INTERVALS
INTERVALS — THE SECRET LANGUAGE OF THE FRETBOARD
Music isn’t built from scales.
Music isn’t built from modes.
Music isn’t even built from notes.
Music is built from distances.
Tiny jumps.
Wide leaps.
Tensions.
Resolutions.
The emotional gravity between two points on a string.
These distances have names.
They have personalities.
They have moods, colours, and attitudes.
They are the intervals — the real DNA of the fretboard.
Learn intervals and the neck stops being a maze.
It becomes a map.
A landscape you can read, navigate, and predict.
A place where every sound has a reason, and every reason has a sound.
This chapter is where the fog lifts.
Where the fretboard stops being a collection of shapes and starts becoming a language.
Where you stop memorising patterns and start speaking music.
Intervals are the engine behind every riff you love, every chord you recognise, every melody that ever stuck in your head.
They’re the hidden architecture behind Hendrix double‑stops, SRV bends, Police chords, Sabbath riffs, and every emotional punch the guitar has ever thrown.
Once you hear intervals, you can’t un-hear them.
Once you see them, you can’t un-see them.
And once you understand them, the fretboard finally makes sense.
Welcome to the chapter where everything clicks.
Welcome to the secret language.
INTERVALS, DOUBLE-STOPS, AND THE MAGIC OF JIMI HENDRIX & STEVIE RAY VAUGHAN:
Intervals are the DNA of music, the tiny spaces between notes that holds the musical universe together.
The emotional pull of Jimi Hendrix or Stevie Ray Vaughan’s music comes from the power of intervals – the unsung heroes shaping their raw and electrifying sound.
Intervals are not just theory; they’re the soul of the blues, the grit of rock, and the sparkle of pop.
And double-stops?
They’re like the master key to a guitarist’s toolbox.
Let’s dive in, but not too deep – this isn’t a lecture.
It’s more like a conversation over coffee, or maybe a beer, depending on the time of day.
THE INTERVALS THEMSELVES – THE EMOTIONAL DNA OF MUSIC
UNISON:
Two notes, same pitch.
Simple, right?
But when you hear it, it’s like a punch to the chest.
Hendrix used unisons in “Foxy Lady” to make his guitar scream – he played the same note on 2 adjacent strings by bending one note to match the other adding power and intensity to the song’s signature riff.
SRV did it in “Scuttle Buttin” – his rapid-fire licks often included unison bends and notes played in unison across different strings, which contributed to the song’s energetic and dynamic feel.
Unisons are everywhere:
The opening of “Seven Nation Army” by The White Stripes, the stomp of “Enter Sandman” by Metallica.
It’s the sound of power, of something primal.
MINOR SECOND – 1 semitone.
A one-fret gap.
It’s tiny, but it carries so much weight.
Tense, dissonant, often uncomfortable – like the moment before a storm breaks.
For example, in “Purple Haze”, Jimi Hendrix employs the “Hendrix chord” (a dominant 7#9 chord), which contains a minor second interval between the major third and the sharp ninth.
While this interval isn’t played melodically, it contributes to the tension and unique sound of the chord.
SRV’s “Riviera Paradise” has these haunting minor seconds that feel like a whisper in the dark.
MAJOR SECOND – 1 whole step or 2 semitones or 2 frets apart.
It’s neutral, but not boring.
Think of Hendrix’s “Little Wing,” those ascending notes that feel like sunlight breaking through clouds.
SRV’s “Lenny” uses whole-step bends to create warmth, like a hug from an old friend.
Nirvana’s “Come As You Are” riff?
Major seconds all the way.
It’s the sound of movement, of stepping forward.
MINOR THIRD.
Three frets apart.
Sad, bluesy, and oh-so-expressive.
Hendrix’s “Voodoo Child (silent return)” opens with that iconic minor third bend – it’s like a cry from the depths.
SRV’s “Texas Flood” solo is dripping with minor thirds, each note weeping.
Green Day’s “Boulevard Of Broken Dreams” uses it to capture that feeling of walking alone at night.
It’s the sound of longing, of something missing.
MAJOR THIRD.
Four frets apart – 2 whole tones/4 semitones:
Bright, uplifting, and full of hope.
Hendrix’s iconic version of “The Star-Spangled Banner” at Woodstock – those wide major thirds explode like fireworks.
SRV’s “Pride and Joy” shuffle is built on major third double stops, and it’s impossible not to smile when you hear it.
U2’s “With Or Without You” uses major thirds to create that soaring, anthemic feel.
PERFECT FOURTH.
Five frets – five semitones:
Open, stable, and timeless.
SRV’s “Cold Shot” riff uses fourths to create that driving, relentless energy.
The Black Keys’ “Lonely Boy” is all about fourths, and it’s impossible not to move when you hear it.
And, of course, Deep Purple’s “Smoke On The Water” – that iconic riff is pure all the way double-stopped fourths.
TRITONE – (AUGMENTED FOURTH OR DIMINISHED FIFTH).
