{"id":11519,"date":"2019-03-26T14:41:18","date_gmt":"2019-03-26T13:41:18","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=11519"},"modified":"2020-11-11T18:01:15","modified_gmt":"2020-11-11T17:01:15","slug":"guitar-intervals","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/guitar-intervals\/","title":{"rendered":"Guitar Intervals"},"content":{"rendered":"<p style=\"line-height: 160%; font-size: 18px; font-weight: bold; text-align: justify;\">Improvising on the guitar requires you to have a good understanding of note relationships on the fretboard. The moment you need to start thinking about a particular note you want to play, it&#8217;s already too late. That&#8217;s why we study and practice scales, arpeggios, and chords. Another useful tool to visualize the relationship between notes on the fretboard are intervals.<\/p>\n<p>In this lesson, you will learn about all the different musical intervals, how they look on the guitar, and how you can practice intervals so you can use them in your solos.<\/p>\n<span style=\"--tl-form-height-m:555.828px;--tl-form-height-t:361.672px;--tl-form-height-d:361.672px;\" class=\"tl-placeholder-f-type-shortcode_10980 tl-preload-form\"><span><\/span><\/span>\n<h2>What Are Intervals?<\/h2>\n<blockquote><p>An interval is the distance between two notes.<\/p><\/blockquote>\n<p>You can make a distinction between melodic intervals and harmonic intervals.<\/p>\n<blockquote><p>A melodic interval is when two notes sound successive.<\/p>\n<p>A harmonic interval is when two notes sound simultaneous.<\/p><\/blockquote>\n<p>There are two families of intervals:<\/p>\n<ol>\n<li><strong>Major intervals<\/strong>: 2nds (9ths), 3rds, 6ths (13ths), and 7ths.<\/li>\n<li><strong>Perfect intervals<\/strong>: unisons, 4ths (11ths), 5ths, and octaves.<\/li>\n<\/ol>\n<p>These two families can be adapted:<\/p>\n<ul>\n<li>When a\u00a0<b>major<\/b>\u00a0interval is lowered a half step, it becomes\u00a0<b>minor<\/b>.<\/li>\n<li>When a\u00a0<b>perfect<\/b>\u00a0interval is lowered a half step, it becomes\u00a0<b>diminished<\/b>.<\/li>\n<li>When a\u00a0<b>perfect<\/b>\u00a0interval is raised a half step, it becomes\u00a0<b>augmented<\/b>.<\/li>\n<\/ul>\n<h2>Intervals on the Guitar Fretboard<\/h2>\n<h3 class=\"grey\">1. Unison<\/h3>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone wp-image-11521 size-full\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-1.gif\" alt=\"Unison interval\" width=\"800\" height=\"251\" \/><\/p>\n<p><strong>Half steps between notes<\/strong>: 0<\/p>\n<p><b>Melodic use<\/b>: the repetition of a note. This is not purely theoretic though, it can be used as an effect, such as in the following example.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"waveplayer-container\"><div id=\"waveplayer-b48f92d01a759252a302c707414df636-6a496f9fbe920\" class=\"waveplayer loading wvpl-skin-w2-evolution wvpl-palette-800e3a14c86733ad9ccc96fd80850d88 wvpl-style-light wvpl-size-xs wvpl-shape-rounded \" data-limit=\"0\" data-mode=\"normal\" data-config_id=\"b48f92d01a759252a302c707414df636\" data-instance_id=\"b48f92d01a759252a302c707414df636-6a4920ddb5462\">\n\t<div class=\"wvpl-left-box\" style=\"background-image:url(https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2018\/04\/audiobg.png)\">\n\t\t<div class=\"wvpl-interface\">\n\t\t\t<div class=\"wvpl-volume-overlay\"><\/div>\n\t\t\t<div class=\"wvpl-icon wvpl-info\"><\/div>\n\t\t\t<div class=\"wvpl-controls\">\n\t\t\t\t<div class=\"wvpl-icon wvpl-prev wvpl-disabled\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-play\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-next wvpl-disabled\"><\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"wvpl-icon wvpl-volume wvpl-volume_up\"><\/div>\n\t\t\t\t\t<\/div>\n\t\t<div class=\"wvpl-poster\"><\/div>\n\t<\/div>\n\t<div class=\"wvpl-right-box\">\n\t\t<div class=\"wvpl-overlay\">\n\t\t\t<svg>\n\t\t\t\t<use xlink:href=\"#waveform-animation\" \/>\n\t\t\t<\/svg>\n\t\t\t<div class=\"percentage\"><\/div>\n\t\t\t<div class=\"wvpl-loading\">\n\t\t\t\t<div class=\"wvpl-loading-progress\"><\/div>\n\t\t\t<\/div>\n\t\t\t<div class=\"message\"><\/div>\n\t\t<\/div>\n\t\t<div class=\"wvpl-position\"><\/div>\n\t\t<div class=\"wvpl-duration\"><\/div>\n\t\t<div class=\"wvpl-waveform\"><\/div>\n\t\t<div class=\"wvpl-infobar\">\n\t\t\t<div class=\"wvpl-playing-info\"><div