Welcome back! By now, you should have a lot of scales and arpeggios under your belt, and you’ll be looking for different ways to play them. In this lesson, we’ll discuss constructing lines using intervals. In my own playing, I utilize different intervals like 3rds, 4ths, 5ths and 6ths.
The examples in this lesson are based on the perfect 5th interval, which can generate a multitude of cool sounds. You can base your patterns off scales and arpeggio shapes, but think of the notes more than the pattern. A good way to practice is to take scales you know and play them using 3rd, 4th, 5th and 6th intervals. If you’re not sure what I mean check out figure A – this is a G Dorian scale (G, A, Bb, C, D, E, F) played up the neck with 5th intervals. Also try playing the same scale with octaves.
This first example is based off an A minor triad with an added B note (A, C, E, B); this chord is called Am(add9). This line stays within those notes up the neck, using 5th and major 6th intervals. You are basically playing off each one of those chord tones, moving up the neck in perfect 5th intervals, except the C to an A, which is a major 6th interval.
Here is an example from one of my compositions; it is based on the G diminished 7th arpeggio (G, Bb, Db, E). This whole line is played using 5th intervals off each scale step. All of the notes fall right inside the G dominant diminished scale (G, Ab, Bb, B, Db, D, E, F). The whole pattern moves up in minor 3rds; be sure to follow the fingerings supplied.
This one is based from the B Dorian scale (B, C#, D, E, F#, G#, A). This line is constructed with 5ths, 4ths and major 2nd intervals. Most of the notes fall within the Bm(11th) arpeggio (B, D, F#, A, C#, E). Try playing this over a Dmaj7th or a F#m7 chord.
These are just a few examples to get you started. Be sure to make up your own ideas and apply these concepts to your music. Don’t forget to visit mikecampese.com.