Six frets – six semitones:
Often called the “devil’s interval.”
It’s unsettling, eerie, and somehow irresistible.
Hendrix used it in “Spanish Castle Magic” to create that otherworldly vibe.
SRV’s “The Sky Is Crying” has these bluesy tritone licks that feel like a storm brewing.
Black Sabbath’s “Black Sabbath” riff?
Pure tritone.
It’s the sound of danger, of something lurking in the shadows.
PERFECT FIFTH.
Seven frets – seven semitones:
Powerful, rock-ready, and impossible to ignore.
Hendrix’s “Hey Joe” is built on an ascending chord cycle of fifths – C, G, D, A, E – it’s like a journey, each chord taking you to somewhere new.
SRV’s “Couldn’t Stand The Weather” uses fifths to create that driving, relentless energy.
Queen’s “We Will Rock You”?
Fifths.
It’s the sound of strength, of something unstoppable.
MINOR SIXTH.
Eight frets – eight semitones.
Moody, mysterious, and full of depth.
Hendrix’s “Bold As Love” chord progressions use minor sixths to create that dreamy, psychedelic feel.
SRV’s “Tin Pan Alley” has these minor sixth bends that feel like a story being told.
The Animals’ “House Of The Rising sun” uses minor sixths to capture that haunting, timeless quality.
It’s the sound of mystery, of something hidden.
MAJOR SIXTH.
Nine frets – nine semitones.
Nostalgic, warm, and full of soul.
Hendrix’s “Castles Made Of Sand” uses major sixths to create that bittersweet, reflective feel.
SRV’s “Life Without You” has these soulful major sixth phrases that feel like a conversation.
The Beatles’ “She Loves You” uses major sixths in that iconic “yeah yeah yeah” melody.
It’s the sound of memory, of something cherished.
MINOR SEVENTH.
Ten frets – ten semitones.
Jazz-blues tension, like a coiled spring.
Hendrix’s “Third Stone From The Sun” uses minor sevenths to create that spacey, otherworldly vibe.
SRV’s “Rude Mood” has these rapid minor seventh runs that feel like lightning.
Pink Floyd’s “Money” bassline is built on minor sevenths.
It’s the sound of tension, of something about to snap.
MAJOR SEVENTH.
Eleven frets – eleven semitones:
Dreamy, unresolved, and full of longing.
Hendrix’s “May This Be Love” uses major sevenths to create that ethereal, floating feel.
SRV’s “Lenny” chord extensions use major sevenths to add that jazzy depth.
The Police’s “Every Little Thing She Does Is Magic” uses major sevenths to create that shimmering, magical quality.
It’s the sound of dreams, of something just out of reach.
OCTAVE.
Twelve frets – twelve semitones:
Unified, resonant, and full of power.
Hendrix’s “Voodoo Child (silent return)” uses octave slides to create that raw, primal energy.
SRV’s “Testify” riff is built on octaves, and it’s impossible not to move when you hear it.
The White Stripes’ “Icky Thump” uses octaves to create that driving, relentless energy.
It’s the sound of unity, of something complete.
DOUBLE-STOPS: INTERVALS YOU CAN FEEL
Mastering double-stops:
A casual dive into guitar magic.
Let’s talk about double-stops.
You know, those little two-note wonders that make your guitar sing without needing a full chord.
They’re like the espresso shot of guitar playing – small, potent, and packed with flavour.
Whether you’re into blues, rock, jazz or metal, double-stops are your secret weapon.
They’ve been around forever, hiding in classical pieces, screaming through blues solos, and driving rock riffs.
Today, we’re breaking them down, interval by interval, and looking at how the greats have used them.
A double‑stop is an interval.
Not a scale fragment.
Not a chord.
Not a pattern.
It’s the purest, most playable form of interval awareness.
THIRDS – THE ROCK ‘N’ ROLL WORKHORSE:
Thirds are everywhere.
Major third double-stops sound happy, minor third double stops sound sad, and together they’re the backbone of so much music.
Play them on adjacent strings.
But watch out for that pesky B string – it messes with the spacing.
Chuck Berry’s “Johnny B. Goode” is the textbook example.
That opening riff?
Pure double-stopped major thirds, bouncing up and down like a child on a trampoline.
Keith Richards of The Rolling Stones loves them too – listen to “Brown Sugar” and you’ll hear the open G tuning he uses making those double-stopped major thirds ring out like church bells.
And Jimi Hendrix?
His playing in “Little Wing” is a masterclass in blending major and minor double-stopped thirds, like sunlight and shadows dancing together.
Stevie Ray Vaughan bent minor third double-stops in “Texas Flood” like stretching rubber bands.
Carlos Santana made them smooth as silk in “Europa”.
Eddie Van Halen palm-muted them into submission in “Ain’t Talkin’ ‘Bout Love”.
David Gilmour of Pink Floyd bent minor thirds into major thirds in the iconic “Comfortably Numb.”
Mark Knopfler of Dire Straits used them to weave clean, melodic lines in “Sultans of Swing.”
