BIDIRECTIONAL
INTERVALLIC EXERCISES
In the past few articles, we have been focusing on intervallic approaches
applied to scale patterns. I hope you have been practicing these diligently;
but more than anything else, I hope that you have been paying attention
to the sounds of each exercise. Remember: The goal is to combine
our refined muscle memory gained from each exercise with the ear training
elements that allow us to first hear and then recall each
unique intervallic grouping. This month we will take that to the next
level by incorporating a change of direction in our exercises.
Bidirectional exercises are still similar to the regular intervallic
exercises in that each successive scale degree is still paired to a
note that is separated by a set intervallic distance. However, the difference
is that each successive pair of scale degrees separated by that interval
are played in an opposite direction. For example, the first interval
would be played in an ascending fashion, followed by the next interval
played in a descending fashion. This swapping of directions would continue
through the entire exercise. If you are confused by this explanation,
try playing through each of the following exercises and you will begin
to see and hear the pattern more clearly.
For the following examples, we will refer again to our trusty major
scale pattern. Each individual exercise will take a chosen interval
and apply it to each note of the major scale within a particular position.
As with previous exercises, I suggest starting with the 3 note per string
positions for the major scale (See figs. 3a.-3c.)
Fig. 3a
Fig. 3b
Fig. 3c
To keep the exercises concise, I will use the range of a 4 string bass,
utilizing a G major scale starting on the 3rd fret E string. Remember
to keep your hand in position as shown, using only the fingerings specified
for the duration of each exercise.
Bidirectional intervallic 2nds
Diatonic 2nds are played from each scale degree, changing directions
from ascending to descending back and forth through the entire range
of the scale. The exercise written in scale degrees would look like
this:
Ascending: 1-2, 3-2, 3-4, 5-4, 5-6, 7-6, 7-8, 9-8, 9-10, 11-10, 11-12
Descending: 12-11, 10-11, 10-9, 8-9, 8-7, 6-7, 6-5, 4-5, 4-3, 2-3, 2-1
Top
Ex.
1
Bidirectional intervallic 3rds
Diatonic 2nds are played from each scale degree, changing directions
from ascending to descending back and forth through the entire range
of the scale. The exercise written in scale degrees would look like
this:
Ascending: 1-3, 4-2, 3-5, 6-4, 5-7, 8-6, 7-9, 10-8, 9-11, 12-10
Descending: 12-10, 9-11, 10-8, 7-9, 8-6, 5-7, 6-4, 3-5, 4-2, 1-3
Ex. 2
Bidirectional intervallic 4ths
Ascending: 1-4, 5-2, 3-6, 7-4, 5-8, 9-6, 7-10, 11-8, 9-12
Descending: 12-9, 8-11, 10-7, 6-9, 8-5, 4-7, 6-3, 2-5, 4-1
Top
Ex.
3
Bidirectional intervallic 5ths
Ascending: 1-5, 6-2, 3-7, 8-4, 5-9, 10-6, 7-11, 12-8
Descending: 12-8, 7-11, 10-6, 5-9, 8-4, 3-7, 6-2, 1-5
Ex. 4
Bidirectional intervallic 6ths
Ascending: 1-6, 7-2, 3-8, 9-4, 5-10, 11-6, 7-12
Descending: 12-7, 6-11, 10-5, 4-9, 8-3, 2-7, 6-1
Top
Ex.
5
Bidirectional intervallic 7ths
Ascending: 1-7, 8-2, 3-9, 10-4, 5-11, 12-6
Descending: 12-6, 5-11, 10-4, 3-9, 8-2, 1-7
Ex. 6
As usual, practice these exercises using other modes and scale types
over the full range of your neck. Try to be as accurate as possible
with your fingerings. You should be able to play these without having
to look at your hands. Because these intervals often incorporate string
skipping, they are fantastic devices for honing your right and left
hand technique and coordination. Donít forget the right and left hand
principles we discussed previously as you work through them! Stay focused,
and youíll be amazed at your results.
Until next time!
Top
