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eE--0--1--3--5--7--8--10-12-- bB--0--1--3--5--6--8--10-12--
eE-0--0--0--0--0--0--0--0--0--0--0--0--0-- bB-5--6--7--8--9--10-11-12-13-14-15-16-17-
fig. 6 C4 D4 E4 F4 G4 A4 B4 C4 eE-1--3--5--7--8--10-12-13 bB-1--3--5--6--8--10-12-13-
fig. 8 C5 D5 E5 F5 G5 A5 B5 C5 eE-3--5--7--8--10-12-13-15 bB-1--3--5--6--8--10-12-13-
fig. 10 eE-0--1--3--5--7--8--10-12- bB-1--3--5--6--8--10-12-13-
fig. 11 dD----2--------2-- aA-2--2-----3--3-- eE-0--------0-----
Figure 11 first This demonstrates an E-B P5 interval and its inversion, a B-E P4 interval, then an E-C m6 interval and its inversion, a C-E M3 interval. Inverting the perfect intervals only create a slight difference in perception, while inverting 3rds or 6ths has a larger impact. The composer cannot simply swap them willy-nilly - they clearly have different qualities in terms of overall harmony although they do sound related.
fig. 12 bB---0--1--3--5--6--8--10-12-13-
fig. 13
fig. 14
fig. 15
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 F G A B C D E
B C D E F G A B
Let's hear some of the different intervals:
u m2 M2 m3 M3 P4 tt P5 m6 M6 m7 M7 o
=== Harmony in 4ths and 5ths ===
Time for an exercise. Let's play the C major scale with a constant interval above it. First we'll use 4ths. Figure 5 shows chord Chord charts for how to finger the 4th intervals in open and other positionsare provided below.
{|
|
These are pretty much the only ways to do it comfortably - you have a lot of options. Try them all and determine which one is the most comfortable for you. For the Perfect 4th that uses the index finger on both strings, you just flatten the finger, '''using your fingerprint to fret both strings'''. This breaks from the desired technique of using your finger tip, but it actually happens quite a lot and shouldn't be viewed with any kind of taboo.
P P P tt P P P P
|}
P P P P P P tt P
|}
M m m M M m m M
Chords can be inverted without changing their harmonic function (although it does affect their percieved qualities), but intervals are a bit more sensitive. See the example below.
P5 P4 m6 M3
== C Major Scale on the 2nd String ==
B C D E F G A B C
== Hot Cross Buns, Championship Editition ==
1 2 3 4 |1 2 3 4 |1 n 2 n 3 n 4 n|1 2 3 4 |
q q h |q q h |e e e e e e e e|q q h |
Let's add some more intervals:
1 2 3 4 |1 2 3 4 |1 n 2 n 3 n 4 n|1 2 3 4 |
q q h |q q h |e e e e e e e e|q q h |
We are back in the key of E major and have the same melody on the E string, but the B string is doing something a little different. There's a little more depth to the piece now. Is that a good or bad thing? It's not necessarily either. Some melodies are suitable for rich harmony, but simple ones like this are usually fundamentally changed if such were added. For instance, try the following:
1 2 3 4 |1 2 3 4 |1 n 2 n 3 n 4 n|1 2 3 4 |
q q h |q q h |e e e e e e e e|q q h |
Learn all the C Major notes on the B string. Play all the notes ascending 1 position at a time, like in the [[1st String]] lesson, then try them descending.
Play figures 13 and 14 Hot Cross Buns C.E. with a metronome, and try to improve timing and speed. Figure 15 , except for the last example play slow and just try to hear the song - don't worry about playing it in-time just yet.
==Q/A==