Thirds are like the Swiss Army knife of intervals – versatile, reliable and always handy.
FOURTHS – OPEN AND AIRY:
Fourths have this open, spacious sound that feels like standing on a mountain peak.
Perfect for modal jazz, but they’ve found their way into rock and fusion too.
Ritchie Blackmore’s iconic riff in Deep Purple’s “Smoke On The Water” is like the poster child of double-stopped fourths – the riff rings out like a primal chant.
Steve Vai’s “For The Love Of God” has these haunting double-stopped fourths that feel like they’re reaching for the stars.
Joe Satriani used double-stopped 4ths to create a spacey vibe in “Surfing With The Alien.”
Billy Gibbons of ZZ Top used double-stopped fourths to create the swampy groove in “La Grange,” proving that double-stopped fourths can be just as gritty as they are airy.
Fourths are like the wind – you can’t see them, but you can feel them everywhere.
FIFTHS – THE POWER CHORD’S SOUL.
Fifths are the bread and butter of rock guitar.
Neutral, powerful, and perfect for distortion.
Angus Young’s work with AC/DC on “Back in Black” is a fifth-fueled juggernaut – those A and E notes hit you like a freight train.
Tony Iommi of Black Sabbath used them to create the doom-laden riff in “Iron Man.”
Kurt Cobain turned them into the anthem of a generation with “Smells Like Teen Spirit”.
The palm-muted fifths in Metallica’s “Enter Sandman” are like a hammer to the skull.
Tom Morello of Rage Against The Machine used them to create rhythmic aggression in “Killing in the Name.”
Dave Mustaine of Megadeth turned their “Symphony of Destruction” into a fifths-heavy thrash masterpiece.
Dimebag Darrell of Pantera used melodic fifths in “Cemetery Gates.”
Zakk Wylde with Ozzy Osbourne added pinch harmonics to his fifths in “Crazy Babies” and suddenly they were screaming like banshees.
Fifths are the powerhouse of intervals – bold, roaring and commanding attention at every turn.
SIXTHS – WARM AND SOULFUL:
Sixths are like a warm blanket on a cold night.
Major sixths sound sweet, minor sixths sound bluesy, and together they add so much depth to your playing.
Stevie Ray Vaughan’s “Pride and Joy” is a major sixth (and sometimes minor sixth) double- stopped filled shuffle that feels like a sunny day in Texas.
Eric Clapton used major sixth double-stops to add emotional weight to “Tears in Heaven.”
B.B. King made major sixth double-stops cry in “The Thrill Is Gone.”
Carlos Santana’s “Samba Pa Ti” is both a major and minor sixths double-stops filled love letter to the guitar.
Mark Knopfler of Dire Straits used both major and minor sixth double-stops to create emotional depth in “Brothers in Arms.”
Pink Floyd’s “Wish You Were Here” intro has some pure major sixth double-stop magic.
John Mayer alternates between major and minor sixth double-stops to add soulful expression to “Gravity.”
Gary Moore made a combination of major and minor sixth double-stops weep in the beautiful and heartfelt “Still Got the Blues.”
Sixths are like a good cup of coffee – comforting, familiar, and always welcome.
SEVENTHS – BLUESY TENSION:
Sevenths are all about tension.
Minor sevenths sound dark, major sevenths sound dreamy, and together they create this push-and-pull that’s perfect for blues and jazz.
Jimi Hendrix made major seven double-stops scream in “Voodoo Child (silent return).”
Stevie Ray Vaughan bent major and minor seventh double-stops in “Texas Flood” like they owed him money.
Eric Clapton used major and minor seventh double-stops in “Crossroads” for harmonic complexity.
Stevie Ray Vaughan used major seventh double-stops in the rhythm sections of “Pride and Joy.”
Gary Moore used minor seventh double-stops to enhance emotional depth in “Still Got The Blues.”
Sevenths are like a storm cloud – dark, brooding and full of energy.
TRITONES – “THE DEVIL’S INTERVAL”:
Tritones are dark, dissonant, and perfect for metal.
Tony Iommi’s work with Black Sabbath on “Black Sabbath” is the ultimate tritone riff which incorporated the tritone itself as a double-stop – it sounds like the gates of hell opening.
Metallica used tritone double-stops to create the crushing riffs in “Master of Puppets,” and Slayer made them scream in “Raining Blood.”
Pantera’s “Cowboys from Hell” is a tritone double-stop filled metal anthem, and Megadeth used double-stopped tritones to add tension to “Holy Wars – The Punishment Due.”
Tritones are like a thunderstorm – dark, powerful and impossible to ignore.
NINTHS – TEXTURAL DEPTH:
Ninths are all about texture.
Major ninths sound jangly, and minor ninths sound dissonant and tense.
Played as double-stops, they add so much texture and depth to your playing.
Jimi Hendrix used major ninth double-stops in “Little Wing” to dominate the melodic fills
“Bold as Love” by Jimi Hendrix – Primarily major ninth double-stops with expressive phrasing.
