8,720
edits
Changes
m
→Intervals
| C || A || 9 || M6 || Major 6th
|-
| C || Bb || 10 || 7 m7 || (DominantMinor) 7th
|-
| C || B || 11 || M7 || Major 7th
| A || F || 8 || m6 || Minor 6th
|-
| A || G || 10 || 7 || (DominantMinor) 7th
|}
e-0--0--0--0--0--0--0--0--0--0--0--0--0--
b-5--6--7--8--9--10-11-12-13-14-15-16-17-
u m2 M2 m3 M3 P4 T P5 m6 M6 7 m7 M7 o
Figure 6 starts on E on both the 1st and 2nd strings. The 2nd string moves up on fret each time: F, F#, G, G#, A, etc. This allows us to hear all the intervals named in figure 3 above; however, unlike figure 3 we are hearing them all against E, not C. That we are using E instead of C is immaterial. The intervals have their own unique sound, and a major 3rd between E and G# will sound the same compared to a major 3rd between C and E. Only the pitches are different; the relative distance and harmonic interaction between each pair of notes is the same.
e-0--0--0--0--0--0--0--0--
b-5--7--8--10-12-13-15-17-
u M2 m3 P4 P5 m6 7 m7 o
Notice the difference in the 3rds, 6ths, and 7ths.