class=\"wvpl-infoblock\"><\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wvpl-playlist\">\n\t\t<div class=\"wvpl-playlist-wrapper\"><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<p><img decoding=\"async\" class=\"alignnone wp-image-11522 size-full\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/unison.gif\" alt=\"Unison guitar lick\" width=\"800\" height=\"210\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">2. Minor Second (minor 2nd)<\/h3>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-11523\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-2.gif\" alt=\"Minor second intervals\" width=\"800\" height=\"251\" \/><\/p>\n<p><b>Half Tones<\/b>: 1 (half tone = half step = 1 fret on the guitar)<br \/>\n<b>Ear Mnemonic<\/b>: the Jaws theme begins with a minor second<br \/>\n<b>Melodic use<\/b>: used all the time, in <a href=\"https:\/\/www.jazzguitar.be\/blog\/easy-jazz-guitar-scales\/\">scales<\/a> etc.<br \/>\n<b>Harmonic use<\/b>: sometimes used as an effect, as in the following example.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"waveplayer-container\"><div id=\"waveplayer-6ae7fa4f1adc9978ab2290855f56a75a-6a496f9fbf818\" class=\"waveplayer loading wvpl-skin-w2-evolution wvpl-palette-800e3a14c86733ad9ccc96fd80850d88 wvpl-style-light wvpl-size-xs wvpl-shape-rounded \" data-limit=\"0\" data-mode=\"normal\" data-config_id=\"6ae7fa4f1adc9978ab2290855f56a75a\" data-instance_id=\"6ae7fa4f1adc9978ab2290855f56a75a-6a4920ddb680e\">\n\t<div class=\"wvpl-left-box\" style=\"background-image:url(https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2018\/04\/audiobg.png)\">\n\t\t<div class=\"wvpl-interface\">\n\t\t\t<div class=\"wvpl-volume-overlay\"><\/div>\n\t\t\t<div class=\"wvpl-icon wvpl-info\"><\/div>\n\t\t\t<div class=\"wvpl-controls\">\n\t\t\t\t<div class=\"wvpl-icon wvpl-prev wvpl-disabled\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-play\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-next wvpl-disabled\"><\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"wvpl-icon wvpl-volume wvpl-volume_up\"><\/div>\n\t\t\t\t\t<\/div>\n\t\t<div class=\"wvpl-poster\"><\/div>\n\t<\/div>\n\t<div class=\"wvpl-right-box\">\n\t\t<div class=\"wvpl-overlay\">\n\t\t\t<svg>\n\t\t\t\t<use xlink:href=\"#waveform-animation\" \/>\n\t\t\t<\/svg>\n\t\t\t<div class=\"percentage\"><\/div>\n\t\t\t<div class=\"wvpl-loading\">\n\t\t\t\t<div class=\"wvpl-loading-progress\"><\/div>\n\t\t\t<\/div>\n\t\t\t<div class=\"message\"><\/div>\n\t\t<\/div>\n\t\t<div class=\"wvpl-position\"><\/div>\n\t\t<div class=\"wvpl-duration\"><\/div>\n\t\t<div class=\"wvpl-waveform\"><\/div>\n\t\t<div class=\"wvpl-infobar\">\n\t\t\t<div class=\"wvpl-playing-info\"><div class=\"wvpl-infoblock\"><\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wvpl-playlist\">\n\t\t<div class=\"wvpl-playlist-wrapper\"><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11525\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/minor-seconds.gif\" alt=\"Minor second interval lick\" width=\"800\" height=\"224\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>The minor second works well in some\u00a0chords, usually with open strings:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11524\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-3.gif\" alt=\"Minor second interval chords\" width=\"800\" height=\"296\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">3. Major Second (major 2nd)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-14344\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-second-intervals.png\" alt=\"Major second interval\" width=\"800\" height=\"251\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-second-intervals.png 800w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-second-intervals-300x94.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-second-intervals-768x241.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 2 (or 1 whole tone)<br \/>\n<b>Ear Mnemonic<\/b>: the two first notes of Happy Birthday<br \/>\n<b>Melodic use<\/b>: used all the time, in scales etc.<br \/>\n<b>Harmonic use<\/b>: sometimes used in chords or as an effect, such as in the following example.