Fretboard Evolution Vol. I - Steve Rieck

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C to Gb = Diminished 5 th (6 half-steps) C to G = Perfect 5 th (7 half-steps) C to G# = Augmented 5 th (8 half-steps) C to Abb = Diminished 6 th (7 half-steps) C to Ab = Minor 6 th (8 half-steps) C to A = Major 6 th (9 half-steps) C to A# = Augmented 6 th (10 half-steps) C to Bbb = Diminished 7 th (9 half-steps) C to Bb = Minor 7 th (10 half-steps) C to B = Major 7 th (11 half-steps) C to B# = Augmented 7 th (12 half-steps) C to Cb = Diminished Octave (11 half-steps) C to C = Perfect Octave (12 half-steps or 1 Octave) C to C# = Augmented Octave (13 half-steps) Again, notice how rigid the definitions are. They are based on the actual spelling of the interval regardless of the fact that they may sound exactly the same to your ear (ie: augmented 4 th / diminished 5 th etc.) For the purposes of these explanations, we’ve been thinking of only ascending intervals. It’s equally important to consider descending intervals also. For example: C UP to G is a perfect 5 th (C D E F G) but what about C backwards DOWN the scale to G (C B A G) ? Notice that it’s a perfect 4 th . Again, notice that the sum of this inversion equals nine and that the perfect interval inverted to another perfect interval. C UP to E (C D E) is a major 3 rd but C DOWN to E (C B A G F E) would be a minor 6 th . Again, notice that the sum of the inversion is nine and that a major interval inverted to a minor interval. © 2011 Steve Rieck – all rights reserved 40
C UP to F# (C D E F#) is an augmented 4 th but C down to F# (C B A G F#) is a diminished 5 th . Notice how the sum of the inversion is nine and that an augmented interval inverted to a diminished interval. Now that we’ve thought about intervals enough, be certain that there are few things more important to a guitarist than recognizing the shapes and hearing the sound of these intervals instantly on the fretboard. The foundation of ear-training is based on interval recognition. Think about it this way. Any melody is nothing but a series of melodic intervals strung together in rhythm one after another. Any chord is just a series of intervals stacked together and played simultaneously. If you can see and hear these clearly, you have a profound advantage. In this sense, intervals truly are the building blocks of it all and they are worth mastering. Below are just SOME of the interval shapes on the fretboard. Because you can play the same note on various strings, there are plenty more to discover. Be sure to step through these slowly and carefully. Listen to the overall sound of each interval. Once you’ve learned these, try to find others. A great teacher made me describe each one’s sound with an adjective that popped in my head as I heard it (dark, bluesy, happy etc…) This is a great way to connect the sound with the concept. Unison (C to C) Minor 2 nd (C to Db) Major 2 nd (C to D) © 2011 Steve Rieck – all rights reserved 41
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 34 and 35: augmented), the most important conc
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 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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