EXAMPLE2 IN­TER­VALS

Guitar Techniques - - JAZZ-ROCK -

When pro­cess­ing scales, it’s a good idea to work on run­ning through the scale us­ing se­lect in­ter­val­lic leaps. This gives your lines a sense of melodic shape and also al­lows you to con­trol a de­gree of dis­so­nance, warmth and colour, de­pend­ing upon the in­ter­val you se­lect. So, for ex­am­ple the in­ter­val of a 3rd or a 6th sounds warm and con­so­nant to the ear, as both of th­ese in­ter­vals are eas­ily found within the ba­sic con­struc­tion of chords. The 4th and 5th de­grees are neu­tral and there­fore hol­low sound­ing, al­though they lend a cer­tain hip-ness to your lines. Sevenths and 9ths can be an­gu­lar and dis­so­nant, but in the right place can be ex­tremely mu­si­cally ef­fec­tive, just ask John Scofield! Here we see a typ­i­cal I-Iv-v pro­gres­sion in the key of C (C-F-G), util­is­ing the

(r-2-3-4-5-6-b7) ap­pro­pri­ate Mixoly­dian mode for each chord (so that’s C Mixoly­dian for C7, F Mixoly­dian for F7, etc). For our C7 we’re ex­ploit­ing 3rds ex­clu­sively, switch­ing the or­der about and stack­ing them one on top of the other when­ever we wish, switch­ing to 4ths for F7. next up it’s 6ths against G7, end­ing on 7ths against our C7 in the last two bars. If this idea tick­les your fancy then you may wish to check out both our afore­men­tioned in­ter­val­lic mae­stro John Scofield, or the equally in­ter­val­li­cally in­clined Carl ver­heyen. Af­ter try­ing this, ex­ploit the idea by amend­ing some of your own licks.

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