“The Wind Cries Mary“ by Jimi Hendrix – Features major ninth double-stops for smoothness.
“Still Got the Blues“ by Gary Moore – Primarily minor ninth double-stops for emotional tension.
“Texas Flood“ by Stevie Ray Vaughan – Combines both major and minor ninth double-stops for depth.
“Pride and Joy“ by Stevie Ray Vaughan – Mostly major ninth double-stops for its upbeat vibe.
“Red House“ by Jimi Hendrix – Includes minor ninth double-stops for a bluesy feel.
“Voodoo Child (Slight Return)“ by Jimi Hendrix – Primarily major ninth double-stops with dynamic bends.
“Lenny” by Stevie Ray Vaughan – Features lush major ninth double-stops for its dreamy feel.
OCTAVES – JAZZ SOPHISTICATION:
Octaves are like a magnifying glass for your melody.
They make everything bigger, brighter, and more powerful.
Wes Montgomery’s “Four on Six” is a masterclass in octave playing – those lines flow like a river.
George Benson used them to add clarity to “Breezin’.”
Pat Metheny with The Pat Metheny Group made them sing in “Bright Size Life.”
John Scofield gave them a funky twist in “A Go Go.”
Joe Pass used them to create virtuosic runs in “Virtuoso.”
Django Reinhardt’s “Minor Swing” with the Quintette du Hot Club de France is a gypsy jazz classic filled with octaves.
Grant Green used them to add depth to “Idle Moments.”
Mike Stern’s “Chromazone” is a modern jazz masterpiece filled with octave lines.
Kurt Rosenwinkel used them to push the boundaries of jazz in “Zhivago.”
Julian Lage’s “Nocturne” is a beautiful example of octave playing.
Octaves are like a spotlight – they make everything shine.
DOUBLE STOPS REVISITED:
The secret sauce of Hendrix and SRV:
Double stops – playing two notes at once – are like the secret handshake between guitarists.
Hendrix and SRV used them to harmonize melodies and thicken riffs.
Hendrix’s “Little Wing” is full of major and minor third, perfect fourth and major and minor sixth and octave double-stops that mimicked vocal harmonies.
He revolutionized their use by blending them seamlessly into his innovative style.
Hendrix used double-stops to create rich harmonic textures, melodic fills, and expressive rhythms, which elevated his songs to new artistic heights.
Hendrix’s genius lay in his ability to blend these double-stopped intervals seamlessly with hammer-ons, pull-offs and slides, creating a fluid and expressive sound.
His sublime use of double-stops in “Little Wing” is a hallmark of his innovative approach to combining rhythm and lead guitar playing.
SRV’s “Pride and Joy” uses major third double-stops to drive that shuffle groove.
Stevie Ray Vaughan was also a master of double-stops.
He could seamlessly integrate them into his fiery Texas blues style of playing.
Not just as mere embellishments, but also as integral parts of his solo and rhythm playing style, adding depth and texture to his playing.
It’s was like Jimi and Stevie were having a conversation with themselves, and we were just lucky enough to be able to listen in.
INVERTED INTERVALS.
Flipping the script:
Inversions are when you flip the notes of an interval.
For example: A major third (C to E) becomes a minor sixth (E to C).
It’s like looking at the same picture from a different angle.
Hendrix used major 3rd double-stops inverted as double stopped 6ths in “The Wind Cries Mary” to create smooth, flowing chord transitions.
SRV’s “Lenny” used inverted major thirds to sixths to add that jazzy depth.
They are subtle tricks, but they make all the difference.
Experiment with them.
WHY INTERVALS AND DOUBLE-STOPS MATTER:
Intervals, double-stops and inverted double-stops aren’t just theory- they’re the tools Hendrix and SRV used to create magic.
They’re the reason we feel something special when we hear their music.
INTERVALS?
Remember that they’re the magic ingredients that keeps things interesting.
So next time you pick up your guitar, think about those tiny spaces between the notes.
They’re not just intervals – they’re the soul of the music.
TIPS TO MASTER DOUBLE-STOPS:
A casual guide.
DOUBLE-STOPS:
They’re one of those things that sound simple, but can feel like a mystery tour when you’re first starting out.
You hear them in Hendrix’s “Little Wing” or SRV’s “Pride and Joy,” and they just – sing.
But how do you get there?
Well, it’s not about being perfect – it’s about feeling your way through.
Let’s break it down, but keep it loose.
This isn’t a textbook – it’s more like a chat with a friend who’s been there and can guide you through the basics.
START SIMPLE:
Unisons and fourths.
If you’re new to double stops, don’t overthink it.
Start with the basics – unisons and perfect fourths.
Unisons are just two notes of the same pitch, and they’re great for building confidence.
Perfect fourths though – that’s where the magic starts.
Think of SRV’s “Pride and Joy,” or Deep Purple’s “Smoke On The Water.”
Those riffs are built on pure double-stopped fourths, sliding up and down the neck like it’s the easiest thing in the world.
Here’s a tip:
Focus on your picking.
