Changes

'''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 changes intervals shapes we learned in as well as how one plays scales between the last lesson will be a little different. Alsostrings, it can feel a little confusing when traversing a scale.compared to all the other pairs of strings

== PreReqs ==* [[1st and 2nd Strings - Intervals]] == C Major notes on 3rd String =={{crumbs|blue|1|2nd and 3rd Strings#C Major notes on 3rd String|C Major on 3rd String|2nd and 3rd Strings#Intervals between 2nd and 3rd Strings|Intervals|2nd and 3rd Strings#Scales between 2nd and 3rd Strings|Scales}}  G-0--2--4--5--7--9--10-12- G A B C D E F G Here are the C Major notes on the '''3rd String''' or '''G String''' (get the dirty jokes out the way now). Play each group of 3 notes per position as we did in [[1st String|previous exercises]], up and down the string. {{top}} == Intervals between 2nd and 3rd Strings =={{crumbs|blue|2|2nd and 3rd Strings#C Major notes on 3rd String|C Major on 3rd String|2nd and 3rd Strings#Intervals between 2nd and 3rd Strings|Intervals|2nd and 3rd Strings#Scales between 2nd and 3rd Strings|Scales}} The M3 tuning between strings means the interval shapes we learned in the [[1st and 2nd Strings - Intervals|last lesson]] will be a little different. 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:

Now tune the 2nd string back down a half-step to B. figNow you must play one fret higher on the B string to achieve the same intervals. 1 b-0--1--3--5--6--8--10-12-Remember that intervals are defined by the distance between their member notes. g-0--2--4--5--7--9--10Tuning down a half-12step but playing the fret a half-step higher equals the same intervals:

fig. 2 cB--1--03--25--46--58--710--9--1112- g--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 1from the first tab. I recommend playing the third intervals as follows:

fig. {|class="wikitable"! Maj 3 !! Min 3 Major 3rd Minor 3rd|-|<pre> |-|r| |-|m|</pre>|<pre>|i|-| |-|m| |-|m</pre>|}

fig. 4{|class="wikitable"! P4 !! tt !! P5|-| Perfect 4th Perfect 5th Tritone<pre> |-|m| |-i|-|-</pre>|p| <pre>|-|-|r| |i|-| -|</pre>|i<pre>|-|-|-| p||i|-|-|-|</pre>|} Again, the 2nd string tuned to B requires playing one fret higher than the shapes we learned for the E and B strings. It certainly takes a while to get used to instinctively knowing to play the different shapes on these strings. The best you can do is keep playing them - as the sounds of the intervals become more and more familiar, you'll easily know when you play the incorrect interval.  4th intervals B-1--3--5--6--8--10-12-13- G-0--2--4--5--7--9--10-12- A4

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.5th intervals B-3--5--6--8--10-12-13-15- G-0--2--4--5--7--9--10-12- d5

fig. 6 - 5th intervals==Scales between 2nd and 3rd Strings== b-{{crumbs|blue|3--5--6--8--10-12-13-15- g-0--2--4--5--7--9--10-12-|2nd and 3rd Strings#C Major notes on 3rd String|C Major on 3rd String tt|2nd and 3rd Strings#Intervals between 2nd and 3rd Strings|Intervals|2nd and 3rd Strings#Scales between 2nd and 3rd Strings|Scales}}

fig. 7 eE----------0--1--3- bB-0--1--3---------- b B c C d D e E f F gG

figB----------5--6--8- G-4--5--7---------- B C D E F G i m p i m p 4th Pos. 5th Pos. 8 or the 1st, 2nd, and 3rd strings:  bE----------------3- B-------3--5--6--8-- gG-4--5--7----------- b B c C d D e E f F gG m r i r p i 3rd Pos.We In the first two cases, we play a h/-w pattern on both strings in both cases, but when going from the 2nd to 3rd string, we shift one fret upwards. '''My advice is to do a positional shift.,''' Let's take a look at this in a larger context:rather than using the middle, ring, and stretched pinky, which can be awkward and difficult.

The 3rd example avoids an awkward fingering or positional shift, using strictly third position. This only uses 2 notes on the G string, making the pattern less symmetric in terms of fingering and uses 3 strings instead of 2. figIt can easily become confusing. 9 Let's take a look at this in a larger context:  eE----------------------------------0--1--3--5- bB-------------------------0--1--3------------- gG-------------------0--2---------------------- dD----------0--2--3---------------------------- aA-0--2--3------------------------------------- eE--------------------------------------------- a A b B c C d D e E f F g G a A b B c C d D e E f F g G aA

fig. 10 eE-------------------------------------1--3--5- bB----------------------------1--3--5---------- gG-------------------0--2--4------------------- dD----------0--2--3---------------------------- aA-0--2--3------------------------------------- eE--------------------------------------------- a A b B c C d D e E f F g G a A b B c C d D e E f F g G aA Both examples play the exact same notes, except Figure 10 shifts the 2nd uses a shift 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 w/-w, w/-h, or h/-w pattern of 3 notes. Without the shift, we get only 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 examples2nd example, figure 10 has ringwe see w-h, ringw-h, stretchw-w, stretchw-w, stretch and w-w patternsfor each string. In Figure 9 the first tab we have ringw-h, ringw-h, ?w, middleh-w, middle and h-w patterns, then a final stretch /shift 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: An advanced player knows how to play scales in fixed position as well as shifting as ascending or descending the figures above play an A minor scale. Notice that itMost instructors or books confine the beginner player to fixed position; however, I don's the same notes as C Majort want you to feel locked down. We'll look more into this later onI want you to understand the patterns the instruments make, which requires looking at the fretboard from different perspectives from fixed positions.''

== ''Note: the figures above play an A Minor scale. Notice that it's the same notes as C Major notes . We'll look more into this later on 3rd String ==.''

* Learn all the notes on the 3rd string for the key of C Major.* Play groups of 3 notes from the C Major scale up and down the 3rd string, in time with a metronome. Try to learn all the note names, saying them out loud as you play to help you learn them.* Play some intervals on the 1st and 2nd string, then try to play those same intervals on the 2nd and 3rd strings. * Practice Figure 1the interval exercises above. Once you are comfortable with the fingering, play in time with a metronome and try to increase your speed, but don't push yourself yet - speed is not important yet.

==Related Lessons==* [[1st and 2nd Strings - Intervals{{Beginner Lesson Crumbs|Prev: 1st and 2nd Strings - Intervals]]* [[4th, 5th, and 6th Strings|Next: 4th, 5th, and 6th Strings]]9}}