In this lesson, we will want to focus again on simple interval like chord structures. Usually, these chords involve the use of two or three notes. For our purposes in this lesson, we are only interested in looking at two note chord structures, more properly refered to as intervals. Perhaps we could call them degenerate chords, just to put our own spin on music theory. The important thing at this point is to not worry so much about music theory and to focus more on the shapes of these structures. Because I want to continually re-enforce how shapes play a significant role in your ability to advance as a guitarist. For example, let's look at the following intervolic progression.


[E0, A2i]
[E3i, A5r]
[E5i, A7r]

Of course, those intervals form a shape we already know. Another important two note shape is the root along with a major 3rd interval.

[E8i, A7m]
[C, E]

Another is the root along with the 4th.

[E8m, A8r]
[C, F]

Or, alternatively, you can simply bar these two notes with your index finger, which is more comfortable in some applications.

[E8i, A8i]
[C, F]


Another important shape is the root along with the minor 3rd.


[E8m, A6i]
[C, E flat]

Now, here is a little something to play around with. Take the shape of any mode you want, and start looking for these little shapes inside that larger mode shape. And from there, begin to construct your own two note intervolic chord progressions. It can be a lot of fun to just jump around from one two note shape to another inside a larger mode shape like that. This often has a rather classical feel to it. And as you do this, you will find a few more two note shapes that we didn't cover in this lesson that you should take the time to write out into your notes.

Also, it is important to note that when trying to play these intervolic shapes on the G and B strings, the shape slightly changes. We simply adjust the shape by moving up a half step on the B string. So, where the major 3rd intervolic shape was given to be,


[E8, A7]
[C, E]

On the G and B strings this becomes,

[G5, B5]
[C, E]

And so on. So, with this in mind, go have fun playing around inside the modes jumping all over the place from one intervolic shape to another. This exercise should help you to become even more familiar with your modes and provide you with a nice approach to an introduction to classical sounding ideas. And when you find little progressions that sound nice, write them down in your notes for later.


Corey J. Bray