Intervallic Structures
BY ALEX MACHACEK
Originally from Austria, fusion guitarist
Alex Machacek has a BA from the Berklee
College of Music and currently teaches
at the Guitar Institute of Technology in
Hollywood. His latest project is 24 Tales, a
duo album with drummer Marco Minnemann.
For more info visit alexmachacek.com.
I’d like to introduce you to a very useful way to expand your chord vocabulary. The voicings we are about to explore work really well
for comping and also for harmonizing melodies
in a bunch of different musical contexts. All
of the following examples are in E Dorian, so
you can use the low open-E string as a drone.
It is very helpful to be able to hear how each of
these chords fit harmonically within a key.
But before we get into the chords, let’s
take a look at the E Dorian scale. I tend to
think of this scale in one of three ways:
•;As;a;D;major;scale;starting;on;the
second degree (E).
•;Following;the;formula;for;a
Dorian;scale;based;off;of;E;major
( 1–2– 3–4– 5–6– 7).
•;Simply;by;the;names;of;the;notes:
E–F#–G–A–B–C#–D.
Personally, I tend to gravitate toward the
scale-degree formula. It simply makes it easier to translate anything you work on into all
12 keys. We are going to think of an inter-
vallic structure as a combination of intervals
within a given scale. This structure can then
be sequenced through the entire scale, which
will;result;in;seven;different;voicings.;Sound
complicated? Let’s break it down:
In Fig. 1, you see the notes of an E
Dorian scale on the 1st string. Once you
have learned these E Dorian notes on the
1st string, take a few minutes and find the
same notes on the other five strings.
Next, we’ll try out some two-note intervals
(also known as double-stops). Let’s take the
interval of a sixth and move it through the
entire scale. In Fig. 2, I have shown how to
play these on the top two strings. Note that
when referring to intervallic structures we talk
in terms of diatonic intervals, so we will end
up;with;different;qualities;(major,;minor,;etc.).
In Fig. 3, I expanded this idea and added
two more notes to the voicings. I used the
sixth from the previous example and added a
fourth;and;a;second.;From;low;to;high,;this
voicing is based on a fourth, a second and a
sixth. Again, I move this structure through
the entire scale and, voilà, we now have seven
voicings that can work for E Dorian!
Not;all;of;the;voicings;in;Fig.;3;are
complete Em7 voicings, some are a bit
ambiguous because they are missing the
3rd and/or the 7th, but that’s exactly the
point. They work perfectly in a modal con-
text and could be used more as a textural
device. Once the key center and mode is
established, we don’t have to constantly use
“descriptive” voicings. I always tell my stu-
dents “Don’t put a bagel on a bagel!”
You can also use your intervallic struc-
tures for modes other than Dorian. Just be
aware, that some modes have an avoid note,
for example in Ionian you have to be care-
ful with voicings that contain the 4th. As
always,;use;your;ear;to;judge;what;fits.
What’s next?
•;Learn;one;intervallic;structure;in
the seven modes derived from the
major;scale.
•;Move;these;around;to;all;12;keys.
•;Apply;the;same;concept;to;melodic
minor or other scales.
•;Finally,;put;some;rhythm;to
these chords.
Every intervallic structure has its own
sound. Deciding which structures are suitable for your style of playing is a matter
of personal taste. Once you’ve learned a
couple of different intervallic structures,
start mixing and matching them. This is
when it gets exciting—you will discover
an entirely new textural quality to that
good ol’ one-chord vamp!
For audio examples
for this lesson click here to visit
premierguitar.com/mar2011
Fig. 1
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