| copyright © 1995 Rick Bellinger | Last Modified: Oct 1, 1995 |
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This lesson originally appeared on
StickWire
- the Official Chapman Stick Mailing List. Reproduced here by permission. This article can be reprinted only in its entirety. |
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This lesson will cover the concept of intervals. It will contain much
terminology that will probably bore the advanced player while confusing the
beginning player. The important thing is to associate a sound with each
term. If it doesn't make sense now, hold on to this page - after a few more
lessons, it probably will.
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Intervals within one octave
An interval is simply the distance between two notes. If we play one note
after the other, the notes form a "melodic interval." When we play the
notes together, they form a "harmonic interval." If the two notes are the
same, we refer to the interval as a "unison." The smallest interval above a
unison is a "half step" (which, as we shall see below, is also called a
minor second). Any notes played on the stick on the same string separated
by one fret are a half step apart. If they are separated by two frets, they
are a whole step (or major second) apart. Notes separated by 12 half steps
make up an Octave. On any one string of the stick, an octave is made up of
two notes exactly twelve frets apart. The scale made by playing the notes
on every fret between the octave notes is a "chromatic" scale.
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There are twelve distinct notes on most western instruments. We refer to
the intervals within one octave as seconds, thirds, fourths, fifths,
sixths, and sevenths. Unisons, fourth, fifths, and octaves are called
"perfect" intervals. Seconds, thirds, sixths and sevenths can be either
"major" or "minor," with the "major" interval being a half step greater
than the minor interval. Between the perfect fourth and the perfect fifth
is an interval called the "tri-tone," which has the same distance as three
whole steps.
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Below is a chart of the different intervals within one octave and the
amount of half and whole steps that make up that interval.
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Intervals on the melody strings
The diagram below shows how to play these intervals on the melody side of
the stick. Note that the diagram shows two ways to play each interval.
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 R = Root mi = minor Ma = major p = perfect TT = tri-tone Oct = octave |
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First play the root, and then the other note marked with the interval. The
interval refers to the distance between the root ant the second note. Play
the notes first as a melodic interval, both ascending and descending, and
then (unless the notes are on the same string) as a harmonic interval. The
point here is to demonstrate the sound of the interval. However, you should
eventually find good fingerings to play each melodic and harmonic interval
within one octave.
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Intervals on the bass strings
Below is a diagram showing the intervals within one octave on the bass
strings of the stick.
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 R = Root mi = minor Ma = major p = perfect TT = tri-tone Oct = octave |
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Some intervals are difficult to play on the bass side unless you use two
hands (although Bob Culbertson of San Jose often uses the thumb of his left
hand to give him more reach to play these intervals.)
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Diminished, Augmented, flat and sharp intervals
A "diminished" interval is always a half step lower than a minor or perfect
interval. Thus, a diminished 7th is the same as a major 6th. A diminished
fifth is the same as a tri-tone. An "augmented" interval is always one half
step higher than a major or perfect interval. An augmented 5th is the same
as a minor 6th, and an augmented 4th is the same as a tri-tone. Note that
all diminished and augmented intervals will be equal to another interval.
The terms augmented or diminished are usually used when the interval is
different from one would expect from the type of chord or the key.
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"Flat" (or "b") or "sharp" (or "#") intervals are other common terms used
to denote intervals. A flat interval is either a minor or diminished
interval; it is used to identify an interval a half step lower than one
would expect from the chord type or key. A b7 will usually mean a minor
7th. Sharps are usually augmented intervals but sometimes can be major
intervals, and are used to identify an interval one half step higher than
one would expect. A #6 is often a major 6 interval in a minor chord or key,
which ordinarily contains a minor 6. A tri-tone is often called a b5 or a
#4.
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Intervals greater than one octave.
The number sequence continues beyond the octave in a similar fashion. A 9th
is the same as a 2nd but one octave higher. An 11th is the same as a 4th +
one octave, and a 13th is the same as a 6th + one octave. These terms are
mostly used for extended seventh chords. The terms 10th, 12th, and 14th are
not usually used for reasons that will become clear when we discuss chords.
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Inversions
When you descend from the root to an interval of on fourth, the second note
will be an octave below the fifth. Thus the "inversion" of a perfect fourth
is a perfect fifth. The rules about inversions are:
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Ear training
It is important to be able to distinguish different intervals by ear.
Practice the intervals all over the stick. Play intervals at random, and
try to identify them. There are various books with cassette tapes for ear
training (most notably those by David N. Baker). There are also various
software tutorial programs available.
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copyright © 1995 Rick Bellinger