It’s easy to accidentally hit extra strings, so keep it clean.
Since 4ths are mostly played on adjacent strings, you might prefer to pluck them with your thumb and index finger.
Play slowly at first, and let your hand get used to the motion.
It’s like learning to dance – you don’t start with a tango.
Bend and slide – add some soul:
Once you’re comfortable with the basics, it’s time to get expressive.
Hendrix was a master of this.
In “Little Wing,” he’d bend one note of a double-stop while letting the other ring out.
It’s like a conversation – one voice rising, the other holding steady.
Try this:
Play a major third double stop (say, C and E on the B and G strings).
Bend the C up to D while keeping the E steady.
It’s a small move, but it adds so much emotion.
And slides?
They’re your best friend.
Slide into a double-stop, and suddenly it feels alive.
RHYTHM IS EVERYTHING:
Double-stops aren’t just about the notes – it’s how you play them.
SRV’s “Cold Shot” is a perfect example.
The riff is simple, but the rhythm is tight.
It’s like a heartbeat, driving the song forward.
Grab a metronome.
Start slow, and lock in that timing.
Play a double-stop on every beat, then try syncopating it – off-beats, triplets, whatever feels good.
Rhythm is what turns notes into music.
Hammer-ons and pull-offs – smooth it out:
Want to make your double stops flow?
Add some hammer-ons and pull-offs.
Hendrix did this all the time.
It’s like adding little flourishes to a sentence – suddenly, it’s more interesting.
HERE’S AN EXERCISE:
Play a double stop, then hammer-on to the next note on one string while keeping the other note ringing.
It’s a small move, but it adds so much texture.
Explore across strings:
Double-stops don’t have to be on adjacent strings.
Try skipping a string – play the G and B strings, or the D and high E.
It opens up new harmonic possibilities.
Ritchie Blackmore of Deep Purple was a genius at this.
His riffs often used wide intervals, creating a rich and layered sound.
ANOTHER EXERCISE TO TRY:
Smoke On The Water:
That iconic riff is perfect for practicing double-stopped 4ths:
D-G, F-Bb, G-C, D-G, F-Bb, Ab-Db G-C etc.
(play the D-G on the 5th fret of the A and D strings and the rest on the D and G strings)
It’s amazing how many guitarists play this totally wrong!
Too many think it is played in 5ths (power chords).
But it’s not!
It’s actually played in double-stopped 4ths.
Which, is in fact an inverted double-stopped 5th.
PRO TIP:
Don’t use a pick!
Play the double-stopped 4ths by plucking them sharply with your thumb and index finger – it gives the riff a clean and punchy sound – far better than it sounds using a pick!
BLUES IMPROVISATION:
Play around with third and sixth double-stops over a 12-bar blues progression.
Slide them, bend them, and make them your own.
WHY THIS MATTERS:
Double-stops are more than just a technique – they’re a way to add emotion and depth to your playing.
They’re the difference between playing notes and telling a story.
And like anything worth doing, it takes time.
Start slow, be patient, and let yourself feel it.
WRAPPING IT UP.
Double-stops are some of those things that seem so simple, but turn out to be endlessly deep.
They’re like a language – once you learn the basics, you can say so much with so little.
Whether you are blending major and minor double-stopped thirds like Jimi Hendrix or Stevie Ray Vaughan.
Slamming fifths like Angus Young.
Or weaving octaves like Wes Montgomery.
There’s a world of expression waiting for you.
So, grab your guitar, start experimenting, and see where those double-stops take you.
Trust me, it’s worth it.
THE FRETBOARD REVELATION – WHEN YOUR GUITAR FINALLY STARTS SPEAKING TO YOU:
You know that moment when you’re fumbling with a lock in the dark, and suddenly – click – it opens?
That’s what happens when you TRULY understand intervals on guitar.
One minute you’re mechanically running scales like a hamster on a wheel, the next…
Well, let me tell you about my “aha” moment.
It was 2 am in my university dorm room.
My roommate had long since given up asking me to keep it down.
I was trying to learn this Jimi Hendrix solo note-for-note, getting frustrated because no matter how accurately I copied it, something was missing.
Then my jazz-guitarist neighbour put his head round the door and said, “You’re playing the notes, but you’re missing the conversation between them.”
Mind blown.
Here’s why intervals change everything:
1. THE FRETBOARD IS A LIVING, BREATHING THING – (MUCH MORE THAN JUST FRETS AND STRINGS):
We’re taught to see the fretboard as this rigid grid.
Sixth string, third fret – G.
Fifth string, second fret – B.
But that’s like describing a rainbow by listing paint colours.
The magic happens in how these notes relate to each other.
Try this right now:
Play any note on the low E string (let’s say 3rd fret – G)
Now find that same G on the D string (5th fret)
Notice how even though they’re the same note, they feel different?
That’s interval context at work.
2. YOUR FAVOURITE RIFFS ARE JUST INTERVAL PATTERNS IN DISGUISE:
You’ve played these riffs a hundred times.
