2nd and 3rd Strings
The important thing to realize about the 2nd and 3rd strings is that they are tuned to a major 3rd, not a perfect 4th (G - B is a major third). This means the interval shapes we learned in the last lesson will be a little different. Also, it can feel a little confusing when traversing a scale.
Basically, all you have to remember is that a major third is one semi-tone lower than a perfect fourth. Which means we need to move upwards one fret on the 2nd string to get the same intervals on the 2nd and 3rd strings. Let's do a quick example:
fig. 1 b-0--1--3--5--7--8--10-12- g-0--2--4--5--7--9--10-12-
fig. 2 c----0--2--4--6--7--9--11- g----2--4--5--7--9--10-12-
Figure 1 plays the third intervals in C major on the 2nd and 3rd strings. Figure 2 is the same thing, but here we've tuned the 2nd string a semi-tone up to C, so we get the normal perfect fourth interval between strings. Notice the only difference is that all the numbers on the 2nd string are +1 in Figure 1. I recommend playing the third intervals as follows:
fig. 3 Major 3rd Minor 3rd |-|r| |i|-| |-|m| |-|m|
This allows you to always hold down both your middle and index fingers. You just add the ring finger for the major third.
Now let's look at the 4th and 5th intervals:
fig. 4 Perfect 4th Perfect 5th |-|m| |-|-|-|p| |i|-| |i|-|-|-|
Again, the 2nd string is just one step higher; however, it certainly takes a while to get used to. It's easy to identify fingering patterns with sounds.
Now let's look at a scale. Let's play B to G on the 1st and 2nd strings:
fig. 5 e----------0--1--3- b-0--1--3----------
b c d e f g
And let's play those same exact notes on the 2nd and 3rd strings:
fig. 6 b----------5--6--8- g-4--5--7----------
b c d e f g
We play a middle pattern on both strings in both cases, but for the 2nd and 3rd strings, we shift one fret upwards. My advice is to do a positional shift. Let's take a look at this in a larger context:
fig. 7 e----------------------------------0--1--3--5- b-------------------------0--1--3------------- g-------------------0--2---------------------- d----------0--2--3---------------------------- a-0--2--3------------------------------------- e---------------------------------------------
a b c d e f g a b c d e f g a
fig. 8 e-------------------------------------1--3--5- b----------------------------1--3--5---------- g-------------------0--2--4------------------- d----------0--2--3---------------------------- a-0--2--3------------------------------------- e---------------------------------------------
a b c d e f g a b c d e f g a
Both examples play the exact same notes, except Figure 8 shifts from open to first position between the 3rd and 2nd strings. Notice how when performing the shift, we get 3 notes per string. This is a concept we will revisit later, but many speed players prefer this because it creates more balance when moving up or down the scale through the 2nd and 3rd strings. It is also easier to derive scales this way - each string will be either a middle, ring, or stretch pattern of 3 notes. Without the shift, we get 2 notes on either the 2nd or 3rd string, and 3 notes on the other. This disrupts the order of the patterns across strings. In the above examples, figure 8 has ring, ring, stretch, stretch, stretch patterns. In Figure 7 we have ring, ring, ?, middle, middle patterns, then a final stretch to the high A. And again, we may have 2 notes on the G string in this case, but in other cases it would have 3 notes and the B string has 2.
Note: the figures above play an A minor scale. Notice that it's the same notes as C Major. We'll look more into this later on.
Homework: Try to play some intervals on the 1st and 2nd string, then try to play those same intervals on the 2nd and 3rd strings. Practice Figure 1. Once you are comfortable with the fingering, play in time with a metronome and try to increase your speed.