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11527\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-4.gif\" alt=\"Major second interval chords\" width=\"800\" height=\"289\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">4. Minor Third (minor 3rd)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11530\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-6.gif\" alt=\"Major third interval\" width=\"800\" height=\"251\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 3<br \/>\n<b>Ear Mnemonic<\/b>: the guitar riff from\u00a0<i>Whole Lotta Love<\/i>\u00a0(Led Zeppelin)<br \/>\n<b>Melodic use<\/b>: used all the time, in <a href=\"https:\/\/www.jazzguitar.be\/blog\/guitar-arpeggios\/\">arpeggios<\/a>, <a href=\"https:\/\/www.jazzguitar.be\/blog\/17-essential-jazz-guitar-chords-beginners\/\">chords<\/a>, &#8230;<br \/>\n<b>Harmonic use<\/b>: minor and major thirds are used to harmonize melodic lines (for an example see major thirds)<\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">5. Major Third (major 3rd)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-14346\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-third-intervals.png\" alt=\"Major third interval\" width=\"800\" height=\"251\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-third-intervals.png 800w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-third-intervals-300x94.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-third-intervals-768x241.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 4 (or 2 whole tones)<br \/>\n<b>Ear Mnemonic<\/b>: Oh When the Saints<br \/>\n<b>Melodic use<\/b>: used all the time, in arpeggios and chords.<\/p>\n<p>You can also play a scale in major and minor thirds (instead of major and minor seconds).<\/p>\n<p>Here&#8217;s the C major scale played in thirds:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11531\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-8.gif\" alt=\"C major scale in thirds\" width=\"800\" height=\"246\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Harmonic use<\/b>: minor and major thirds can be used to harmonize melodies or as a scale for improvisation.<\/p>\n<p>Here&#8217;s the C major scale harmonized in thirds:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11532\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-9.gif\" alt=\"C major scale in thirds\" width=\"800\" height=\"246\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">6. Perfect Fourth (perfect 4th)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11536\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/perfect-fourth-interval.gif\" alt=\"Perfect fourth interval\" width=\"800\" height=\"251\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 5<br \/>\n<b>Ear Mnemonic<\/b>: Here Comes The Bride<br \/>\n<b>Melodic use<\/b>: just like you can play a scale in thirds, you can also play a scale in fourths (perfect and augmented fourths), such as in the following example over the C major scale:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11534\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-11.gif\" alt=\"C major scale in 4ths\" width=\"800\" height=\"246\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Harmonic use<\/b>: fourths are used in <a href=\"https:\/\/www.jazzguitar.be\/blog\/quartal-chords-harmony-voicings-for-guitar\/\">quartal chords<\/a>, such as in So What, a popular jazz standard written by <a href=\"https:\/\/www.jazzguitar.be\/blog\/miles-davis-for-guitar\/\">Miles Davis<\/a>.<\/p>\n<div class=\"waveplayer-container\"><div id=\"waveplayer-1f7f01d571cc59f071108ba80a11bb9a-6a496f9fc03a7\" class=\"waveplayer loading wvpl-skin-w2-evolution wvpl-palette-800e3a14c86733ad9ccc96fd80850d88 wvpl-style-light wvpl-size-xs wvpl-shape-rounded \" data-limit=\"0\" data-mode=\"normal\" data-config_id=\"1f7f01d571cc59f071108ba80a11bb9a\" data-instance_id=\"1f7f01d571cc59f071108ba80a11bb9a-6a4920ddb75d3\">\n\t<div class=\"wvpl-left-box\" style=\"background-image:url(https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2018\/04\/audiobg.png)\">\n\t\t<div class=\"wvpl-interface\">\n\t\t\t<div class=\"wvpl-volume-overlay\"><\/div>\n\t\t\t<div class=\"wvpl-icon wvpl-info\"><\/div>\n\t\t\t<div class=\"wvpl-controls\">\n\t\t\t\t<div class=\"wvpl-icon wvpl-prev wvpl-disabled\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-play\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-next wvpl-disabled\"><\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"wvpl-icon wvpl-volume wvpl-volume_up\"><\/div>\n\t\t\t\t\t<\/div>\n\t\t<div