But have you ever listened to what they’re really saying?
Not the notes.
The spaces between them.
The intervals that crawl into your cerebellum and refuse to leave.
A CHALLENGE:
Your mission, should you choose to accept it:
Pick one of your favourite riffs.
Isolate its interval signature.
Play it in a different key – no tabs, just ears.
Warp it.
Combine it with another riff’s intervals.
These aren’t just riffs.
They’re spells.
And now you know the incantations.
3. CHORDS? JUST FRIENDS MEETING UP:
A chord is really just notes that get along well together.
Take a basic G major:
G (the root).
B (major third – G’s best friend).
D (perfect fifth – the reliable third wheel).
These relationships work anywhere.
Find a G, find its B and D nearby in any configuration, and boom – you’ve got a G chord in a new voicing.
4. IMPROVISATION IS JUST MUSICAL SMALL TALK:
Ever notice how some guitarists can just “talk” through their instrument?
That’s interval thinking.
They’re not thinking “A minor pentatonic,” they’re thinking:
“Let me ask a question” – (play a dissonant interval)
“Now answer it” – (resolve to a consonant interval)
“Maybe add some colour” – (throw in a spicy ninth or eleventh)
Try it:
Over a simple backing track, restrict yourself to only using major thirds and minor sevenths.
You’ll be shocked how musical limitations breed creativity.
5. YOUR EARS ALREADY KNOW THIS STUFF:
That nursery rhyme you can’t get out of your head?
Interval pattern.
The way you can tell if a singer is off-key?
Interval recognition.
We’re wired for this – we’ve just been approaching guitar backwards.
YOUR ACTION PLAN – (NO MORE MINDLESS SCALE RUNS):
1. DAILY INTERVAL DATING:
Spend 5 minutes getting to know one interval intimately.
Today might be perfect fifths – (the power chord interval).
Tomorrow, minor sixths the – (the “Black Sabbath” interval).
2. REVERSE ENGINEER EVERYTHING:
Next time you learn a lick, figure out what intervals make it tick.
You’ll start seeing the same patterns everywhere.
4. PLAY BADLY ON PURPOSE:
Force yourself to use “weird” intervals in your playing.
That’s how you develop your own sound.
5. SING EVERYTHING FIRST:
If you can’t sing/hum it, your fingers shouldn’t play it.
This bridges the gap between theory and feel.
THINK INTERVALS:
The greats didn’t get there by memorizing more scale patterns.
Hendrix, Page, Van Halen – they all thought in intervals first.
Your guitar isn’t just an instrument – it’s a relationship waiting to happen.
It’s time for you to start the conversation…
WHY LEARNING INTERVALS ON GUITAR IS LIKE UNLOCKING A CODE (AND HOW TO BECOME A FRETBOARD WIZARD):
Let’s cut to the chase:
Memorizing guitar scales is like learning to paint by numbers.
Sure, you’ll get a pretty picture, but where’s the soul?
The drama?
The ability to throw a musical tantrum when the song demands it?
If you’re tired of sounding like a robot programmed to play “Wonderwall” at every campfire.
It sounds like it’s time for you to dive into the wild, rebellious world of musical intervals.
Think of intervals as the DNA of music – the spicy little building blocks that make scales, chords, and solos possible.
Master these, and you’ll transform from a “guitar noodler” into a fretboard sorcerer who can conjure melodies out of thin air.
WHY INTERVALS ARE YOUR GUITAR’S BEST “FRENEMY”:
1. SCALES ARE JUST INTERVAL FAN CLUBS:
The major scale?
It’s literally a squad of intervals in a row (root, major 2nd, major 3rd… you get the vibe).
Learn intervals first, and suddenly scales become obvious.
Want to turn a major scale into a spicy Mixolydian mode?
Just flat the 7th interval.
What about the Lydian mode?
Just sharpen the 4th interval.
You’re not just memorizing shapes – you’re hacking the system.
2. THE FRETBOARD IS A VIDEO GAME MAP, AND INTERVALS ARE YOUR POWER-UPS:
Ever feel stuck in those box patterns, like your fingers are trapped in a tiny fretboard jail?
Intervals are your jailbreak.
A perfect 5th isn’t just one shape – it’s hiding in 6 different spots on the neck, like Easter eggs waiting to be found.
Learn intervals, and suddenly the fretboard isn’t a confusing grid – it’s Skyrim, and you’ve just unlocked fast travel.
3. YOUR EARS WILL THANK YOU FOR IT:
Imagine hearing a melody in your head and actually playing it without fumbling through scale patterns.
That’s interval mastery.
You’ll start recognizing that the “Jaws” theme is a minor 2nd, or that the “Star Wars” fanfare is a glorious perfect 5th.
Your solos will stop sounding like alphabet soup and start sounding like music.
4. CHORDS? YOU’LL BUILD THEM LIKE LEGO:
Chords are just intervals stacked like a delicious musical sandwich.
A major triad?
That’s root + major 3rd + perfect 5th.
