# Playing Intervals on Guitar

An *interval* is the name of the distance between any two notes. The distance from C to D is a 2nd. The distance from C to E is a 3rd. Playing in intervals instead of running up and down scales is an important way to introduce jumps and leaps into melodies. These jumps can be small, for example a 3rd, or they can be fairly large like a 6th.

Interval practice is very useful for building technique because playing larger leaps involves skipping strings and awkward fingerings. However, the real benefit is aural. Guitarists often practice by running scales, and in doing so train their ears to only hear linear melodies. By forcing ourselves to introduce intervallic leaps into our practice, we train our ears to hear new melodic ideas, which then feed through into our natural playing. Remember; you are what you practice.

An interval can be played either ascending or descending and these directions can be combined into sequences. For example, the first interval skip could ascend and the next one could descend. Long patterns of these permutations can be strung together. This is shown in example 2j where a sequence of two ascending 3rds and then a descending 3rd is played.

It is also possible to alter the rhythm of these patterns. Playing two-note interval patterns in triplets creates interesting cross-rhythmic effects.

Start by learning the basic interval skip patterns from 3rds all the way through to octaves. Use the following routine to organised your practice time.

Pattern |
Day 1 |
Day 2 |
Day 3 |
Day 4 |
Day 5 |
Day 6 |
Day 7 |

A* |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

B* |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

C |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

D* |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

E |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

F |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

**Intervals Example 2a: ***

**Intervals Example 2b: ***

**Intervals Example 2c: ***

**Intervals Example 2d: ***

**Intervals Example 2e: ***

**Intervals Example 2f: ***

As mentioned previously, it is possible to combine interval skips in different directions to create interesting melodic ideas. By reversing intervals and combining groups of three or more interval skips into a sequence, we open up a wide range of musical possibilities. These exercises also dramatically increase our familiarity with the scale shape and build confidence and fluency in our soloing.

The following patterns, permutations and rhythmic variations are all based around the interval of a 3rd, however, you must also learn these sequences with the other interval skips (4ths, 5ths and 6ths etc.). I suggest that you spend a week learning the following examples with 3rds before moving on to using each melodic idea with a different interval.

Use the following table to help you efficiently organise your practice.

Pattern |
Day 1 |
Day 2 |
Day 3 |
Day 4 |
Day 5 |
Day 6 |
Day 7 |

G* |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

H* |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

I |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

J* |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

K |
@60 | @80 | @100 | @50 | @75 | @90 | @100 |

L* |
@60 | @80 | @100 | @50 | @60 | @70 | @80 |

M* |
@60 | @80 | @100 | @50 | @60 | @70 | @80 |

**Intervals Example 2g: (inverted 3rds) ***

**Intervals Example 2h: (one up, one down) ***

**Intervals Example 2i: (one down, one up)**

**Intervals Example 2j: (two up, one down) ***

**Intervals Example 2k: (two down, one up) ***

**Intervals Example 2l: (in triplets – 2 against 3 feel) ***

**Intervals Example 2m: (one up, one down in triplets. 6 against 3 feel) ***

Any of these ideas can be applied to the other intervals. For example, here is example 2g played with 4ths:

**Intervals Example 2n: (inverted 4ths)**

Use the following table to plan out your practice over the period of a few weeks. As you progress you will find that you only need to briefly recap earlier intervals so you can spend more time working on the trickier sequences. This routine may not be perfect for you, so keep track of your own progress and prioritise the intervals and sequences you most like the sound of.

Pattern |
Day 1 |
Day 2 |
Day 3 |
Day 4 |
Day 5 |
Day 6 |
Day 7 |

G |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

H |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

I |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

J |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

K |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

L |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

M |
4ths | 4ths | 5ths | 6ths | 6ths | 7ths | 8ths |

When you have developed an understanding of how these melodic structures work in position 1 of the Major scale, apply the ideas to the other four shapes of the Major scale.

For many more ideas about how to improve your fretboard fluency with intervals, check out my book Guitar Fretboard Fluency, Available on Amazon.

### 2 responses to “Playing Intervals on Guitar”

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Since purchasing Joseph’s Book 1 of the Complete Guide to Playing Blues Guitar, I’ve gained a much deeper understanding of the options available to me when playing the blues. He writes clearly and methodically, giving just enough information on each topic so that I can confidently integrate new techniques and expand my playing knowledge.

The book provides alternative approaches to each method to drive home the idea that you the player should experiment and find what works best in different situations based on your preference. Clear explanations of different chord voicings and rhythm options have really opened up the palette of sounds to choose from, and I look forward to continuing the series.

Hello

What does @ 60 @ 80 @ 100 mean in the routine tables

Thanks

Hi there,

Joseph is referring to playing @60 beats per minute, @80 beats per minute and at @100 beats per minute here using a metronome.

Simon