class=\"wvpl-poster\"><\/div>\n\t<\/div>\n\t<div class=\"wvpl-right-box\">\n\t\t<div class=\"wvpl-overlay\">\n\t\t\t<svg>\n\t\t\t\t<use xlink:href=\"#waveform-animation\" \/>\n\t\t\t<\/svg>\n\t\t\t<div class=\"percentage\"><\/div>\n\t\t\t<div class=\"wvpl-loading\">\n\t\t\t\t<div class=\"wvpl-loading-progress\"><\/div>\n\t\t\t<\/div>\n\t\t\t<div class=\"message\"><\/div>\n\t\t<\/div>\n\t\t<div class=\"wvpl-position\"><\/div>\n\t\t<div class=\"wvpl-duration\"><\/div>\n\t\t<div class=\"wvpl-waveform\"><\/div>\n\t\t<div class=\"wvpl-infobar\">\n\t\t\t<div class=\"wvpl-playing-info\"><div class=\"wvpl-infoblock\"><\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wvpl-playlist\">\n\t\t<div class=\"wvpl-playlist-wrapper\"><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11537\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/so-what.gif\" alt=\"So What\" width=\"800\" height=\"587\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>The 4th interval is also used in sus4 chords, such as in this C9sus4 chord:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11535\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-27.gif\" alt=\"C9sus4 chord\" width=\"580\" height=\"212\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">7. Augmented Fourth (aka Tritone or Diminished Fifth)<\/h3>\n<p>The tritone is an important interval.<\/p>\n<p>It is the weakest interval, meaning that it has the tendency to go somewhere, it wants to move to other notes.<\/p>\n<p>The tritone is the main interval of dissonance in our harmony and they are the reason that <a href=\"https:\/\/www.jazzguitar.be\/blog\/dominant-chords\/\">dominant chords<\/a> and <a href=\"https:\/\/www.jazzguitar.be\/blog\/diminished-chords\/\">diminished chords<\/a> want to move to a tonic chord.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11539\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/tritone-interval.gif\" alt=\"Tritone interval\" width=\"800\" height=\"266\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half tones<\/b>: 6 (3 whole tones, hence the name tritone)<br \/>\n<b>Ear Mnemonic<\/b>: The Simpsons theme, Maria (West Side Story)<br \/>\n<b>Melodic use<\/b>: The tritone is an important aspect of the Locrian mode.<br \/>\n<b>Harmonic use<\/b>: the tritone is an important element of dominant chords, half-diminished chords and diminished 7 chords (which has 2 tritones). The tritone is also used in <a href=\"https:\/\/www.jazzguitar.be\/blog\/tritone-substitution\/\">tritone substitution<\/a>.<\/p>\n<p>In the chord C7 for example, there&#8217;s a tritone between e and b flat:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11540\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/tritone.gif\" alt=\"C7 chord with a tritone\" width=\"631\" height=\"209\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">8. Perfect Fifth (perfect 5th)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11544\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/perfect-fifth-interval.gif\" alt=\"Perfect fifth interval\" width=\"800\" height=\"237\" \/><\/p>\n<p><b>Half Tones<\/b>: 7<br \/>\n<b>Ear Mnemonic<\/b>: Star Wars theme<br \/>\n<b>Melodic use<\/b>: you can play a scale in fifths, such as in the following example.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11543\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-14.gif\" alt=\"C major scale in fifths\" width=\"800\" height=\"244\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Pat Metheny&#8217;s song\u00a0<i>Bright Size Life<\/i>\u00a0starts in fifths:<\/p>\n<p>&nbsp;<\/p>\n<div class=\"waveplayer-container\"><div id=\"waveplayer-952e6f458bc07c3cf271a3e923965adb-6a496f9fc0efd\" class=\"waveplayer loading wvpl-skin-w2-evolution wvpl-palette-800e3a14c86733ad9ccc96fd80850d88 wvpl-style-light wvpl-size-xs wvpl-shape-rounded \" data-limit=\"0\" data-mode=\"normal\" data-config_id=\"952e6f458bc07c3cf271a3e923965adb\" data-instance_id=\"952e6f458bc07c3cf271a3e923965adb-6a4920ddb8393\">\n\t<div class=\"wvpl-left-box\" style=\"background-image:url(https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2018\/04\/audiobg.png)\">\n\t\t<div class=\"wvpl-interface\">\n\t\t\t<div class=\"wvpl-volume-overlay\"><\/div>\n\t\t\t<div class=\"wvpl-icon wvpl-info\"><\/div>\n\t\t\t<div class=\"wvpl-controls\">\n\t\t\t\t<div class=\"wvpl-icon