply about alphabetical lettering and nothing more. For example, C to Gb would still be considered a 5 th whereas C to F# would sound the same but be considered a 4 th . C to Eb would be considered a 3 rd and C to D# would sound the same but be considered a 2 nd . As we get into a deeper understanding of intervals we’ll need to think beyond that concept but it is the first fundamental truth of any interval. The actual spelling itself determines wether it’s a 2 nd , 3 rd , 4 th , 5 th etc…It’s as easy as counting a few letters in the alphabet and it must be automatic. So C to C (in the same octave) would be called a “unison” or a “1”. This means no movement and no distance between the notes because they are of course the same. It could help to imagine we are both playing guitars together. If I play the C at the 3 rd fret of the 5 th string and you play the exact same note on your guitar, we are playing “in unison”. There is no distance between our notes. We are playing the exact same thing. Now if I play the same C and you play the D immediately above it, we would count two alphabetical letters (C & D) and the interval would therefore be a “2 nd ”. C to E would be a “3 rd” , C to F would be a “4 th” and so on… As you probably guessed, the term “octave” gets its name because it is an “8 th ”. Follow the diagrams on the next page until this is absolutely clear. © 2011 Steve Rieck – all rights reserved 34
C to C C to D C to E C to F C to G C to A C to B C to C Unison 2 nd 3 rd 4 th 5 th 6 th 7 th Octave For the purposes of this example, we’re starting everything from “C” but of course you can count an interval from any starting note. A few random examples: D to F would be a 3 rd (D E F) G to E would be a 6 th (G A B C D E) B to E would be a 4 th (B C D E) A to B would be a 2 nd (A B) So before we get into more details about intervals, be sure to understand that in the broadest sense, an interval is just measured by alphabetical letters. Interval Inversion Next, we need to look in more detail and understand the idea of inverting an interval. All this means is we are going to take the bottom note of the interval and move it up one octave. Below are a few examples. Ex. 1 (C to E / E to C) Ex. 2 (C to G / G to C) © 2011 Steve Rieck – all rights reserved 35
Page 2 and 3: © Copyright 2011 Steve Rieck FRETB
Page 4 and 5: The good news is that once that cri
Page 6 and 7: The first 13 Chapters are what I'd
Page 8 and 9: CHAPTER 1 UNDERSTANDING THE FRETBOA
Page 10 and 11: Logically, the next important term,
Page 12 and 13: Regardless of the specific notes of
Page 14 and 15: Look back to the fretboard diagram.
Page 16 and 17: Play a simple melody anywhere on th
Page 18 and 19: Unlike the C major scale, the other
Page 20 and 21: The LAST four notes of the C major
Page 22 and 23: A Major Scale A B C# D E F# G# A E
Page 24 and 25: Gb Major Scale Gb Ab Bb Cb Db Eb F
Page 26 and 27: Db Major Scale Db Eb F Gb Ab Bb C D
Page 28 and 29: So to summarize: 1. we began with t
Page 30 and 31: Take some time to play a single maj
Page 32 and 33: What is a more common enharmonic sp
Page 36 and 37: Ex. 3 (E to C / C to E) Ex. 4 (G to
Page 38 and 39: Perfect Intervals Now look at examp
Page 40 and 41: C to Gb = Diminished 5 th (6 half-s
Page 42 and 43: Minor 3 rd (C to Eb) Major 3 rd (C
Page 44 and 45: • A minor or perfect interval tha
Page 46 and 47: The only perfect intervals by defin

Fretboard Evolution Vol. I - Steve Rieck

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