8,720
edits
Changes
m
fig. 1
|+Table 1
fig. 2
Figure 2 starts We start on E on both the 1st and 2nd strings. The 2nd string moves up one fret each time: F, F{{sharp}}, G, G{{sharp}}, A, etc. This allows us to hear all the intervals named in the tables above; however, we are hearing them all against the common note of E, not C. That we are using E instead of C is immaterial. '''Intervals have their own unique sound, and a major 3rd between E and G{{s}} 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.'''
|+Table 2
|+Table 3
fig. 3 eE-0--0--0--0--0--0--0--0-- bB-5--7--9--10-12-14-16-17-
fig. 4 eE-0--0--0--0--0--0--0--0-- bB-5--7--8--10-12-13-15-17-
no edit summary
Playing on a single string is a complete pain. You are constantly changing positions, restricted to simple melodies, and cannot create any harmony. Let's add another string: the 2nd string or B string.
e--0--1--3--5--7--8--10-12--
b--0--1--3--5--6--8--10-12--
=== All Intervals ===
{| class="wikitable"
|-
! Root<br>Note !! Other<br>Note !! Semitones<br>from<br />Root to<br>Other !! Interval<br>Short<br>Name !! Interval<br>Full<br>Name !! Just<br>Intonation<br>Ratio
Let's hear some of the different intervals:
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 tt P5 m6 M6 m7 M7 o
The line below the tab indicates the interval. Notice how nasty the m2 and T intervals are. the M7 can also be a bit nasty, but because there's more space between the notes, it sounds less harsh.
{| class="wikitable"
|-
! Root<br>Note !! Other<br>Note !! Semitones<br>from<br>Root to<br>Other !! Interval<br>Short<br>Name !! Interval<br>Full<br>Name
|-
! Root<br>Note !! Other<br>Note !! Semitones<br>from<br>Root to<br>Other !! Interval<br>Short<br>Name !! Interval<br>Full<br>Name
|-
| A || B || 2 || M2|| (Major) 2nd
Inside any particular major scale, every note has a different set of intervals for all the other notes in the same key. In C Major, C and A both have major 2nd, perfect 4th, perfect 5th intervals but have different 3rd, 6th, and 7ths. If we added a harmony line a 3rd above the melody, we'd have a major 3rd when the melody played C (C - E), but a minor third when the melody played A (A - C).
Let's look at only the intervals listed in the tables 2 and 3above:
u M2 M3 P4 P5 M6 M7 o
u M2 m3 P4 P5 m6 m7 o