wvpl-prev wvpl-disabled\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-play\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-next wvpl-disabled\"><\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"wvpl-icon wvpl-volume wvpl-volume_up\"><\/div>\n\t\t\t\t\t<\/div>\n\t\t<div class=\"wvpl-poster\"><\/div>\n\t<\/div>\n\t<div class=\"wvpl-right-box\">\n\t\t<div class=\"wvpl-overlay\">\n\t\t\t<svg>\n\t\t\t\t<use xlink:href=\"#waveform-animation\" \/>\n\t\t\t<\/svg>\n\t\t\t<div class=\"percentage\"><\/div>\n\t\t\t<div class=\"wvpl-loading\">\n\t\t\t\t<div class=\"wvpl-loading-progress\"><\/div>\n\t\t\t<\/div>\n\t\t\t<div class=\"message\"><\/div>\n\t\t<\/div>\n\t\t<div class=\"wvpl-position\"><\/div>\n\t\t<div class=\"wvpl-duration\"><\/div>\n\t\t<div class=\"wvpl-waveform\"><\/div>\n\t\t<div class=\"wvpl-infobar\">\n\t\t\t<div class=\"wvpl-playing-info\"><div class=\"wvpl-infoblock\"><\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wvpl-playlist\">\n\t\t<div class=\"wvpl-playlist-wrapper\"><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11541\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/bright-size-life.gif\" alt=\"Bright Size Life\" width=\"800\" height=\"279\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Harmonic use<\/b>: the 5th is generally something you want to avoid in your jazz voicings, it does not add much to the sound. It is often used in rock though (power chords).<\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">9. Minor Sixth (minor 6th)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11546\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/minor-sixth-interval.gif\" alt=\"Minor sixth interval\" width=\"800\" height=\"237\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 8 (or 4 whole tones)<br \/>\n<b>Ear Mnemonic<\/b>: Black Orpheus<br \/>\n<b>Melodic Use<\/b>: very nice interval, a bit melancholic. A scale can be played in minor and major 6ths (see major 6th)<br \/>\n<b>Harmonic Use<\/b>: A scale can be harmonized using minor and major 6ths (see major 6th)<\/p>\n<p>There&#8217;s a minor 6th in this nice chord from the Aeolian mode (one of the <a href=\"https:\/\/www.jazzguitar.be\/blog\/guitar-modes\/\">guitar modes<\/a>):<\/p>\n<p><strong>Dm7b6 (or Bbmaj9\/D)<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11545\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/dm7b6.gif\" alt=\"Dm7b6 chord\" width=\"644\" height=\"256\" \/><\/p>\n<h3 class=\"grey\">10. Major Sixth (major 6th)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11551\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-sixth-interval.gif\" alt=\"Major sixth interval\" width=\"800\" height=\"237\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 9<br \/>\n<b>Ear Mnemonic<\/b>: <a href=\"https:\/\/www.jazzguitar.be\/blog\/all-blues\/\">All Blues<\/a> (Miles Davis)<br \/>\n<b>Melodic Use<\/b>: playing scales in major an minor 6ths sounds bluesy.<\/p>\n<p>Here&#8217;s the C major scale in 6ths (grab these like little chords, let the low note ring while you play the 6th):<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11549\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-17.gif\" alt=\"C major scale in 6ths\" width=\"800\" height=\"251\" \/><\/p>\n<p><b>Harmonic Use<\/b>: in the same fashion as the example above, you can harmonize a scale in 6ths:<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11550\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/intervals-18.gif\" alt=\"C major scale in 6ths\" width=\"800\" height=\"184\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>The 6th is also an important interval in chords:<\/p>\n<p><strong>C6<\/strong> (C major 6)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11547\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/C6-chord.gif\" alt=\"C6 chord\" width=\"586\" height=\"210\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Cm6<\/strong> (C minor 6)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11548\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/Cm6-chord.gif\" alt=\"Cm6 chord\" width=\"567\" height=\"241\" \/><\/p>\n<h3 class=\"grey\">11. Minor Seventh (minor 7th)<\/h3>\n<p>Minor and major 7ths are important intervals in jazz. &#8220;Jazzyfying&#8221; a chord usually means adding the 7th to a triad.