Learn intervals, and you’ll be crafting jazz chords, punk power chords, and ambient soundscapes like a mad scientist.
THE SCALE-SHAPE TRAP (AND HOW TO ESCAPE IT):
Let’s roast scale-centric learning for a sec:
You’re on autopilot.
Your fingers move, but your brain’s binge-watching Netflix.
Your solos sound like a broken record. “
Oh, he’s playing the pentatonic box again… thrilling.”
Changing keys feels like calculus.
“Wait, where’s the G#?!”
Intervals fix this by making you think in sound, not shapes.
It’s like swapping out your training wheels for a jetpack.
HOW TO USE SCALE PATTERNS TO LEARN INTERVALS:
Using scale patterns to learn intervals is like using a treasure map to find hidden jewels,
You already have the layout (the scale), but now you’re focusing on the specific relationships (intervals) that make the map valuable.
Here’s how to hack scale patterns to master intervals, turning mechanical finger movements into a deeper understanding of the fretboard:
1. REVERSE-ENGINEER SCALES INTO INTERVALS:
Pick a scale you know (e.g., the minor pentatonic).
Instead of playing it mindlessly, label every note’s interval relationship to the root.
Example:
In the A minor pentatonic (A-C-D-E-G), identify:
A = Root
C = Minor 3rd
D = Perfect 4th
E = Perfect 5th
G = Minor 7th.
WHY IT WORKS:
You’ll see scales as collections of intervals, not just “boxes.”
This rewires your brain to think: “Ah, this shape is really just a minor 3rd and perfect 4th hanging out!”
2. PLAY “INTERVAL SNIPER” WITHIN SCALE PATTERNS:
Isolate two notes in a scale pattern and practice jumping between them while naming their interval.
Example:
In a major scale shape:
Play the root (1st), then leap to the major 3rd. Say “Major 3rd!”
Play the root, then leap to the major 6th. Say “Major 6th!”
Repeat for all intervals in the scale.
WHY IT WORKS:
This forces you to see intervals as independent relationships, not just steps in a sequence.
It’s like turning scales into a choose-your-own-adventure game.
3. USE SCALE PATTERNS TO MAP INTERVALS ACROSS THE NECK:
Take a scale you know in one position (e.g., the C major scale at the 8th fret).
Now, find the same intervals in other octaves using the scale’s symmetry.
EXAMPLE:
The major 3rd (E) in the 8th fret C major scale can also be found:
5th fret G string (same octave).
12th fret high E string (octave higher).
WHY IT WORKS:
Scales repeat across the neck in octaves.
By hunting for duplicate intervals, you’ll uncover the fretboard’s hidden geometry.
4. TURN SCALES INTO INTERVAL “CHEAT SHEETS”:
Use scale patterns to drill interval pairs.
FOR EXAMPLE:
3rds: play every 1st and 3rd note in the scale (e.g., C to E, D to F, etc.).
6ths: Play root to 6th (C to A), then 2nd to 7th (D to B), etc.
WHY IT WORKS:
Scales become frameworks for practicing intervals in context.
You’ll internalize how intervals sound within a key, which is crucial for improvisation and songwriting.
5. COMPARE SCALES TO HIGHLIGHT INTERVAL DIFFERENCES:
Play two similar scales side by side (e.g., major vs. minor) and identify the intervals that change.
EXAMPLE:
Compare C major (C-D-E-F-G-A-B) and C minor (C-D-E♭-F-G-A♭-B♭).
The 3rd (E → E♭) becomes minor.
The 6th (A → A♭) becomes minor.
WHY IT WORKS:
This reveals how altering just one or two intervals transforms the scale’s mood – like switching from “happy” major to “sad” minor.
6. CREATE “INTERVAL PATHWAYS” IN SCALES:
Improvise using only specific intervals within a scale.
EXAMPLE:
Over a C major backing track, solo using only major 3rds and perfect 5ths.
Force yourself to connect them melodically.
WHY IT WORKS:
Restricting your choices forces creativity and deepens your interval vocabulary.
It’s like learning to cook with salt and pepper before using the whole spice rack.
7. SING INTERVALS WHILE PLAYING SCALES:
As you play a scale, sing or hum the intervals aloud.
EXAMPLE:
Play C major ascending and sing: “Root… major 2nd… major 3rd…”
WHY IT WORKS:
Combining physical playing with vocalization strengthens ear-to-hand coordination.
You’ll start hearing intervals before you play them.
8. USE SCALE PATTERNS TO FIND CHORD TONES:
In any scale pattern, highlight the intervals that build chords (3rds, 5ths, 7ths).
EXAMPLE:
In A minor pentatonic, find all the minor 3rds (C) and perfect 5ths (E) relative to the root.
WHY IT WORKS:
Chords are built from intervals, so this bridges scales to harmony.
You’ll start seeing arpeggios and triads hiding inside scale shapes.
COMMON MISTAKES TO AVOID:
RELYING ON MUSCLE MEMORY ALONE:
Always name the intervals as you play them.
