SHAUN’S CREATIVE ROCK
In this month’s column Shaun Baxter combines all the different interval types studied so far in this series, into a veritable intervallic smorgasbord.
Shaun Baxter continues his series on using specific note combinations to enhance your playing. This month: Compound Intervals.
This current series of lessons has been devoted to employing different intervals within the Mixolydian scale. In this penultimate instalment, we are going to combine all of the simple (within one octave) and compound (beyond one octave) intervals that we’ve studied so far.
Basically, an interval is the distance between two notes and Diagram 1 provides useful reference information on the distance
between a pair of notes within any mode of the Major scale (like Mixolydian).
Up until now, we have tended to focus exclusively on one interval at a time. It’s good to start with that approach because, apart from avoiding having too much to think about, such a limitation will force you into digging deep within each concept, helping you to establish a fresh collection of creative and ear-catching ideas. However, now that you have had a good grounding in the various interval types, freely mixing them should help you to produce much more well-balanced results.
With experience, you will start to recognise the cause and effect of using each intervaltype which will help you to play with more control over both melody and mood. So...
• For 2nds, 3rds, 6ths, 10ths and 13ths =
think soft and melodic
• For 4ths, 5ths, 11ths and 12ths =
think hard and angular
• Then for 7ths, 9ths and 14ths =
think dissonant and quirky
• Finally, octaves and 15ths =
think consonant and sweet
Most players use ‘steps’ (intervals of a Minor 3rd or smaller) rather than ‘leaps’ (intervals of a Major 3rd or greater) when they improvise. As we’ve already discussed in this series, the wide leaps involved in playing compound intervals tend to create lines that sound quite ‘whacky’. They also lend themselves to producing counterpoint as there is an inherent ‘call and response’ quality between the low notes and the high ones.
Also, because the distance between two notes is so large, it can present considerable technical problems when trying to play certain ideas at speed; so, apart from alternate picking, techniques like sweep picking, hybrid picking, fretting-hand legato and tapping with either or both hands are all useful.
The transcription shows the technical solutions that I used for each challenge; however, where, for example, hybrid picking is shown, you may prefer to use alternate picking if that is where your strength lies. The main thing is that you need to find a working compromise between physical ease and producing a pleasing musical result (sonically and tonally). Are the dynamics even? Are the notes in time? Is each note in tune? Does the chosen technical approach allow you to play with expression? Sometimes you may find that you just need to bite the bullet and set the time aside to build up a particular approach if it yields the best results.
Finally, regarding the backing track (see Diagram 2), most drummers would write out the drum part in 6/8; however, for ease of reading on guitar, I have stuck to 4/4, viewing the bass drum pattern as a quarter-note triplet rhythm. If your rhythm reading isn’t great; don’t worry about it: just read the tab and use your ears.
In the following lesson, we are going to conclude this recent series with another Mixolydian solo that employs various interval-types. Have fun!
NEXT MONTH Shaun brings us another interval related solo to learn in Creative Rock
“You need to find a compromise between physical ease and producing a pleasing musical result”