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11553\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/minor-seventh-interval.gif\" alt=\"Minor seventh interval\" width=\"800\" height=\"237\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 10 (or 5 whole tones)<br \/>\n<b>Ear Mnemonic<\/b>: Somewhere (West Side Story), Star Trek Theme<br \/>\n<b>Harmonic use<\/b>: the minor 7th is in <a href=\"https:\/\/www.jazzguitar.be\/blog\/minor-chords\/\">minor 7th chords<\/a>, half-diminished and dominant 7th chords.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Dm7<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11552\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/Dm7.gif\" alt=\"Dm7 chord\" width=\"582\" height=\"254\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">12. Major Seventh (major 7th)<\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11555\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/major-seventh-interval.gif\" alt=\"Major seventh interval\" width=\"800\" height=\"237\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 11<br \/>\n<b>Ear Mnemonic<\/b>: chorus of\u00a0<i>Take On Me<\/i> (A-ha)<br \/>\n<b>Harmonic use<\/b>: the major 7th is a part of <a href=\"https:\/\/www.jazzguitar.be\/blog\/major-chords\/\">major 7th chords<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Cmaj7<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11554\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/Cmaj7.gif\" alt=\"Cmaj7 chord\" width=\"565\" height=\"221\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">13. Perfect Octave<\/h3>\n<p>The circle is round, we are back at the starting note c, but 12 half tones higher.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11558\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/octave-interval.gif\" alt=\"Octave interval\" width=\"800\" height=\"237\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><b>Half Tones<\/b>: 12 (or 6 whole tones)<br \/>\n<b>Ear Mnemonic<\/b>: Over The Rainbow<br \/>\n<b>Melodic and Harmonic Use<\/b>: octaves are often used \u00e0 la <a href=\"https:\/\/www.jazzguitar.be\/blog\/wes-montgomery-jazz-guitar-licks\/\">Wes Montgomery<\/a>, in solos and themes, such as in the following example from Wes Montgomery&#8217;s standard <a href=\"https:\/\/www.jazzguitar.be\/blog\/four-on-six-wes-montgomery\/\">Four on Six<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"waveplayer-container\"><div id=\"waveplayer-fd920402ced7b28ac47ec2255b306c1a-6a496f9fc1a54\" class=\"waveplayer loading wvpl-skin-w2-evolution wvpl-palette-800e3a14c86733ad9ccc96fd80850d88 wvpl-style-light wvpl-size-xs wvpl-shape-rounded \" data-limit=\"0\" data-mode=\"normal\" data-config_id=\"fd920402ced7b28ac47ec2255b306c1a\" data-instance_id=\"fd920402ced7b28ac47ec2255b306c1a-6a4920ddb911b\">\n\t<div class=\"wvpl-left-box\" style=\"background-image:url(https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2018\/04\/audiobg.png)\">\n\t\t<div class=\"wvpl-interface\">\n\t\t\t<div class=\"wvpl-volume-overlay\"><\/div>\n\t\t\t<div class=\"wvpl-icon wvpl-info\"><\/div>\n\t\t\t<div class=\"wvpl-controls\">\n\t\t\t\t<div class=\"wvpl-icon wvpl-prev wvpl-disabled\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-play\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-next wvpl-disabled\"><\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"wvpl-icon wvpl-volume wvpl-volume_up\"><\/div>\n\t\t\t\t\t<\/div>\n\t\t<div class=\"wvpl-poster\"><\/div>\n\t<\/div>\n\t<div class=\"wvpl-right-box\">\n\t\t<div class=\"wvpl-overlay\">\n\t\t\t<svg>\n\t\t\t\t<use xlink:href=\"#waveform-animation\" \/>\n\t\t\t<\/svg>\n\t\t\t<div class=\"percentage\"><\/div>\n\t\t\t<div class=\"wvpl-loading\">\n\t\t\t\t<div class=\"wvpl-loading-progress\"><\/div>\n\t\t\t<\/div>\n\t\t\t<div class=\"message\"><\/div>\n\t\t<\/div>\n\t\t<div class=\"wvpl-position\"><\/div>\n\t\t<div class=\"wvpl-duration\"><\/div>\n\t\t<div class=\"wvpl-waveform\"><\/div>\n\t\t<div class=\"wvpl-infobar\">\n\t\t\t<div class=\"wvpl-playing-info\"><div class=\"wvpl-infoblock\"><\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wvpl-playlist\">\n\t\t<div class=\"wvpl-playlist-wrapper\"><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11556\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/four-on-six-lick-6.gif\" alt=\"Four on Six lick\" width=\"720\" height=\"196\" \/><\/p>\n<h2>Compound Intervals<\/h2>\n<p>The intervals we&#8217;ve seen so far are what we call &#8220;simple intervals&#8221;.<\/p>\n<p>There are a couple more intervals, called &#8220;compound intervals&#8221; because they go beyond the octave.<\/p>\n<p>We&#8217;re not going to talk about all of them, only the important ones.<\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">1. Minor Ninth (minor 9th)<\/h3>\n<p><b>Interval distance:<\/b>\u00a0octave + minor 2nd<br \/>\n<b>Use<\/b>: in dominant b9 chords.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>C7(b9)<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11561\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/C7b9.gif\" alt=\"C7b9 chord\" width=\"566\" height=\"212\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">2. Major Ninth (major 9th)<\/h3>\n<p><b>Interval distance<\/b>: octave + major 2nd (or 7 whole tones)<br \/>\n<b>Use<\/b>: in major 9, minor 9, dominant 9 chords<\/p>\n<p>&nbsp;<\/p>\n<p><strong>C9<\/strong> (C dominant 9)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11563\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/C9-1.gif\" alt=\"C9 chord\" width=\"575\" height=\"211\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">3. Augmented Ninth (augmented 9th)<\/h3>\n<p><b>Interval distance<\/b>: octave + augmented 2nd<br \/>\n<b>Use<\/b>: in dominant #9 chords<\/p>\n<p>&nbsp;<\/p>\n<p><strong>C7(#9)<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11562\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/C7x9.gif\" alt=\"C7#9 chord\" width=\"604\" height=\"211\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">4. Perfect Eleventh (perfect 11th)<\/h3>\n<p><b>Interval distance<\/b>: octave + perfect 4th<br \/>\n<b>Use<\/b>: in minor 11 chords<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Am11<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11559\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/Am11.gif\" alt=\"Am11 chord\" width=\"575\" height=\"221\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">5. Augmented Eleventh (augmented 11th)<\/h3>\n<p><b>Interval distance<\/b>: octave + augmented 4th<br \/>\n<b>Use<\/b>: in major #11 chords and dominant #11 chords<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Bbmaj7#11<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11560\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/Bbmaj7x11.gif\" alt=\"Bbmaj7#11 chord\" width=\"603\" height=\"216\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">6. Minor Thirteenth (minor 13th)<\/h3>\n<p><b>Interval distance<\/b>: octave + minor 6th<br \/>\n<b>Use<\/b>: in dominant b13 chords<\/p>\n<p>&nbsp;<\/p>\n<p><strong>G7b13<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11564\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/G7b13.gif\" alt=\"G7b13 chord\" width=\"511\" height=\"224\" \/><\/p>\n<p>&nbsp;<\/p>\n<h3 class=\"grey\">7. Major Thirteenth (major 13th)<\/h3>\n<p><b>Interval distance<\/b>: octave + major 6th<br \/>\n<b>Use<\/b>: in dominant 13 chords<\/p>\n<p>&nbsp;<\/p>\n<p><strong>G13<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-11565\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2019\/03\/G13.gif\" alt=\"G13 chord\" width=\"564\" height=\"221\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Improvising on the guitar requires you to have a good understanding of note relationships on the fretboard. The moment you need to start thinking about a particular note you want to play, it&#8217;s already too late. That&#8217;s why we study and practice scales, arpeggios, and chords. Another useful tool to visualize the relationship between notes [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":11564,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[73],"tags":[],"class_list":["post-11519","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-theory"],"_links":{"self":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/11519","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=11519"}],"version-history":[{"count":0,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/11519\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/11564"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=11519"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=11519"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=11519"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}