STICKING TO ONE POSITION:
Force yourself to play the same interval in multiple octaves.
IGNORING EAR TRAINING:
If you can’t recognize a major 3rd by ear, you’re only halfway there.
THE BIG PICTURE:
Scale patterns aren’t the enemy – they’re a tool to decode intervals.
By focusing on the relationships between notes, you’ll transform scales from mindless finger exercises into a fretboard language.
Over time, you’ll stop thinking “I’m in the 5th position of E minor” and start thinking “I’m emphasizing the minor 7th and flat 5th here for drama.”
FINAL PRO TIP:
Start with the minor pentatonic scale:
It’s simple and packed with essential intervals – (root, minor 3rd, 4th, 5th, minor 7th).
Master these, and you’ll have 80% of rock, blues, and pop music under your fingers.
HOW TO MASTER INTERVALS – A GUIDE FOR THE LAZY, IMPATIENT AND EASILY BORED:
STEP 1: LEARN INTERVALS LIKE THEY’RE MEMES:
Start by memorizing the 12 basic intervals.
But make it fun:
Minor 2nd = “Jaws” theme (dun-dun… dun-dun).
Major 6th = “My Bonnie Lies Over the Ocean”
Tritone = The “Devil’s interval” (perfect for metalheads and drama queens).
PRO TIP:
Hum these every time you practice.
Annoy your neighbours, and your dog.
Become unstoppable.
STEP 2 – GO FULL TARZAN ON A SINGLE STRING:
Pick a string.
Any string.
Now play intervals like you’re swinging through the jungle:
Start on the 5th fret (A string = D note).
Minor 3rd = 3 frets up (F).
Perfect 5th = 7 frets up (A).
This isn’t just practice – it’s a primal scream therapy session for your fingers.
STEP 3 – BECOME A FRETBOARD PIRATE (HA HARRR!):
Time to plunder intervals across strings.
Use octave shapes as your treasure map:
Perfect 5th of D (A) can be found:
Same fret, 2 strings down (A string).
2 frets up + 3 strings down (G string).
Label these spots with sticky notes if you must.
No shame.
STEP 4 – KEY? WHAT KEY?
Use the circle of fifths like a Spotify playlist shuffle button.
Practice intervals in every key until you’re key-agnostic.
Example:
C major’s major 3rd = E.
G major’s major 3rd = B.
F# major’s major 3rd = A# (aka -“the note that makes your bandmates sweat”).
STEP 5 – BUILD CHORDS LIKE YOU’RE PLAYING MINECRAFT:
Stack intervals to create chords:
Major triad = root + major 3rd + perfect 5th.
Minor 7th chord = root + minor 3rd + perfect 5th + minor 7th.
Bonus: Add a tritone and watch your blues jam turn into a horror movie soundtrack.
STEP 6 – TRAIN YOUR EARS LIKE A MI5 OPERATIVE:
APP WARFARE:
Use “Ear Master” or “Perfect Ear” to drill intervals daily.
SPY GAMES:
Have a friend play intervals – guess them blindfolded.
Loser buys the pizza.
STEP 7 – IMPROVISE LIKE A JAZZ CAT….OR A SQUIRREL ON ESPRESSO:
Over a backing track, limit yourself to two intervals (e.g., major 3rds and minor 7ths).
Force creativity.
Sound terrible?
Good.
Terrible is the first step to legendary.
STEP 8 – EMBRACE YOUR INNER CYBORG:
Use apps like “Fretboard Trainer” to quiz yourself.
Turn interval practice into a game.
High score = bragging rights.
LEVEL UP – BECOME AN INTERVAL NINJA:
BACKWARDS INTERVALS:
Play them descending.
A descending perfect 4th?
That’s just an ascending perfect 5th in reverse.
Mind blown.
TRITONE TANTRUMS:
These symmetrical devils (6 semitones) divide the octave.
Use them to sound like a 1970s prog-rock god.
STRING-SKIPPING CHAOS:
Jump strings like a kangaroo on Red Bull.
Break patterns.
Confuse purists.
WHY BOTHER?:
Master intervals and you’ll:
Improvise with purpose, bending emotions like Uri Geller bending spoons.
Transpose on the fly, laughing as your bandmates fumble with capos.
Speak music’s secret language, casually dropping phrases like “Let’s modulate up a minor 3rd” at parties.
Scales are training wheels.
Intervals are a teleportation device.
SAMPLE PRACTICE ROUTINE (FOR MAXIMUM CHAOS):
5 mins:
Ear training while brushing your teeth.
Multitask or die.
10 mins:
Single-string intervals (pretend you’re in a Western movie standoff).
15 mins:
Chord stacking – build a chord so jazzy it needs a beret.
10 mins:
Interval improv over a lo-fi beat.
Nod like you’re in a TikTok video.
THAT’S ALL – (FOR NOW):
Intervals are so important that we will be returning to them again in the chords and inversions and scales chapter a bit later on.
In the meantime, if you would like some more formal training on intervals, check out the resource below:
