Intervallic Picking Exercises--Part 4: Digging In!

By Scott Hesse

Ok, for this last installment on intervallic picking exercises, we're going to really get in to it. The other three tips dealt with the exercise in its base form which is great as it is. Now I want to add even more application to this exercise.

What I've written below is, sequentially, the intervallic picking exercise. Remember that I'm using three consecutive notes of the same interval. So you have three (ascending and descending) m2s in a row followed by three M2s followed by three m3s and so on. This next evolution adds another layer of notes to the existing pattern. 

In the first measure where you see m2s, I've taken the original three ascending minor m2nd intervals (C, C#, and D) and used them as starting points for a particular pattern. In this case, I use the interval of an ascending m2nd. I assign each of my original starting notes an ascending m2nd to come up with the new pattern you see in the first measure.

Each of the ever-expanding interval choices is treated the same way resulting in one big pattern.

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This pattern can be broken into much smaller pieces for further study. I highly recommend it, as a matter of fact. Make sure to keep in mind that each one of these pattern-sets can be fit over a certain harmony. 

For example, if I isolate the m6 set I get this note sequence: C, C#, Ab, A, E, F. As it is sequentially, it would sound great over a C13(b9), and FMaj7(#5), Dmin(Maj7), DbMaj7(#5), AMaj7(#5), Bm9(b5), etc. You can also tell this set is the inversion of the M3rd set. It's just a different way to approach it with bigger leaps. If you want to get those kinds of interval sounds in to your playing, you have to work on them. You have to hear them.

Use this exercise to train yourself to hear what you want to hear.

Happy practicing!!